This past week at work I came across a preview DVD copy of the recent rocumentary, Kill Your Idols, and brought it home to watch. It's about the No Wave scene of NYC (1978 or so), and it's connection to the New York scene of around 2002. In short, the concept is a stretch, and not very good. If the film's makers had developed their concept at all this might've been a better film, and they would've needed more than the short 65-70 minutes that the finished version turned out to be.
The first 20-25 minutes are excellent. This concentrates on the origins of the original No Wave scene and it's players - Teenage Jesus & the Jerks, the Contortions, DNA, Mars, and the Theoretical Girls. Interviews include Lydia Lunch, Arto Lindsay, Glenn Branca, Jim Thirlwell (Foetus), Michael Gira (Swans), Thurston Moore & Lee Renaldo (Sonic Youth) and others. There's some great footage, albeit grainy, of some vintage performances - some I've seen and some I haven't.
Where the film fails is when it jumps to around 2002 and they start talking to the likes of:
- the Yeah Yeah Yeahs (inarticulate and self concious)
- ARE Weapons (goofy frat boy rawk douche bags)
- Liars (just inarticulate and not terribly interesting)
- Black Dice (came across fairly well...the music? Eh...)
- and some others whose names escape me now
The only contemporary musician/band who impresses is Eugene Hutz and Gogol Bordello. This kid has it. What Gogol Bordello has to do with anything even close to No Wave, I have no idea. But, in light of how inarticulate all of the other new bands are, and how little they seemingly have to offer, Hutz really shines, and puts all of them to shame. He's got something to say and doesn't use the word "like" every other word. He truly believes in some sort of cultural revolution & communication and has no problem explaining himself.
The movie is only really saved towards the end when most of the old farts basically tear the young douche bags new ones, and tell them where it's at. Especially Lydia Lunch. As I said to my friend Daisy while watching it, I got the idea that all of the young bands had good relationships with their parents and went to college. Not that there's anything wrong with that. They just don't seem desperate or creative enough to deserve any attention they're garnering for supposedly being edgy.
Regarding the whole idea of the late 70's/early 80's New York scene being so influential right now (besides so much of the current culture being obesessed with recycling the past), Martin Rev from Suicide brings up an interesting idea. He suggests that rock 'n roll is moving into an interpretive stage. The same thing that happened in both the classical & jazz genres.
This film started with an idea, but the idea got lost somewhere along the way. We fans would've been better served with a more in-depth look at the NYC music underground of 1978-1984. Instead we get a sad commentary on the current state of music and youth culture. I wish I were around to have helped out...I would've done so gladly.
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