DNA - DNA on DNA
(No More)
Arto Lindsay can't sing, play guitar, or write music. So, naturally, in the DIY spirit of the day (that day coming 25 years ago), he formed a band. He invited Japanese non-drummer Ikue Mori to bang on things in some semblance of a rhythm and asked Robin Crutchfield, a local artist, if he knew how to play keyboards. Robin said no, which was the right answer, so he was in. The trio called themselves DNA, played their first gig a few weeks later and then released "You & You" b/w "Little Ants." Produced by erstwhile NY scenester and future Voidoid and Lou Reed/Lloyd Cole/Matthew Sweet guitarist, Robert Quine (who would also later play on Mori's 1997 solo album, Painted Desert), it was one of the seminal singles in the short-lived history of what we today refer to as "noise rock," but what was back then called, simply, "No-wave," after No New York, an album of like-minded, but essentially talent-less artists who thought that the local punk scene was selling out to big corporations for big bucks, thus turning their backs on their own DIY aesthetics.
They were right, of course: Blondie, The Ramones, Talking Heads, Television, Patti Smith—they all "sold out" to major labels and started releasing watered-down versions of their furious live shows. The "no wavers" would have none of that. Along with Mars, Teenage Jesus and the Jerks (featuring Lydia Lunch—New York's answer to L.A.'s Exene Cervenka), (former Jerk) James Chance and his Contortions, and a handful of others, DNA led the charge to wrestle music away from the corporations and give it back to the people. Byron Coley's introductory essay in the attractive, informative 16-page booklet places the whole genre into perspective. Along with liner notes from Jason Gross (editor of the online 'zine, Perfect Sound Forever) and Glenn O'Brien, the glossy booklet also includes lyrics, exclusive photos and historical handbills and gig announcements. DNA on DNA gathers the dozen recordings they released during their lifetime (the aforementioned single, their four tracks from the No New York comp, and their mini-LP A Taste of DNA), and appends five selections from the award-winning, off-Broadway play, "Mr. Dead & Ms. Free," plus a baker's dozen live recordings of varying, but predominantly better-than-bootleg quality, most from two CBGB's (including their final performance in June, 1982) and a Columbia University gig (March 5, 1980).
If by definition, punk was the ultimate DIY aesthetic where desire outweighed skill, DNA may be the ultimate punk band. Dissonant, angular, psychotic yelping is the order of the day throughout these brutal recordings. If punk was a reaction against the pomp and circumstance of the proggers and long-haired hippie freaks playing half-hour guitar solos, be they The Grateful Dead or Pink Floyd, DNA was at the forefront of a movement which believed that punk music was too melodious, structured and organized. As such, "no(ise)-wave" was one of the most disorganized, anarchic forms of music ever unleashed on an unsuspecting public.
Barely recognizable in all the muck are future inspirations for The Cure's "Carnage Visors" ("Delivering The Good"), the hyperkinetic, electronic motorik beat of The NORML's "Warm Leatherette" (an abbreviated live version of "Surrender"), and much of PIL's and all of The Plasmatics' careers. You also won't want to miss the closest approximation to a singer in the midst of death throes ever recorded ("Brand New") and the antagonistic audience baiting of "Horse," that would do even the late, lamented G.G. Allin proud. Obviously, an extremely difficult, yet historically important release, fans will leap at the chance to have these long out-of-print collector's items, remastered from the original source tapes, and punkers who prefer PIL over the Sex Pistols and Crass over Clash should also appreciate this fine collection. But be forewarned, this is not for the feint of heart.
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