“Bu bizim için büyük, insanlık için önemsiz bir adım.” diyen grup, PuNk ROck’tan dans müziğine, psychedelic rock’tan canlı görsel performanslara uzanan çok katmanlı kayıt ve müzikal atmosferleriyle tüm duyuları hedeflediklerini dile getiriyor.
Rock’n Roll sahnemizin yükselen kafası BABA SAD, bu ay içinde yayınladıkları ‘Öfke Hediye’ ve anti-militarist tavrıyla kulağımızın pasını atmaya devam ediyor; Spotify harici tüm dijital mecralarda yerini alan albüm için “Bu bizim için büyük, insanlık için önemsiz bir adım.” diyen grup üyeleri, PuNk ROck’tan dans müziğine, psychedelic rock’tan canlı görsel performanslara uzanan çok katmanlı kayıt ve müzikal atmosferleriyle tüm duyuları hedeflediklerini dile getiriyor.
BABA SAD by Begüm KOÇUM
Fury, and intense anger, screamed at full force in your face! It’s not until the third song Kendin Ol that Baba Sad vocalist Dehan Kılınçarslan tones back on the force for a moment, a sentence or two. Three Turkish punks that scream about dented souls and the cruel society that produces them. And where many of these powerful punk albums usually become blunt because the walls of guitar noise keep up a same dulling effect, Baba Sad knows when to pull back on the force and opt for a bit of subtlety. And that’s when the groove picks up, takes over and has you dancing and jumping like a madman awaiting that moment when the walls come back in and tower over you. Case in point, the thrashy fifth track Ruşen, so wild, so fast and so furious. These young Turks throw caution in the wind, meaty bass work all over the place and high energy drum work that is always revving up your anticipation. Six tracks and almost twenty two minutes of sweat dripping punk, raw and intense. And this kind of music needs it raw, bloody raw… –stonerhive
Sonsuz Gece (Live) by BABA SAD / 2025 Hexe Music
With roaring vocals, hypnotic drum beats and hair-raising bass frequencies, BABA SAD continues to attract attention with their energetic performances built on lo-fi garage / punk aesthetics.
Founded in 2020 by Dehan Kılınçarslan and Yağız Nevzat İpek in Istanbul, the band added Efe Sanlav to its lineup in 2022 and realized various performances and shows with artists from different disciplines.Describing their music as “rock music combining roaring vocals, groovy bass lines and hypnotic drums”, the band draws inspiration from genres such as punk, garage, stoner rock, as well as gopnik techno and psychedelic rock.
BABA SAD by Begüm KOÇUM
Ep’mizi HEXE müzik etiketi ile yayınlıyoruz, Murat MRT Seçkin ve Hatice Arıcı grubun ilk gününden beri yanımızda oldu. Bu desteklerini işbirliğine çevirebildiğimiz için de ayrıca bir mutluluk taşıyoruz. Şarkıları kaydettiğimiz gece bizimle olan onlarca arkadaşımıza, çıktığımız yolda bizimle yürüdükleri ve bize inandıkları için teşekkürler.
Baba Sad iki yıldır merakla beklediğimiz kayıtları sonunda halka açtı. Hepimizi nefrete değil öfkeye yönlendiren, dinledikten sonra “kahrolsun ..” diyerek sokaklarda bağırma ihtiyacı duyacağınız neredeyse ev yapımı, canlı kayıtlı bir ses bombası ile karşımızdalar. –HEXE MUSIC
Baba Sad has finally released the recordings we’ve been eagerly awaiting for two years. They’re here with a homemade, live-recorded sound bomb that will inspire not hatred but anger in us all, a sound that will make you want to shout “damn you…” in the streets after listening to it.
Suspect détecté Cryptage de données Appel aux unités Activation du Plan C4 La chasse a commencé Suspect détecté Supervision, Superdroïde En position section Beta Action capture d’image Suspect 8083 Contrôle facial Contrôle silhouette Contrôle du contrôle Suspect 8083 Suspect détecté Droïdes infiltrés Macro capteur System Meta Suspect 8083 En zone pare-balles Cerveau radar Brouillage du signal
SUSPECT 8083 – Les frères TYRAN
Suspect 8083
Suspect detected Data encryption Call to units Activation of Plan C4 The hunt is on Suspect detected Supervision, Superdroid In Beta section position Image capture action Suspect 8083 Facial control Silhouette control Control Suspect 8083 Suspect detected Infiltrated droids Macro sensor System Meta Suspect 8083 In bulletproof zone Radar brain Signal jamming
TOUTATAC
Réveille le Tyran qui est en toi !
TYRAN PROJECT
5 titres remixés électro aux sonorités brutes et futuristes, un nouveau disque inspiré par la science-fiction, les sociétés sous contrôle et la résistance ordinaire.
