ABSTRACT

In 1984, L.A. punk band Black Flag released My War. Coming three years after Damaged – a canonized classic of the hardcore genre – and following a period of legal dispute and touring hiatus, My War was diverse and polarizing; side two of the album featured three slow, long riff-heavy songs that run counter to the predominantly lean and fast signature sound of the band’s previous work and that of many contemporaries. With the benefit of hindsight, these tracks signaled punk’s reinvestment in heavy metal, precipitating new hybrid forms such as sludge metal, drone metal, and stoner metal. In this paper, we exhume a subset of this aesthetic lineage and discuss how it has informed a subsequent recording: Lysol by theMelvins. Through analysis of recorded works, we demonstrate how the sounds of side two of My War have been propagated and refined, highlighting the links between these idiosyncratic sounds and the pragmatic realities of low-budget studio production.

摘要

1984年，洛杉矶朋克乐队Black Flag发行了我的战争。在《损坏》（硬核类型的经典之作）三年之后，经过一段时间的法律纠纷和巡回演出中断，《我的战争》变得多样化和两极分化；专辑的第二部分收录了三首缓慢、冗长的即兴演奏歌曲，这些歌曲与乐队以前的作品和许多同时代人的主要简洁和快速的标志性声音背道而驰。事后看来，这些曲目标志着朋克对重金属的再投资，催生了新的混合形式，如污泥金属、无人机金属和斯托纳金属。在本文中，我们挖掘了这一美学谱系的一个子集，并讨论了它如何影响随后的录音：Lysol由梅尔文。通过对录音作品的分析，我们展示了《我的战争》第二面的声音是如何传播和提炼的，突出了这些特殊声音与低成本工作室制作的务实现实之间的联系。