The Facts - Alternative Tentacles

The Facts
The original version of Not So Quiet on the
Western Front appeared in 1982 released
by Maximum Rocknroll and Alternative
Tentacles. This was the first incarnation of
what was to become Maximum Rocknroll
fanzine, and also part of the beginning of the
prolific label that Alternative Tentacles has
come to be. This release featured original
artwork by MRR founder, Tim Yohannan,
Winston Smith, Thought Crimes and Re/
Search—another institution in punk and
counter culture. Tim Yohannan, Jeff Bale,
Ruth Schwartz and Jello Biafra compiled
the tracks for this double LP comp, which
was the first to feature Northern California
and Nevada punk. The original liner notes
included writings by Jeff Bale about the
state of punk in 1982.
In 1999, Alternative Tentacles and
the now-defunct Sonic Reducer label rereleased Not So Quiet… on CD and vinyl.
This version not only included the original
Jeff Bale writings, who was by then a former
MRR compatriot, but also new Jeff Bale
writings about the current state of punk in
1999.
What you now hold in your hand is the
most current incarnation of Not So Quiet
on the Western Front, brought to you by
Alternative Tentacles in cooperation with
MRR. Both the original writing from 1982
and the reissue writing from 1999 are
included in this release, giving you an
invaluable window into the state of punk at
a time you may not have been present for,
or a time you may reflect upon through your
own lens. The value of these writings is not
so much found in their content, but in their
ability to allow us to trace histories, whose
roots run throughout our current scene
today.
In its original form, Not So Quiet… was
focused on building punk as a worldwide
DIY community, and even though the comp
featured locals only, I believe its function was
to inspire other punks to highlight their own
scene—to be proud of what they created
and to understand that, as punks, we are
responsible for making shit happen, that we
are all connected no matter what far corner
of the earth we occupy. When looking at the
original record, the amount of people who
had a hand in its release and their own thing
going is impressive to this day. Alternative
Tentacles had already released several
records and Maximum Rocknroll radio had
been going strong for nearly five years. Jeff
Bale’s writing in the liner notes calls punks
to arms and, while very much focused on
that time’s local scene as opposed to a
world wide one, much of the optimism and
testament to the transformative nature
of punk holds true. Along with the writing,
the booklet, the artwork and the tracks
themselves, all of which were clearly put
together meticulously, the complete work
that became Not So Quiet… is proof of
a passion for punk and respect for the
subculture we all feel we were called to.
And…it worked! Comps just like this one
began to appear and local scenes became
global scenes, in which punks could all hear
what punk sounded like somewhere else.
In 1999 the rerelease looked very much
like the original, except for a new writing
by Jeff Bale reflecting on the incarnation
of punk in 1999 and how the then-current
state of punk came to be. The world of the
’80s became smaller in the ’90s and punk
changed, right along with this shrinking
place. Forced to recognize one another—
when before the world could still be
isolated within culture, lifestyle, ethnicity
and tradition—punk responded much like it
had before, with critique. With the advent
of identity politics and self-identification,
punk seemed to become fragmented with
micro-scenes that had a polarizing effect
on those who were still navigating their
way though self-identity, but also for those
who had never had to think of self-identity
in such intersectional ways. In the wake of
such times, punks started to recognize that
punk never had a mold, there was never a
monolithic doctrine and that there were no
rules; and while we could still all be punks,
we could still all be individuals.
