Word: punkness
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...thrashing guitarist whose pioneering use of the "power chord" on his 1958 instrumental hit Rumble inspired rockers from Pete Townshend to Neil Young; in Copenhagen. In an era of clean-cut performers, Wray shook up the music world with his distorted guitar and menacing persona, laying the foundation for punk, metal and beyond. In the 1990s, he enjoyed a resurgence when his music was featured in several films, including Pulp Fiction and Independence...
...whose pioneering use of the power chord on his 1958 instrumental hit Rumble inspired rockers from Pete Townshend to Neil Young; in Copenhagen. Standing out in an age of clean-cut performers, Wray shook up the music world with his guitar distortions and menacing persona, laying the foundation for punk, metal and beyond. In the 1990s he resurfaced when his music was featured in several films including Pulp Fiction and Independence...
...Ancient Dances” with his lute-like instrument accompanied by percussionists. Images of ancient Chinese calligraphy will be projected in the background, creating a multimedia event. Sanders Theatre. 8 p.m. Tickets available through the Harvard Box Office, (617) 496-2222. $38/28/23/20. (KAF)Scissorfight. Boston-based punk rockers Scissorfight, whose vocalist, Ironlung, once dislocated his shoulder in the middle of a show and spent the remainder of said show attempting to punch it back into place, team up with the Neighborhoods, Clouds, and Dana Colley for a raucous night of music. The Middle East Downstairs. 8 p.m. 18+. Tickets available...
...words, “that’s the way it is.”—Henry M. CowlesJesus of SuburbiaGreen Day Green Day seem to want nothing more than to be taken seriously these days, after a decade of alienating their early fans with vapid pop punk. This insneeriority complex has played itself out in their recent videos. For “Wake Me Up When September Ends,” the band took on war and lost innocence. With their most recent six-minute-plus epic, “Jesus of Suburbia,” they...
...surplus of confidence. The guitars are faster and louder, and the lyrics just as whip-smart as on its debut. You know the band is getting better because the love songs (Walk Away, Eleanor Put Your Boots On) have the courage to be pretty, while the snarling punk-disco romps (Well That Was Easy, I'm Your Villain) codify the lads' idea of losers (the dull, prudish and unstylish) and winners (them). Like all bands that matter, this one is well on its way to becoming a system of belief...