The 80’s, or more specifically, the decade of 1978-1988, was a strange place. It was before a time of walkmans, let along MP3’s, iPods and smartphones. Cassettes, records and vinyls were about the only ways to sell music, other than radio shows, that is. An explosion of subcultures saw the streets of major cities flooded by young folks with big hair (or no hair) and odd outfits. It was an age of rebellion fuelled by punk and post-punk.
It was also an era of social change, an age where young folks were getting increasingly cynical. John Lydon, the lead singer of Sex Pistols, put it perfectly in his interview with BBC4’s Punk Britannia documentaries: “There was an absolute rampant in the education system telling you you really didn’t have a future, that you have no job prospect, that no matter how well you achieved academically… It’s like, why bother? Know your place!”
Forty years later, I lay in my bed while watching the documentary on YouTube, and I thought to myself: wait a minute, that’s exactly how I feel about it, right now!
It was the final piece of a puzzle. I’ve always been conservative with music. However, as reluctant as I am to try new artists, I expanded my punk/post-punk playlist from one band to eighteen in a matter of two months. Before watching the documentary, I wondered how I could gain a taste in this many bands, each featuring a style of their own. Gaining an insight of the era, on the other hand, brought me to the root of my preferences: their art each spoke to a different aspect of my soul.
I used to dismiss the Undertones as somewhat “young”. They use a lot of repetition, and their lyrics aren’t as brilliant as those of their peers. It seemed to me that whatever they “lack” in content, they make it up with their youthful, energetic beats. Once I started looking past their biggest hit, Teenage Kicks, however, I realized they have content, after all. From My Perfect Cousin to Mars Bar, the Irish band focuses more on life’s minor nuisances than political rants. With their upbeat acoustics and sharp observations that often bring a smile to my face, they secured a place in my pick-me-up playlist.
Sex Pistols are almost the opposite. They are an aggressive bunch, roaring about Anarchy in the UK and upsetting the Queen in their cover of England’s national anthem. It was their stage movements, their “I’m gonna get you” body language that both intimidated and fascinated their audiences, that pulled fans together. The Damned are an equally high energy band, with their lyrics more poetic and messages more hidden. Their Stranger on the Town was a pleasant surprise for me. Betrayed, alone, yet hopeful, who would have thought a band from forty years ago would portray the immigrant experience with such startling accuracy?
Then we may talk about my favourite people in this world: Siouxsie Sioux and Nigel Blackwell. When I first discovered Siouxsie, it was those eyes that got me. Dark and fiery, they summarize her character as a strong female role model. Her songs feature heavier, more personal themes such as sexual assault, broken childhood, and the pressing conformity that haunted Britain’s suburbs. The images are often shattered, but the voice channels stunning resilience. From Christine to Spellbound to Arabian Knight, Siouxsie celebrates the strength harnessed from grave adversities.
If Siouxsie is the advocate for strength, Nigel, lead singer of Half Man Half Biscuit, champions utter dysfunction. Let’s just take a look at Took Problem Chimp to the Ideal Home Show. The whole song is about a problem chimp being released at London’s housing design showcase and the chaos that followed suit. It’s ridiculous in every sense of the word. Aside from portraying absurd characters, mocking contemporary celebrities, and celebrating the working class life, HMHB also features a series of songs that reveal the brutality of real life. Among them, The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train) has become my life motto ever since I first heard the song.
Aside from the above artists, there are also X-Ray Spex, Bauhaus, Public Image Ltd, Adam & the Ants, Ian Dury, the Cure… They each speak to a different part of my soul, yet their collective voice assures me that it is okay to be the outsider, that it’s okay to feel desperate, angry, or broken; that an individualistic and rebellious attitude can be a lifestyle rather than “a phase” – that even if it is a phase, there is nothing to be ashamed about. The alternative scene of 1977-1987 offers a solution for millennials who feel equally lost in this new era of instability.
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