Après TOUTATAC, nous posons nos guitares le temps d’un EP et réinterprètons, machines en avant, notre univers dystopique.
Réveille le Tyran qui est en toi !
TYRAN PROJECT 2025
Five remixed electro tracks with raw, futuristic sounds, a new album inspired by science fiction, controlled societies, and everyday resistance.
After TOUTATAC, we’re putting down our guitars for an EP and reinterpreting our dystopian universe, machines first.
Kimi zaman nefretle, kimi zaman da motivasyon yanılsamasıyla…
Mordi’nin hikâyesi, ortaokul yıllarında Deniz Demirbaş ve Emre Durgun’un okuldan stüdyoya kaçma rutinleriyle başladı ve bu erken dönem birliktelik, ilerleyen yıllarda Yasin Taş’ın da katılımıyla nihai formuna kavuştu. Post punk, grunge ve noise rock ekseninde gezinen, radyo dostu akılda kalıcı melodileri, adeta bu yaklaşıma karşı çıkarcasına mekanik ve gürültülü paternlerle sunmayı tercih eden Mordi, dinleyicisini zihin kurcalayan ama yoğun hissettiren bir işitsel yolculuğa davet ediyor. Üçlünün müziğine, toplumsal ve bireysel defoların oluşturduğu açık yaraları pis ellerle kurcalayan şarkı sözleri eşlik ediyor. Kimi zaman nefretle, kimi zaman da motivasyon yanılsamasıyla güdümlenen bu parçalar, grubun sahneye taşıdığı yüksek enerjili ve kan-ter içinde kalan performanslarının da temelini oluşturuyor.
Mordi ‘Utanıyorum’ 2024
At times driven by hatred, at other times by the illusion of motivation…
Mordi’s story began in the middle school years with Deniz Demirbaş and Emre Durgun’s routines of escaping from school to the studio, and this early collaboration took its final form with the participation of Yasin Taş in the following years. Travelling on the axis of post punk, grunge and noise rock, Mordi prefers to present radio-friendly catchy melodies with mechanical and noisy patterns, as if in opposition to this approach, and invites the listener to a mind-bending but intense aural journey. The trio’s music is accompanied by lyrics that poke open wounds caused by social and individual defects with dirty hands. At times driven by hatred, at other times by the illusion of motivation, these tracks form the basis of the band’s high-energy and blood-sweat-soaked performances on stage.
Şubat 2022, the Wall konserinden / Foto: Mehmet Taylaner
Mordi ‘Sar Başa’ Ben Hak Ettim
Şubat 2022, the Wall konserinden / Foto: Mehmet Taylaner
Baba Sad by Bengi Aktar aka Murky Charade, Ankara 2023
Kükreyen vokaller, hipnotik davullar ve saç baş yolduran bass’ları ile BABA SAD, lo-fi garage stili ve punk-rock enerjisiyle dikkat çekmeye devam ediyor.
2020 yılında Dehan Kılınçarslan ve Yağız Nevzat İpek tarafından İstanbul’da kurulan grup, 2022 yılında kadrosuna Efe Sanlav’ı da dahil ederek farklı disiplinlerden sanatçılar ile çeşitli yayınlar ve performanslar gerçekleştirdiler. Müziğini “kükreyen vokaller, groovy bas dizilimleri ve hipnotik davulları birleştiren rock müzik” olarak tanımlayan ekip, punk, garage, stoner rock müzik yanı sıra gopnik tekno, psikedelik rock gibi türlerden de esinleniyor.
BABA SAD Live at Yuva, Mayıs 2024
With roaring vocals, hypnotic drum beats and hair-raising bass frequencies, BABA SAD continues to attract attention with their energetic performances built on lo-fi garage / punk aesthetics.
Founded in 2020 by Dehan Kılınçarslan and Yağız Nevzat İpek in Istanbul, the band added Efe Sanlav to its lineup in 2022 and realized various performances and shows with artists from different disciplines.Describing their music as “rock music combining roaring vocals, groovy bass lines and hypnotic drums”, the band draws inspiration from genres such as punk, garage, stoner rock, as well as gopnik techno and psychedelic rock.
Rinxlaya on the BABA SAD stage / Photo by Bengi Aktar, Ankara 2023
2023 Aralık, Ankara
Baba Sad by Bengi Aktar aka Murky Charade, Ankara 2023
Un entre deux guerres immergé dans la violence et le mystique. LES FRERES TYRAN ont récidivé, chers mélomanes : Un nouveau clip et un nouvel album du duo déjanté vous attendent.
Les Frères Tyran ont été une des très grosse surprise musicales en avril 2019. En effet lors de fouilles “Internétiques” ou “Webologogiques”, au choix, on a croisé les riffs de ces deux joyeux empêcheurs de tourner en rond dans la musique.
A la première écoute, première claque.