It is within this current context that I am
writing to all of you punks who have bought
this record, and that hopefully when this
record is reissued again, someone else will
be able to reflect upon the state of punk in
the not so distant future. The way I see it is
that formerly perceived “fads” in punk were
actually signs of what was to come and the
level of cooperation between people making
their own decisions on how to make punk
happen, is stronger than ever. What was
written in 1999 was somewhat prophetic,
in that what was predicted has “come to
pass.” Straight edge is actually enduring,
Veganism and the politics of veganism are
more relevant than ever, religion rears its
head and is a constant point of debate in
punk; that punks who have existed since
punk’s inception are actually more visible
and active than ever, that they have a voice
and, worst of all, that humorless feminists
run MRR. There are indeed different sects
existing within our scene, yet there is a
general understanding and appreciation
that our roots, for all of us, are in punk. To
deny that the ’90s were awash with different
incarnations of politization that had some
polarizing effects would be silly. But in the
wake of neat categories, manifestos and
new languages within punk, we actually
now work together, contribute to the scene
and still make punk happen. You might not
relate to straight edge, Riot grrrl or other
incarnations of punk in light of identity
politics, but I am willing to bet that all of us
can agree on the fact, if nothing else, that
we love punk.
The greatest gift early punks gave us
was a general distrust for institutions set in
place by those who had no say in the matter.
Punk was always political and infused with
the idea that we are about action; whether it
takes form in writing, playing in bands, art,
etc… As punks we know that all media are
at our disposal. What current punks have
done with that knowledge is transformative
and instead of just focusing on the Norm
world, we can focus on the subculture
we have built for ourselves. Individual
ideologies are often respected and a
common goal is possible. We do whatever
the fuck we want—without being threatened
by what we are not—and gain strength from
what we are and our growing numbers. If
that seems argumentative, well… it is! We
are punks and you old punks started it! We
are the result of the monster that you had a
hand in creating.
There are still punks out there who are
petrified by the fact that punk looks—and
looks upon itself—differently than it did
before, but does it really? Is recognizing the
presence of these people who self-identify
as punk, and admittedly have different
viewpoints, so fragmenting? What I see is
that this is exactly why punk endures. As
soon as you learn how to read the map,
the landscape and topography changes
and punks are forced to change, become
stronger in their opinions and actions, or
else they die away. Every scene has a
contingent of older punks, disillusioned by
the scene and by punk and their suburban
expectations of the transformative nature
of punk. Yet the reason punk endures is its
diversity, its mutability …its instant reaction
and its slow burn.
The international focus of fanzines like
MRR and labels like AT are tantamount
to the survival of punk, as is their ability
to change. The ability of the current punk
scene to reflect upon the availability of punk
worldwide—and how to relate to punks of
different shades and cultures, making their
own choices and supporting their scenes—
is not something I think punks of the past
may have counted on. Rather than perceive
sardonic irony and serious artistry. We still
don’t know how to play our instruments
while still being masters of them. We can
still have a good time, while recognizing
that the enduring political presence in punk
is not a vestige of the past.
Even if we still struggle with the
dichotomous relationship of a scene
entrenched in the past as much as it thrives
in the present, the reality that punk sounds
as different as it sounds the same, that
punk looks as different as it looks the same
and that punk means something different
as much as it means the same, we are still
fucking shit up. So on behalf of MRR past,
present and future, let me quote from the
back cover of the original release of the
record you are now holding. “Dedicated to
all the punks who are trying, to the ongoing
supporters of Maximum Rocknroll, and to
all the fucked-over people of the world who
care enough to change things.”
—Mariam Bastani, Senior Coordinator
Maximum Rocknroll, 2012
these movements as personal critiques of
our own choices, we recognize that the
threat of punk is multiplied by these different
incarnations. Punks from 1977, 1982, 1999
had and still have the foresight that punk
would keep going. It would still be vibrant
and we would still come together, despite
our differences, similarities, tastes, dislikes
and divergent opinions. That we would still
be here; as we indeed are.
The greatest results of Not So Quiet…
being rereleased is that punks all over
the world can now own this double LP;
that these songs and the booklet can be
in the hands of punks everywhere and, in
this sense, the vision that Tim Yo had in
creating Maximum Rocknroll, of worldwide
punk
accessibility,
community
and
independence, has come to fruition with
something that was created so long ago,
yet still manages to be relevant today. The
other great result is that you can see that,
in some ways, the best things about punk
have endured; punks still want to be weird
and loud. Punks still vacillate between
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