Throughout the 1980s and 90s, Karl Wallinger, whose roots were deeply entrenched in the verdant landscapes of Wales, rose to prominence as the charismatic leader of World Party and as an erstwhile collaborator with The Waterboys. Sadly, he has departed from this mortal coil at 66 years old, as confirmed by his publicist. No official cause of death has yet been given.

“Karl leaves behind a loving family including wife Suzie Zamit, son Louis Wallinger, daughter Nancy Zamit and two grandchildren. The family invites Karl’s friends and fans to share their thoughts on his Facebook page or Instagram.”

Born in Prestatyn, Wales, in October 1957, Wallinger’s formative years unfolded within the storied walls of Charterhouse, an esteemed English boarding school renowned for nurturing the talents of the original Genesis. Although their paths at Charterhouse never crossed, Wallinger would later collaborate with Peter Gabriel’s Big Blue Ball project.

Wallinger dipped his toes in the water with his first band, Pax, which later evolved into Quasimodo and included future members of The Alarm, Dave Sharp and Nigel Twist. However, it was his role as a keyboardist for The Waterboys where he truly found his first brush with success. Contributing to the albums ‘A Pagan Place‘ (1984) and ‘This Is the Sea’ (1985), Wallinger played a pivotal role in shaping the band’s sound. His creative influence extended to arranging the music for iconic tracks such as ‘The Whole Of The Moon‘ and earning a writing credit for ‘Don’t Bang the Drum.’

“Having Karl in the studio was like having a one-man orchestra around. There might have been a This Is the Sea without him, but it wouldn’t have been the same – or as good,” Mike Scott of the Waterboys once commented.

In 1986, Wallinger, following his parting from the Waterboys, sowed the seeds of World Party. The endeavor was a solitary pilgrimage at its inception, with Wallinger ensconcing himself within the confines of his abode to forge the group’s inaugural album, Private Revolution. The album emerged as an unexpected beacon of success, heralded by the anthem Ship of Fools.

The ensemble, buoyed by this triumph, embarked upon a journey of artistic creation and public performances, bequeathing to the world a total of four additional albums by the turn of the millennium. Their odyssey was punctuated with memorable harmonies such as Put The Message In the Box and, arguably his greatest masterpiece, Is It Like Today?

Wallinger, an avid Beatles fan, was also no stranger to side projects: he collaborated with Sinead O’Connor on her debut album The Lion and The Cobra, and  1990’s Goodbye Jumbo garnered widespread acclaim. He spent some time as a musical director for a stage production of The Rocky Horror Picture Show. Hollywood also came calling for a time, as Karl Wallinger became musical director for Reality Bites, and contributed to the soundtrack of Clueless with a cover of Mott The Hoople’s All The Young Dudes.

Wallinger’s arduous recovery from a 2001 aneurysm required tseveral years of rehabilitation in order for him to re-learn to speak and play instruments. World Party later embarked on extensive tours, yet during this period, new albums were notably absent from their repertoire. Nevertheless, in a 2022 interview, Wallinger sparked anticipation by promising fresh material on the horizon.

“It’s good to write songs about stuff that people think about, that I thought about,’ Wallinger once told The Big Takeover. “It’s just a resonance with other people that you get from thinking about things that we’re all thinking about. You put in music, and it becomes a recognizable emotion, and people lock onto that. It’s strange, but amazing. I’ve always thought it should be something to do with healing or finding things out about the world that have truth. It maybe sounds a little idealistic, but it’s what music is about. It’s kind of a pure thing, music. I’m not left or right wing; I don’t even think of in terms of that. I just want people to have what they need to get through living on the planet.”

Former bandmate Mike Scott left a tribute to Wallinger on social media, calling him “one of the finest musicians I’ve ever known.”

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Kenji Suzuki was born in Japan on 16 January 1950, and spent his teenage years as a street busker in Europe. By 1968, the avant-garde ensemble CAN had formed in Cologne by Holger Czukay, Irmin Schmidt, Michael Karoli, and Jaki Liebezeit. Suzuki’s path intersected with CAN in 1970, after a chance encounter in Munich led to an impromptu performance with the band. His improvisational skills secured him a place in the group. Suzuki’s initial foray into vocals was marked by the track Don’t Turn the Light On, Leave Me Alone from the album Soundtracks, but he also heavily contributed to their groundbreaking albums Tago Mago, Ege Bamyası, and Future Days.