Là on partait pour un univers aux ambiances entre Murnau et Ferré l’anarchiste des années passées (et pourtant bien d’aujourd’hui)…
Un entre deux guerres immergé dans la violence et le mystique.
Bonne rentrée à tous ! Si vous voulez vous offrir La mobilisation des FRERES TYRAN, ça tombe bien, il nous en reste. Envoyez nous un mail sur lesfrerestyran@gmail.com
LES FRERES TYRAN, 2019
LES FRERES TYRAN ‘LE BONIMENTEUR’ 2022
Etre mobilisé n’est-il pas juste le fait de rester vigilent à ce qui peut nous détruire. Les artistes se doivent de trouver leur propre voie pour rester authentiques.
Un poil à gratter musicale, excitant et rafraîchissant dirait-on, oui mais à base d’absinthe. Ce denier ingrédient est là pour le vertige, histoire de prendre de la hauteur. L’ivresse est un ressenti qui vous saisit dès le premier titre. Qui aurait cru que les Années 20 aurait été aussi similaire avec nos années actuelles. Latitude positivement lascives et rock, dans nos temps nombrilistes, qui noient aussi l’humain si on ne garde pas un œil ouvert.
Il s’agit bien d’un acte de foi en la liberté, qui émane des titres de Frères Tyran. Le ton direz-vous… Eh bien il est à la hauteur du défis qui face à nous. Le but, éviter les entre-soi pour surmonter les connivences supposées ou réelles. Etre mobilisé n’est-il pas juste le fait de rester vigilent à ce qui peut nous détruire. Les artistes se doivent de trouver leur propre voie pour rester authentiques. Alors là, avec cet album, nos compères les Frères Tyran y sont. Il ne nous manque plus que le partage avec la scène comme médiatrice d’émotions vraies.
Qui nous a mis dans ces bocaux ?
Leur rock psyché n’y est pas étranger. Les boucles montées comme des rosettes de lacets, vous embarque les neurones. Les paradoxes sont multiples et s’emmêlent ; ils sont notre quotidien. Nous pouvons crouler sous les produits de toutes sortes et pourtant nous avons de plus en plus les deux pieds dans le marché noir.
Serait-ce que nous nous sommes allié à la facilité de consommer jusqu’au gavage ?
Tout cela est le carburant des Frères Tyran, les travers de l’humain et ses humeurs qui influent sur les événements.
Resource: Chronique par Guillaume Dubost et Stéphane Pérault, Lust 4live webzine Mai 2020
Cevdet Alanbay & Gamze Koba (Photo by Serdar Gozen) 2024
Köklerini punktan alan grubun müzikal yolculuğunu başlatan ilk single “Rotten Mind” modern bir yaklaşımla metal ve punk tarzlarını birleştiren hareketli bir çalışma, vokalin punk ruhu ve gitarların tekniği müthiş bir uyum içerisinde. Sözlerinde isyan barındıran Bolo Bolo aynı zamanda çok güçlü bir sounda sahip.
Bolo Bolo, 2022 yılında İstanbul Beyoğlunda Gamze Koba tarafından kurulan deneysel bir solo projedir. 2023 yılında gruba Cevdet Alanbay’ın katılması ile grup progressive punk tarzında 10 adet şarkı kaydetmiş ve bunları yayınlamak için Ufuk Beydemir’in kurduğu bağımsız plak şirketi UBR Company ile anlaşmıştır. Liriklerinde protest öğeler taşıyan şarkıların tüm söz ve güfteleri Gamze Kobay’a, müzikler ve tüm enstürümanların canlı kayıtları, mix masteringleri Cevdet Alanbay’a aittir. Gruba canlı performanslarında bas gitarda Çınar Büyükçınar, davulda Kerem Toptaş eşlik etmektedir.
Bolo Bolo – Rotten Mind OUT NOW !
The band’s first single “Rotten Mind”, which takes its roots from punk and starts the band’s musical journey, is a song that combines metal and punk styles with a modern approach, the punk spirit of the vocals and the technique of the guitars are in perfect harmony. Bolo Bolo has rebellion in its lyrics and also has a very powerful sound.
Bolo Bolo is an experimental solo project founded by Gamze Koba in Beyoglu, Istanbul in 2022. In 2023, Cevdet Alanbay joined the band and the band recorded 10 songs in progressive punk style and signed with UBR Company, the independent record label founded by Ufuk Beydemir, to release them. All lyrics of the songs, which have protest elements in their music, belong to Gamze Kobay, while the live recordings and mix mastering of the music and all instruments belong to Cevdet Alanbay. The band is accompanied by Çınar Büyükçınar on bass guitar and Kerem Toptaş on drums in their live performances.
Gamze Koba ve Cevdet Alanbay’dan bir Özlem Tekin yorumu, 2023
Gamze Koba and Cevdet Alanbay are here again with a new cover video. They recorded their favorite Turkish female rockstar Özlem Tekin’s very underrated song “Yol”. The duo shot the video themselves and did all the editing for the first time.
