Revenge of the Mekons presents a portrait of a band whose success transcends fame and fortune
May 1, 2015
I had a bit of a meta experience at the screening of Revenge of the Mekons the other night. Early in the film, the band jokes about the lack of attendance at their shows, and someone explains that you know you are at a Mekons show because it’s just you and some friends. At Wednesday night’s O Cinema Miami screening of this delicious documentary, there were only three other people besides my wife and I, and as it turns out, two of them were longtime friends I know from the local music scene. Afterward we all learned that we heard about this screening from the same mutual friend’s Facebook posting about the screening, two days earlier. One of my friends, a fellow who basically defined the Miami noise-punk scene who goes by the name Rat Bastard, said, “Even if you gave a month’s notice about this screening, I bet you the same fuckin’ people would have showed because nobody gives a fuck about the Mekons.”
Well, their loss. We sure enjoyed the movie. Revenge of the Mekons is much more than a band profile. It’s the history of the UK punk rock scene told from an intimate perspective. It wraps social milieu, the art scene, the local music scene of Leeds, England and the lameness of the music industry around these unforgettable creative personalities. Up until seeing this film, this writer knew of the Mekons on the periphery, in the shadows of much more famous and accomplished bands. But Joe Angio’s film revealed a mythic quality of this band, a sort of well-kept secret of the U.K. punk scene of the late ’70s, and I feel enriched for it.
Unlike many of their counterparts in that scene, the Mekons are still performing together and even still record new music. Despite one four-year break, they have consistently released new albums over the years, some of them on major labels. The film reveals there have never been any laurels to rest on, as notoriety has always eluded the group, despite respect from critics of both the art and music world. Still, there is humility to spare among the band members, many of whom have “real jobs” to pay the bills. Still, you feel like these people have a sense of magic around them. There’s a genuine quality to why they create music, despite it often having a ramshackle, amateurish quality. Yet there is a traceable evolution over the years in ways no one could ever imagine punk rock to evolve (there was a period where Hank Williams had a huge influence).
Though it feels like the film jumps around rather haphazardly, there’s a well-balanced offering of vintage footage, talking head interviews featuring members of the group and fans like music critic Greil Marcus and musician Will Oldham. There are also brief musical performances (no entire songs) meant to illuminate the band’s lyrics and the band members’ unbridled energy and humor (they still drink on stage, apparently). This approach also perfectly represents the Mekons’
path to “success.” I use the word in quotes because even the band laugh about the idea of success. As singer Sally Timms notes during a group radio interview, they only measure success with their longevity. Names like Gang of Four and even U2 are dropped with a sort of bitter-sweet irony. However, even Hugo Burnham of Gang of Four appears to sing the group’s praises (Bono probably forgot about them, even though U2 apparently played warm-up act for a show the Mekons once headlined, a memory Mekons’ singer/guitarist/drummer Jon Langford recalls with great judgement of Bono’s stage presence and a bit of sly irony).
This all culminates in a wonderful portrait of what genuine, unbridled creative process is like for some incredible musicians, which also includes the amazing talents of Lu Edmonds (Live review: PiL at Grand Central, Miami, Oct. 5, 2012), credited as the band’s only true musician by the other members of the group. You sense that these artists are content with their place in the annals of rock ‘n’ roll history because they are still making rock ‘n’ roll history. Few bands have been able to reinvent themselves and get away with it over such a long career. There is a sense that there is no prior album to measure success against. But even sweeter, there’s an infectious, purist spirit that these are people who have all found their bliss. Revenge of the Mekons is a marvelous portrait of humanity benefiting from the spirit of creativity.
Revenge of the Mekons runs 95 minutes and is not rated (I can’t say there’s anything offense about it because this is as genuine a portrait of musicians you will ever). It played for one night only in Miami, but others across the U.S. will have a chance to see it, as it tours the nation. Screening dates can be found here (that’s a hot link, just scroll down a bit). You can also request this film by visiting this link. The film’s PR rep invited me to the one-night only screening for the purpose of this review.
Music is an essential component of filmmaking. It adds a layer of expression beyond words. A soundtrack (music or sounds), can envelop an audience in a particular mood. Indeed, creating an atmosphere is truly a work of art and certainly not a given in every film. Crafting a soundtrack is challenging, as it must not distract while also melding into the storytelling. Sometimes songs and sounds are too overt, calling more attention to itself than the action on the screen. Other times, the sounds are predictable and generic, making the audience all too aware of what is to come— enter the high-pitched soprano and some piano chords in D-minor to elicit tears, or the dissonant noises warning the heroine not to go there right before her throat gets slashed. Yes, all cinephiles know these commonplace sounds all too well. I can think of even more examples of sounds gone wrong or feeling too generic, which is why a good soundtrack is worth celebrating. This list represents a small taste of what an important character sounds can play in every film, and how they elevate our experience.