Can’s fusion of psychedelic rock, avant-garde, and electronic elements heralded the birth of Krautrock. CAN was, for all intents and purposes, the Velvet Underground of the Iron Curtain. Their innovation stemmed from a nation grappling with the shadows of history and a deep-seated fear of its own cultural identity. Can transcended these traditional confines and challenged the status quo, cherry picking from a myriad of artists: Karlheinz Stockhausen; Frank Zappa…and particularly for Suzuki, The Kinks. His choice to deviate from conventional norms underscored Suzuki’s artistic trajectory: his ethos of seeking out the new and the unconventional not only defined Can’s legacy but also shaped Suzuki’s tastes.

CAN’s belief in the transformative power of music, imagination and culture redefined West German rock music and, along with Kraftwerk, would go on to inform punk, electronic music, hip-hop, and post-punk. Suzuki’s brilliantly unconventional vocals were characterized by a freeform method, where his lyrics transcended the confines of any single language. In 1973, Suzuki parted ways with Can, taking a hiatus for the next decade.

Suzuki resumed his musical career in 1983, leading the innovative Damo Suzuki’s Network. With this project, he embraced live, improvisational performances, collaborating with Sound Carriers, a term for the local musicians he played with at each tour stop. This approach underscored his commitment to spontaneity and collective music-making. From 1997 until his passing, Suzuki continued to tour and perform, either with his network or in standalone gigs.

Can’s innovative sound has left an indelible mark on a wide array of artists, including David Bowie, Talking Heads, Joy Division, Jesus & Mary Chain,  Radiohead, and PIL. His influence was acknowledged in The Fall’s 1985 album This Nation’s Saving Grace, which featured I Am Damo Suzuki. Mark E. Smith, The Fall’s frontman and an avowed admirer, further explored this influence in his techno endeavor with Mouse On Mars, known as Von Südenfed, which drew heavily on Can’s legacy.

Suzuki’s life took a personal turn in Cologne when he met Elke Morsbach in 1985, who would become his wife. In 2014, Suzuki faced a significant health challenge when he was diagnosed with colon cancer. This period of his life, marked by his struggle with the illness and his relationship with Morsbach, was captured in the documentary Energy, which delves into Suzuki’s resilience and the support system surrounding him during this difficult time.

“It is with great sadness that we have to announce the passing of our wonderful friend Damo Suzuki, yesterday, Friday 9 February 2024,” the remaining members of Can stated. “His boundless creative energy has touched so many over the whole world, not just with Can, but also with his all continent spanning Network Tour. Damo’s kind soul and cheeky smile will be forever missed….He will be joining Michael, Jaki and Holger for a fantastic jam!”

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Shane MacGowan, lead vocalist and songwriter of The Pogues, arrived on earth on Christmas Day in 1957 in Pembury, Kent. His upbringing, heavily influenced by the Irish immigrant experience coupled with a musical family background, significantly shaped his worldview and artistic expression.

As a youth, MacGowan’s early literary gifts earned him a prestigious scholarship, but by his second year he was expelled for possessing drugs in his second year. After briefly considering  joining the priesthood, punk found him. “I was happy during punk. Incredibly happy,” MacGowan said. “You call it chaos. I don’t regard it as chaos. I regard it as natural living.”

In the year 1977, Shane MacGowan stepped into the limelight as “Shane O’Hooligan,” the lead vocalist and principal songwriter for The Nipple Erectors, an ensemble later rechristened as The Nips. This venture, formed in tandem with his then-companion, Shanne Bradley, marked MacGowan’s initial foray into the musical arena. The Nips disbanded three years later, and MacGowan soon embarked on an endeavor that would cement his status in the punk pantheon of music, The Pogues.

Initially bearing the moniker Pogue Mahone—a whimsical nod to the Irish expression “póg mo thóin” (kiss my arse) —the band was a collective of diverse talents, comprising MacGowan himself on vocals, Spider Stacy adding his vocals and tin whistle, Jem Finer on the banjo, James Fearnley masterfully handling the accordion, Andrew Ranken on drums, and Cait O’Riordan commanding the bass.