Bolo Bolo feat. Cevdet Alanbay (Acoustic Cover) Hole ‘Malibu’ 2023
Cevdet Alanbay comes to take us to the 90s. with a legendary grunge acoustic w/ Gamze Koba.
Adolf Hibou: Gaël Magnieux, Nils Bertho & Bruno Ducret. Photo by Arbre Payday (2021)
Vous aussi, vous vous complaisez dans vos préjugés ? Vous fuyez comme le Covid les groupes français aux noms à coucher dehors, les pochettes de disques camar-guaises et l’humour franchouillard se propageant dangereusement dans des titres de chansons tels que « Passion Saucisse » ou encore « Indochine, j’ai demandé halal » ?
Ne prenez pas encore vos jambes à votre cou et laissez donc sa chance à ce trio d’hurluberlus surexcités. Non, nous n’avons pas affaire ici à un groupe de rock alternatif. Le plus important, avec Adolf Hibou, c’est d’aller outre les blagues consternantes, d’ignorer les interludes débilisants et d’ouvrir les oreilles en grand. Une fois dépassé le triste constat semblant nous indiquer que « cette musique, c’est avant tout un gros délire entre potes, tu vois ?», force est de constater que non seulement ces mecs ont un sacré niveau technique – le guitariste, en particulier -mais qu’en plus de ça, lorsqu’il s’agit de lâcher la purée, ils ne se font pas prier. Quand le tempo s’élève, Adolf Hibou déclenche la foudre comme un Lighting Bolt partousant avec Boredoms. Ça explose dans tous les sens, ça s’égare pour mieux retomber sur ses pattes. Le groove concassé de « Ladyboys Don’t Cry » (sans surprise, ils brillent également en anglais dès qu’il s’agit de trouver un titre en tout point désolant) impressionne, et si ce long morceau avait été amputé de sa longue et si pénible intro, on l’aurait volontiers comparé à un autre groupe français farfelu et malheureusement quelque peu oublié (même si toujours en activité), j’ai nommé Double Nelson. Dommage, également, que l’on comprenne aussi bien les paroles du refrain de « Va chier dans ta mère », car là encore, la ligne de basse – ou de guitare baryton, plus vraisemblablement – tord le cou, alors que l’envolée free qui suit est digne des plus folles embardées des Molécules, la lourdeur et une louchée de sludge en plus. « Roum Roum Ah » se montre tout aussi euphorique, jovial comme savait l’être le Singe Blanc, un autre adepte de l’onomatopée échevelée. Quand le tempo tombe, Adolf Hibou se montre également capable du meilleur, se vautrant dans un doom dissonant mais tout aussi hypnotique. Le chant, quant à lui, navigue entre le dégueulis le plus total et des vocalises se rapprochant parfois du bramement du grand cerf de Kourgane, comme sur ce « Clodo de Boston » répétitif et prenant. Une reprise finalement pas si inattendue de Sun City Girls, « Dreamland », permet de confirmer que ces types ont baigné dans l’expérimental, la no wave et la freeture des groupes de John Zorn, Marc Ribot et Fred Frith. Et puisqu’on parle de rêve, autant signaler que la fin de cet album volontairement bordélique se montre on ne peut plus cauchemardesque, la mélopée de « dream my dream, my dreamy dream, dream my love, rêve ton rêve, rêve mon amour » pouvant légitimement donner des envies de meurtre. Après un tri sélectif nécessaire, Princess Barely Légal se révèle donc un plutôt bon album pour fouetter le sang et vriller le ciboulot.
Ressource: New Noise Magazine, 2022
Official animated short film directed by Hector Oriol & Thomas Romarin. Drawn collectively by 28 artists at the studio “En Traits Libres” at Montpellier, France, for the band Adolf Hibou. 2024.
ADOLF HIBOU – “Roum Roum Ah” from the album “Princess Barely Legal” – 2021
FREE-DOOM-NOISE
ADOLF HIBOU
‘Princess Barely Legal’
Do you too wallow in your prejudices? Do you shun, like the Covid, French bands with outrageous names, comradely record sleeves and franchouillard humor spreading dangerously through song titles such as “Passion Saucisse” or “Indochine, j’ai demandé halal”?
