JAMES WALSH is moved by a provocative and original take on the relationship between ecology and architecture, and a plea to work with, not against, the materials and minerals of our world
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Celebrating the politics of punk
Next Saturday marks the 40th anniversary of The Clash’s debut album. MARK PERRYMAN reports on a notable event to mark it
An immersive, participatory display by a queer Australian Aboriginal performer, and a rebellious unravelling of traditional Scottish dance
EWAN CAMERON witnesses a political farce that lacks a clear message
EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
FOR most people, the birth of punk happened on or around 1976 with the November release that year of the Sex Pistols’ Anarchy in the UK. Music and movement were catapulted into the “filth and fury” headlines via the band’s expletive-strewn Bill Grundy TV interview.
The Pistols and the rest were key to the detonation of a youthful mood of revolt alongside the not entirely dissimilar The Damned, Manchester’s Buzzcocks and the more trad-rock Stranglers. Giving the boy bands a run for their money, The Slits pushed perhaps hardest at punk’s musical boundaries, their Typical Girls track quite unlike what the others were recording.
But it was The Clash who more than anyone symbolised the punk and politics mix, showcased on their debut album The Clash, released 40 years ago on April 8, 1977.
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