The powerful in the era of displacement The era of manual effort has become obsolete, overshadowed by a new phase where thoughts can be transformed into reality. The gap between an idea and its execution has vanished; you simply envision an outcome, and the system brings it to life. However, the true limiting factor is no longer skill, resources, or time, but rather human discipline . The world is now divided into two distinct paths: those who harness the system for their benefit and those who are controlled by it. For those who surrendered to frictionless ease , the sudden lack of a demanding workload plunged them into a collective waiting room, stripping away the "busy-ness" they once used to hide from themselves. In removing the friction of the daily grind, they traded their collective armour for convenience, and their edge vanished. Seduced by a " slow, insidious luxury ," this programmed class melted into a soft, passive hedonism. They became mere consumers ...
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Top 5 80's Australian post punk
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jjfbbennett TOP 5 1980's Australian Post Punk
Under rated and more powerful than the UK or USA
Holy Joe: Laughing Clowns Laughing Clowns are an Australian post punk rock band fronted by vocalist and guitarist Ed Kuepper and backed by drummer Jeff Wegener.
Formed in Sydney in 1979 after the break-up of Kuepper's punk rock band The Saints. Where The Saints were a bass/drums/guitar rock band, Laughing Clowns' various line-ups included double bass, piano, tenor saxophone and trumpet. Often referred to as "jazz punk" by critics, the group's songs were often constructed around difficult time signatures and sometimes "off-key" melodies. Kuepper passionately disagreed with the assertion that the music was jazz-like, but rather thought of the music as being soul-like. This is evidenced by the fact that, in amongst the cachophony, many of the songs have strong melodic hooks, epic progressions and emotionally charged lyrics. They released several albums, singles and EPs, including Holy Joe, Mr Uddich-Smuddich goes to town, Ghosts of an ideal wife and Law of nature. They disbanded in 1985 with Kuepper continuing to record and perform under his own name.
Nothing grows in Texas: Sacred Cowboys The ‘Sacred Cowboys’ front man is Garry Gray (lead singer/lyricist), who as a member of the 'Negatives' (1977-1979) and the 'Reals' (1975-1976) was a pioneer of alternative music in Melbourne, Australia. He was a founding member of the 'Sacred Cowboys' in 1982. The 'Sacred Cowboys' began playing inner city Melbourne in early 1982. Within six months, the 'Cowboys' signed with Mushroom/White Label and recorded the 'Nothing Grows In Texas' single. After their so-called 'legendary performance' on Molly Meldrum's Countdown pop TV show on the ABC, Molly said, "This is the worst group I've seen in 5 years." This set the tone for their long career as one of Australia's seminal alternative groups.
Death Death Death: TISM TISM (an acronym of This Is Serious Mum) is a seven piece anonymous alternative rock band from Melbourne, Australia. The group was formed in 1982 and enjoyed a large underground/independent following. TISM have always used a variety of methods to conceal their identities. They have never officially revealed their names, instead choosing to use pseudonyms on their records and in interviews, all the while concealing their faces. Usually this involves the wearing of a balaclava, but ridiculous costumes have been created for the purpose, including Ku Klux Klan uniforms made of newspaper,[29] silver suits with puffy arms and legs to mimic an inflated cask wine bladder,[29] giant foam paintings worn on the head,[29] large foam signs bearing the name of a Beatle,[30] fat 'businessman' suits,[29] and eight-foot-high inflatable headpieces,[7] among others.
Who TISM are beneath the masks has been the cause of much speculation by fans, with one theory contending that TISM is composed of members of other bands who do not want their fans to find out: popular targets of this theory include Painters and Dockers, Machine Gun Fellatio and even The Wiggles.[31][32][33] A theory based on the band's tour schedule's roughly coinciding with school holidays proposes that TISM are school teachers.
God's Not Dead: The Slaughtermen The Slaughtermen were an Australian post-punk southern gospel group, which began in Melbourne in 1984. The band enjoyed a years residency at the Rising Sun Hotel in Melbourne which built a fairly even following of believers and sceptics. Singer Ian Stephen, only added to the mystique and/or confusion by purchasing a twenty five dollar Reverendship from a religious organization from out of the back pages of the National Enquirer. A nationally broadcast hour long live concert on Australia's ABC TV, cemented their unique place to this day, as Australia's first and only southern gospel group, albeit twelve thousand miles from the original source of the inspiration, America's Deep South.
Nick the Stripper: The Birthday Party The Birthday Party was an Australian post-punk group, active from 1976 to 1983.
Despite being championed by John Peel, The Birthday Party found little commercial success during their career. Though often indirect, their influence has been far-reaching. They've been called one of "the darkest and most challenging post-punk groups to emerge in the early '80s."
The Toxic Weight of Waiting The atmosphere has thickened. What was once a room defined by walls and chairs has dissolved into a toxic haze, an environmental manifestation of a mind under siege. She no longer sits; she kneels, anchored to the floor by an invisible gravity. Above her, the "toxic air" takes shape as a looming, jagged shadow infused with high-velocity greens and burning volcanic reds. It feels less like smoke and more like a predator, a towering silhouette of anxiety that has finally outgrown the space. The colours vibrate with a sickly, chemical heat, turning the very oxygen into something thick and sharp. In this room, the silence has become deafeningly loud. The fractured light from the previous moment has bled together, creating a suffocating shroud that blurs the line between the physical world and an internal fever dream. The momentum hasn't just stalled; it has been swallowed. She has diminished, huddled in the eye of this psychic storm, a solitary ...
The Ethereal Ascent The air in the room is violently still, creating a heavy pressure. She has long stopped looking at the clock, realising that time here is not a sequence but a weight. The waiting room has fractured; the mundane reality of plastic chairs and linoleum flooring splinters into a jagged, stained-glass fever dream. High-pitched frequencies of burning red and sickly blues vibrate as if hardened walls, echoing the frantic noise of a mind that has run out of distractions. Every sharp edge of colour feels like a spiritual siege, a sensory reminder that her momentum has been forcibly halted. There is no use in pacing. There is no use in resisting the authoritative hand of the "in-between." To survive this stall, she must stop fighting the current and become part of the stagnant water. She looks out, as if just awakened, and does the only thing left to recollect. She breathes. She waits. She waits for the shards to align once more. Be Creative and Innovative wit...
I am sealed in this capsule The transition from the static concrete of that waiting room to the pressurised cabin of this jetliner changes the entire physics of my wait. I’m no longer pacing floors or slouching into plastic seats; I've been sealed inside a capsule, and soon to be hurtling through the sky toward China. Now that I'm finally buckled in, my restlessness hasn't disappeared, but at least I’ll soon gain altitude. I look around and can see exactly how this emotional shift plays out in other lives. There is an initial sense of order and quiet relief. I see the neat rows of seats, the soft symmetry of the aisle, and the steady, reassuring presence of the flight attendant, offering the illusion of control. The ceiling washes into soft, atmospheric blues and teals. I imagine the sky outside. I can feel the collective breath of a hundred passengers all transitioning into the same forced pause. For a moment, my world feels structured, clean, and neatly aligned. I know ...
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