So don’t get your hopes up just yet, and give this trio of over-excited weirdos a chance. No, this isn’t an alternative rock band. The most important thing with Adolf Hibou is to get past the appalling jokes, ignore the debilitating interludes and open your ears wide. Once you get past the sad fact that “this music is all about friends having a good time together”, you have to admit that not only do these guys have a hell of a technical level – the guitarist, in particular – but when it comes to unleashing the mashed potato, they don’t hold back. When the tempo rises, Adolf Hibou unleashes lightning like a Lighting Bolt mating with Boredoms. It explodes in all directions, goes astray only to land back on its feet. The crushed groove of “Ladyboys Don’t Cry” (unsurprisingly, they also shine in English when it comes to coming up with a title that’s in every way desolate) impresses, and if this long track had been stripped of its long, tiresome intro, we’d have gladly compared it to another wacky and unfortunately somewhat forgotten (though still active) French band, namely Double Nelson. It’s a pity, too, that the lyrics to the chorus of “Va chier dans ta mère” (Shit in your mother) are so well understood, because here again, the bass line – or baritone guitar, more likely – twists the neck, while the free flight that follows is worthy of the wildest flights of Molécules, with the added heaviness and a ladleful of sludge. “Roum Roum Ah” is just as euphoric, as jovial as White Monkey, another adept of disheveled onomatopoeia. When the tempo drops, Adolf Hibou also proves capable of the best, wallowing in dissonant but equally hypnotic doom. As for the vocals, they veer between the most utterly disgusting and vocalizations that sometimes come close to the bellowing of Kurgane’s great stag, as on the repetitive yet captivating “Clodo de Boston”. A not-so-unexpected Sun City Girls cover, “Dreamland”, confirms these guys’ roots in the experimental, no-wave and free-form bands of John Zorn, Marc Ribot and Fred Frith. And while we’re on the subject of dreams, we might as well point out that the end of this deliberately messy album could not be more nightmarish, with the melody of “dream my dream, my dreamy dream, dream my love, rêve ton rêve, rêve mon amour” legitimately giving rise to murderous desires. After a necessary selection process, Princess Barely Légal turns out to be a pretty good album for whipping up the blood and twisting the brain. (Resource: New Noise Magazine, 2022)
Yüksek enerjili sahne performanslarıyla dikkatlari üzerine çeken Hipersona’nın temelleri 2018 yılının Nisan ayında Ankara’da atıldı. Önceki gruplarının 2018 yılının başlarında dağılmasından sonra pes etmeden müziğe devam etmek isteyen ikiz kız kardeşler Bilgesu Ünalan (Vokal-Gitar) ve Bengisu Ünalan’ın (Bas gitar-Geri vokal) yeni grup kurma fikirleriyle Hipersona kuruldu. Sonrasında davula Burak Cengiz geçti. Birçok festivalde sahne alan Hipersona, albüm kayıtları için 2018 Temmuz ayında İstanbul’da stüdyoya girdi. Burak Yıldırım prodüktörlüğünde kayıtları tamamlanan şarkıların mix ve mastering’i ünlü prodüktör ve davulcu Alen Konakoğlu tarafından Los Angeles’da yapıldı.
Hipersona – Satellite
Grup, Arpej Yapım etiketi altında yayınladıkları Uyan Artık isimli EP’si ve Geri Dön isimli parçası ile iyi bir çıkış yakaladı. 2019’da Milyon Fest ve 21. Rock Station Fest dahil birçok festivalde ve konserde sahne alan grup, Ağustos ayında İstanbul’da tekrar stüdyoya girdi ve 3 yeni parça kaydetti.
GG Allin in one of his controversial performances.
“I hate you motherfuckers”
Introduction
This essay will focus on an American Punk that both enlighted the spirit of rebellion which anarchy would take place in but also brought up a huge cinism: GG Allin who manifested himself as a part of an “image” throughout his body and the “hate” he possessed. GG Allin in The USA was a popular phenomenon with a non-discoursive punk attitute which included speeches of both self-awareness that turned into a cinism and self-reputation by using his own bodily rejections such as urine and feces. “I hate you motherfuckers” began to officialize his state of self-manipulation and he became one -or maybe the first- of the most hated artists of all time. It’s been officially heard from his own speech that the day he met rock’n’roll was a salvation which prevented him from becoming a serial killer. It is no coincidence that he received fan letters from the infamous serial killers whose positions within societies were highly related to the industrialization and idolization of the “other” as the modern day anti-heroes. GG Allin borrowed the same cultural influence by sloganising “legalize murder”. Still a hate against the members of a society would never prepare an enough space for a legitimate homicide in any sense GG Allin believed in. Was it a flashpoint when he started to reflect the anger to himself and the hate to his body?
GG Allin concerts were full of “artistically” self-mutilation that both affected himself and the audience. The throwing of his own feces to the face of an audience simply resulted with a lawsuit which has been lowered as killing rock’n’roll if he ever was sentenced. He simply declared that all his actions were licit as long as he really believed in that. Thus, his lowering continued as avoiding an artist to be put in a political context since “socio” was eliminated by self-oriented, lucid behaviours. That’s why GG Allin should be evaluated as a “body image” through the visual methodology of Panofsky which consists of pre-iconography, iconography and iconology. This method will contextualise the Punk attitutes which turned into a body image rather than a political discoursive commune.