1. Lost in Translation
Sofia Coppola has a gifted ear when it comes to soundtracks. In Lost in Translation, we learn about the inner workings of confused souls in troubled relationships and about Japan! Rare new, ethereal solo music by dream pop pioneer Kevin Shields of My Bloody Valentine evokes a brilliant sense of lonely ennui of Scarlett Johansson‘s character. The sounds evoke the longing you feel being in a different country, and the contradictory emotions you find when being at a crossroads— from stillness to rapid-fire boom bips of the pachinko parlor. This is also a rare occasion to find the amazing Bill Murray singing Roxy Music at a Karaoke bar. How could it get any better?
Here’s another one of my favorite tracks on the soundtrack by Air, a band that worked closely with Coppola to score her debut feature, the Virgin Suicides:
Click here to own the soundtrack.
2. Submarine
Richard Ayoade’s 2010 film is a fantastic coming-of-age story, funny and complicated, complete with original music by Alex Turner of Arctic Monkey’s fame. The soft and melodious sound of Turner’s songs compliment the plot wherein Oliver Tate (Craig Roberts) faces a mission to save his parents’ marriage and lose his virginity— an almost epic journey for a 15-year-old. Turner’s lyrics complement this saga in a soft way. For instance, in “Hiding Tonight,” Turner’s husky voice whispers: “Tomorrow I’ll be faster/I’ll catch what I’ve been chasing after/And have time to play/But I’m quite alright hiding today.” Though the lyrics suggest that hopeful bright future we both fear and cannot wait for as we are young, the music evokes a nostalgic feeling. The atmospheric quality this soundtrack brings to Submarine translates so well into living life.
Listen here to “Hiding Tonight” from that soundtrack:
Click here to own Turner’s EP for the soundtrack.
3. Old Joy
Kelly Reichardt’s 2006 small indie film Old Joy has the ability to transport the viewer into that wild terrain of unspoiled nature and masculine feelings. Old Joy captures the friendship between Mark (Daniel London) and Kurt (Will Oldham, a noted indie musician himself) who take a trip in the forest of the Pacific Northwest. The film is heavy with sorrow, regret and unsaid things that have mounted between these two men. Much of the genius of this film comes from an atmospheric quality. There are turbulent waters under the bridge between these two friends. The soundtrack by Yo La Tengo has a nostalgic quality, an instrumental rendering that elevates the film into that feeling of “Old Joy.” The album, They Shoot, We Score compiles the music from Old Joy, as well as Junebug, Game 6 and Shortbus, so it’s a one-stop-shop for Yo La Tengo fans or independent film buffs.
Here’s my favorite track from that album, which if you’re feeling any stress, you can just listen to and let it melt away:
Click here to own the soundtrack.
4. Rushmore
Melding with the storytelling, this soundtrack provides somewhat of an insight into the mind of Max Fischer (Jason Schwartzman). For instance, the sprightly notes of “the Hardest Geometry Problem in the World” by Mark Mothersbaugh are reminiscent of Max’s scheming designs to open a million-dollar project to build an aquarium at Rushmore Academy to win a teacher’s heart. Mothersbaugh, of Devo fame, is in charge of most of the score with original instrumental music that truly adds to the action on screen. The rest of the songs give us a way into Max Fisher’s personality, the prep school reject who is also into writing theatrical plays, is also seriously partial to British pop, including the Who, the Kinks and even the Creation. The compilation plays like a fun mixtape that has some imaginative breaks at the hands of Mothersbaugh.
Here’s my favorite track from that album:
Click here to own the soundtrack.
5. The Squid and the Whale
Noah Baumbach’s 2005 family saga is full of drama, black humor and great music. Less rock and roll than the previous albums on this list, the Squid and the Whale soundtrack has a more folky vibe with songs from Bert Jansch, Kate and Anna McGarrigle and Loudon Wainwright III. The original music comes courtesy of Britta Phillips and Dean Wareham, best known for headlining the indie band Luna or as the duo Dean and Britta. Perhaps it is no coincidence that this couple of musicians can write music so well for the complicated relationship between the two recently divorced writers depicted on screen.
Here’s my favorite track from that album (R.I.P. Lou Reed):
Click here to own the soundtrack.
What are some of your favorite soundtracks? What is it about music and film that moves us beyond our lived experience? Leave a comment below!
Independent Ethos 