Dr. Burak Bayülgen
GG Allin & the Holy Men ‘You Give Love A Bad Name’ LP cover
WHEN JUNKIES LEGALIZE MURDER
Pre-Iconography
Hated: GG Allin and The Murder Junkies (Todd Phillips, 1993) presented GG Allin from the public eye rather than judging his actions. The film stripped GG Allin from the comments which metaphorically covered up his body. Almost the whole film presents GG Allin in performance, naked and uncovered from the accusers. Phillips depanded on fans, long time drinking buddies and audience. The film saved GG Allin’s phenomena for the pre-iconography as if no over-voice has been dubbed onto his career. This leads the way from an undubbed representment to a critically approached “body image” in which GG Allin shall be deduced. This is an approach to see GG Allin through a reasonable eye, yet this structure makes his actions apparent to lead the way to iconology. Phillips’ film focused on representations of his artistic reality while avoiding the apprehensions of his hate against everything that were reflected and cinically submerged. The reflection of GG Allin as a non-discoursive artist will stick to Phillips’ film but the first part of this reading necessitates avoiding an over-voice.
Phillips structured his film from “what he did in front of people” rather than “how he is accepted”. As pre-iconography, GG Allin was nothing more than he artistically thought. Since GG Allin behaved in the name of rock’n’roll, he became a cornerstone that rather changed himself instead of his time and space. He did not offer a salvation but his short life submitted a kind-of-joy for the eyes of his fans, apoliticized from all the rules and regulations.
“He kept threatening to kill himself, yet he poured every ounce of himself into living his life to the fullest and doing it his way. He was committed to his art. Over the course of his life, he made numerous recordings, overcoming lack of money, lack of consistent collaborators, lack of anything even close to record label support. He recorded output ranges from catchy as hell songs like “I Wanna Fuck Myself” to sinister dirges like “Snakeman’s Dance.” He was unrepentant about everything he did. He was on a mission. And it ended too soon”.(Johnson, Richard, 2015: 5)
According to some of his fans, GG Allin was totally an idol that was on a mission. Nevertheless, even Phillips’ film does not determine the motivation of a fanhood and agglomerate a GG Allin fan with a punk music fan. That’s why the iconography should focus on how GG Allin treated himself and his body in terms of “hate”, “rock’n’roll” and “mission”.
The most significant part of iconography is the assumption of a discourse as an out-of-discourse. In other words, how did GG Allin extinguish the signs of a discourse into none? It requires 2 steps in which his lyrical themes are included.
The first step is to look at his body as an “image” which has been seen through the eyes of fans. He’s been treated as a fictious character who could be adapted into anything that is “other” than a leading artist. The anthology called Blood For You managed to do that:
“It’s not meant to aggrandize the man of apologize for the shit he did in his life. It’s designed to put this character that had no place in the real world into worlds where he makes sense, and maybe to make sence out of who he was”. (2015: 5)
The Second Step is to attribute a fantasy that refers to any other arts. The image is so loaded with fantasy that his licit attitutes make sense as if they were fictious. GG Allin’s image is not only the rejection of urine and feces but a rejection and apoliticization of real-time/space. GG Allin’s image becomes fictious if the punk attitute has been drawn out of a political context which brings out toleration and endurance of his stage acts.
Iconography’s schematics lead their ways to look at GG Allin in terms of visual methodologies such as artist-artwork-audience relationship in which the audience take part in both iconography and iconology. As Greenberg stated for Pollock paintings, the kitsch was where there was no other explanation beyond the viewing or every viewers would feel the same. Out of his performative characteristics, GG Allin’s visual body was kitsch that could not complete itself to a camp behaviour. He broke his teeth with the microphone, hurt and cut himself with razors, injected microphones and bananas to his anus. He intended to rape his female audiences. He shit and smeared. All these actions were beyond an explanation and were self-mutilations of a body image that was viewed but not interpreted as if reading a newspaper by hearingly repeating the slangs “who cares?” or “suck it then”.
Iconography is also related with the context of his music. Since most of his recordings were poorly produced in audio quality, he performed music from punk to spoken word, from rock’n’roll to country. He gave stand-up shows and most of them resulted with brutality. He stood as if he convinced to say something to his audience, but he only burned newspapers which he read and attacked his female audience which resulted with being attacked by her boyfriend. The repetition of words “hate”, “fuck”, “scum”, “die”, “myself”, “ass”, “cock”, “suck”, “shit” in almost all of his songs still make no sense out of slang, self-mutilation and cinism. These songs refer to end his own self rather than ending a society or a commune. Whenever he had a message to convey, it consisted the words “fuck it, suck my cock, die” as a formulation. His disbelief in any authorities applied every outlaw casts to himself and only left a few of them to the audience. His defense against “killing rock’n’roll” prevented him from flapping and as much as he flapped, rock’n’roll survived beyond authorities.
“GG Allin is like a cartoon character – a horrible, obscene cartoon character with a rich history of fucked up behaviour and a messiah complex, not to mention all the cum, shit, self abuse and abuse of others. He’s got an army of obsessive fans that is balanced out by those who hate and deride him”. (2015: 4)
Iconology
Iconology strips GG Allin from the time/space of a fantasy in which the toleration of a devoted fan took place both artistically and visually. To give him an extra-diagetic life brought him an utopian safety to ensure his extreme actions. That was the moment when punk attitutes made sense in GG Allin’s context. His lyrics made sense unless they were not applied to a fantasy. Then, he became a flashpoint of where and when everything had possibilities like “legalizing murder”. His fans stated that GG was their God, yet, it was still the fantasy which was applied to their self, rather than a consciously focus on politics. Hated did a great work which apoliticized GG Allin from his fans’ discourse. The film did not bring out a determinist basis for becoming a fan who wanted to be apoliticised from the discourses they have been embarked. That was how the audience perceived GG Allin as if as much as they see GG Allin and apoliticize them from a discourse, they see themselves away from the politics of the environment that sorround them and dominantly embarked on them by governments, states and nations.
“As GG Allin stated in the mass media’s populer phenomenia on serial killers, he is a cartoon character to whom mass audiences follow, like and enjoy. He preached violence, but was almost always polite and respectful offstage. In some interviews he was soft spoken and thoughtful, while in others he was clearly putting on a show. He happily invited as many punches as he threw”. (2015: 4)
Hated: GG Allin and The Murder Junkies (1993) documentary
Conclusion
This essay has evaluated GG Allin as a non-discoursive artist despite his actions meant much for his fans. In order to determine a “non-discoursive” statement, GG Allin has been taken as a “body image” that required perspectives of pre-iconograpy, iconography and iconology. Pre-iconography followed Hated: GG Allin and The Murder Junkies’ structure to present him as the object of an eye without an over-voice. Iconography part took his actions and his lyrical themes to a level of fantasy which staged him to a fantastical view rather than politically acquired. The artist-artwork-audience framework has been given in terms of artist-message-receiver but the body image of GG Allin has only been what it was seen without an interpretation. Finally, iconology stripped GG Allin from all the real time/space to create him in a world of cartoon in which the toleration for his actions took place.
RESOURCES:
Bal, Mieke (1996) “Reading Art?” In Generations and Geographies in the Visual Arts: Feminist Readings, G. Pollock (ed). London: Routledge, pp. 29-52.
Barthes, Roland (1977) “The Rhetoric of the Image.” in Image-Music-Text, S. Heath (trans.) Glasgow: William and Collins and Sons, pp. 32-51.
Blood For You; A Literary Tribute to GG Allin (2015) Ed. Johnson, MP, Sam Richard, Weirdpunk Books.
Foucault, Michel (1978) “The Incitement to Discourse.” In The History of Sexuailty, Vol. 1. New York: Pantheon Books, pp. 17-35.
Rose, Gillian (2001) “Discourse Analysis I-II.” In Visual Methodologies. London: Sage, pp. 135-186.
Tuğçe Türksoy, King of Ink Tattoo Studio, İstanbul (2016)
“Müşteriler bizim daha hijyenik olduğumuzu, elimizin daha hafif olduğunu, daha hassas çalıştığımızı görüyorlar ve dolayısıyla daha rahat davranıyorlar. Bu işe ilk başladığımda ülkemizde kadın dövmeci pek yoktu, sanıyorum ben de sektördeki ilk kadın dövmecilerden biriyim. Geçtiğimiz senelerde kadın dövmecilerin sayısı gittikçe arttı ve bu durum bizleri gerçekten sevindiriyor.”
Love Hurts
King of Ink dövme stüdyosunun sahibi Tuğçe Türksoy, 1989 Ankara doğumlu; Hacettepe Üniversitesi Güzel Sanatlar Fakültesi mezunu. Dövmeye olan tutkusu ve arkadaşlarının da ısrarına dayanamayarak 2007 yılında dövme makinesini eline alıyor ve 2010 senesinden bu yana profesyonel olarak bu işle uğraşıyor. Tuğçe, bir kadın olarak dövme sektöründe çalışmanın zorluklarından ziyade faydası olduğunu dile getiriyor.
Tuğçe Türksoy, King of Ink Tattoo Studio – İstanbul (2015)
Dövme Stilleri
Geleneksel Amerikan dövmeleri olan oldschooldenizci dövmelerinde çapalar, kırlangıçlar, gemiler, boks yapan erkekler, güzel çingene kızları gibi klasik figürler kullanılıyor ve kalın çizgilerle işleniyor (ince tercih edenler de olabilir). Bu dövmeler denizcilerin hayatlarını anlatıyorlar: Örneğin ‘kırlangıç’ figürü, geminin karaya yaklaştığı günü, kırlangıçların görünmesi ve eve dönüşü, ‘çapa’ ise sadakati sembolize ediyor. Bunun dışında neo-traditional dediğimiz bir tarz var. Bunun için oldschool‘un yeni versiyonu diyebiliriz fakat daha karmaşık ve karanlık formlar barındırıyor. Ayrıca ön planda kalın çizgilerle figürün, ardında sulu boya lekelerin uygulandığı Sulu Boya dövmeleri de bu sıralar çok moda.
Trash Polka denilen tarzda ise figürlerin arkasına daha çok fırça darbesi uygulanıyor. Üstünde daktilo yazıları veya karanlık figürler tercih ediliyor. Çoğunlukla Kırmızı-Siyah veya Mavi-Siyah gibi çift renkler tercih ediliyor. Yine 90’ların modası Tribal dövmeler‘imiz var: Sert ve siyah dövmeler bunlar; özel bir anlam taşımayan estetik modeller. Bunun dışında noktalama dot-work ve çizgileme ‘linework’ dediğimiz yeni nesil dövme tarzları da mevcut. Bu tarz dövmelerde daha çok doğa manzaraları yapılıyor; geometrik bir şeklin içine dağlar, ormanlar, nehirler gibi çizimler yapılıyor. Bunların dışında klasik dövmeler var: Çok tercih edilen Atatürk imzası gibi. Yazılar, sonsuzluk işareti, kanatlar, kelebekler, melekler ve periler insanların en çok tercih ettiği figürler arasında ve bunlar hiç bir zaman eskimeyecek gibi; ama birer klişe olduklarını da unutmamalıyız.
“Ülkemizde dövme sektörü gittikçe gelişiyor, genişliyor; son yıllarda çok yetenekli dövmeciler gün yüzüne çıkıyor, sektörün önünü açıyorlar, insanlar dövme sanatına daha bilinçli yaklaşmaya başladılar. Her yıl çeşitlenenen bu organizasyonlar sayesinde daha da güzel şeyler olacağına inannıyorum.”
Ayça Ay Anlatıyor:
İlk gençliğimde dövmelerim dikkat çektiği zaman insanların bakışlarından rahatsız olurdum, sonra kendim gibi doğal davranmaya başladım ve hiç dikkat çekmediğimi farkettim. Hepimiz aynıyız, ben de bahçe suluyorum, yemek yapıyorum, ağlıyorum vs… 2012 yılında amatör olarak dövmeciliğe adım attım; dövmeciliğin yaşam tarzımdan ödün vermeden kendim olabileceğim bir meslek olduğunu farkedince zamanla ciddi anlamda çalışmaya koyuldum. Güzel sanatlar lisesi mezunuyum, üniversitede iç mimarlık okudum ve resim bölümünde öğrenciliğe devam ediyorum.
Ayça Ay ‘Love or Hate’ 2020
Dövmeciler olarak farklı dertlerimiz var ve bunları çözmeye, yansıtmaya, anlatmaya çalışıyoruz.
İnanılmaz detayları olan bir iş, ve yaptığın işi iyi yapmak istiyorsan her şeye hakim olman gerekiyor. Ben usta-çırak ilişkisinden yanayım. Eli biraz boyayla pislenmiş, kağıtlardan kesikler yemiş ya da kafası farklı çalışan yaratıcı insanların bir çok şeyi becereceğine inanıyorum.
Temiz ve steril olmak öncelikli prensibimdir, bunun dışında insanlarla olan iletişim var. Bir çok insanla yakınlık kuruyoruz, özel bir iletişim halindeyiz ve bu çoğu zaman ciddi bir yakınlık oluyor. Eminim her dövmeci, kendisi için farklı prensipler geliştirmiştir. Benim prensibim iletişim kuramayacağım, anlaşamayacağım bir kimseyle asla çalışmamak. Dövmelerimde renk kullanmaktan ve stil olarak gerçekçi, hiperrealist üsluptan uzağım; Bunun yerine kendinden emin, sade çizgiler, savaşçı, büyücü ve şifacı özelliklerimizi gösteren tribal modelleri tercih ediyorum. Herkese hitap eden bir tarzım olmadığının da farkındayım ve dolayısıyla seçkin bir azınlığa hitap ediyorum.
Ayça Ay ‘Devil’, ‘Kara Sevda’
Ülkemizde dövme sektörü gittikçe gelişiyor, genişliyor; son yıllarda çok yetenekli dövmeciler gün yüzüne çıkıyor, sektörün önünü açıyorlar, insanlar dövme sanatına daha bilinçli yaklaşmaya başladılar. Her yıl çeşitlenenen bu organizasyonlar sayesinde daha da güzel şeyler olacağına inannıyorum.
LÖPÇÜK 