While MacGowan’s punk contemporaries were stripping their music to the roots of 1950s rhythm and blues, MacGowan’s sights were set a hundred years prior, blending Irish folk with explosive punk ethos, redefining the boundaries of genre entirely. The Pogues’ songs, many of which were written by MacGowan, are celebrated for their lyrical depth, storytelling, and ability to capture the spirit of the Irish diaspora. His lyrics often draw from personal experiences and observations, painting vivid pictures of life, love, and hardship.

MacGowan’s formidable talent, however, suffered greatly: his turbulent lifestyle and battles with substance abuse evolved into both a part of his public persona and a source of concern for his fans and loved ones. Despite these struggles, Shane MacGowan offered us a window into a unique cultural perspective and the complexities of the human experience through themes of struggle, identity, and resilience.

Shane MacGowan, like the great Dylan Thomas before him, garnered two distinct, paradoxical reputations: on one hand, he was tragically afflicted with a sense of mammoth self-destruction, whose personal demons often overshadowed his public persona. On the other, he was revered as a masterful poet, who deftly painted the stark realities of the Irish diaspora. The message was universal, be they Irish-Americans guzzling Guinness in Scranton tap rooms, or the “London Irish” sleeping rough across the pond. MacGowan had the ability to vividly capture the nuances of generational trauma, substance abuse, and displacement.

MacGowan’s ambition was to disrupt the status quo of the music scene with a sound that was deeply rooted, imbued with genuine strength, emotion, and a raw, unfiltered sense of anger. His lyrical craft, deeply influenced by the realms of literature, mythology, and biblical narratives, aimed to bring a profound depth and authenticity to the genre. MacGowan often articulated his discontent with the conventional rock format, which he believed had reached its creative zenith, often with lackluster results.

“We just wanted to shove music that had roots, and is just generally stronger and has more real anger and emotion, down the throats of a completely pap-orientated pop audience,” he said.

Among his most illustrious contributions to music is the startling opening lines of Fairytale of New York. This song, an elegy to the dreams and despairs of alcoholics, transcended its seemingly bleak origins to become an unlikely Yuletide anthem.

As the late 1980s unfolded, the trajectory of Shane MacGowan’s career took a tumultuous turn. His struggles with addiction, coupled with a concerning decline in both mental and physical health, reached a critical point. This unfortunate confluence of personal challenges compelled the members of The Pogues to make a difficult decision: they were forced to part ways with Mr. MacGowan, their frontman and a pivotal figure in the band’s success.

However, this setback did not mark the end of MacGowan’s output. In the aftermath of his departure from The Pogues, he embarked on a new venture, founding Shane MacGowan & the Popes. Throughout the 1990s he carved out a new niche, recording and touring.

Shane MacGowan’s musical journey culminated with the 1997 album “The Crock of Gold” by Shane MacGowan & the Popes. However, his creative spirit continued to flourish. Since 2015, he had been collaborating with the Irish band Cronin on a project that remained unreleased, a blend of cover songs and original compositions.

One of his final works was the creation of The Eternal Buzz and the Crock of Gold, a lavish art book. This publication was celebrated by critic Waldemar Januszczak for its embodiment of MacGowan’s unique artistic energy, described as “demented, wild, fascinating, scabrous.”

After a series of serious health battles, broken bones, and confinement to a wheelchair, MacGowan passed this morning from lingering effects from the encephalitis he had suffered from the past year. Just last week he had been released from hospital.

Shane MacGowan’s personal life was as textured as his professional one. He married his devoted longtime partner Victoria Clarke in 2018. He is survived by his wife, sister Siobhan, and father Maurice.

MacGowan’s death was announced by Clarke this morning.

 

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His death was confirmed later on Sunday afternoon by friends of Walker, such as musician Martin Atkins, as well as from representatives of Killing Joke:

 

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Born on the 18th of December 1958 in Chester-le-Street, England, and raised in Milton Keynes, his childhood nickname came from his ‘Geordie’ accent. Walker later relocated to London to pursue studies in architecture, a chapter that serendipitously led to his pivotal role in the formation of Killing Joke in 1979. This new trajectory was set in motion when Walker responded to an advertisement placed by Jaz Coleman. Remarkably, prior to this, Walker had not played in a band, making his eventual mastery of the guitar and his significant contributions to the group all the more extraordinary. Walker and Coleman formed the foundation of Killing Joke, with their enduring collaboration being legendary for its consistency.

Although Geordie Walker shared a first-wave post-punk background with contemporaries Daniel Ash, Bernard Sumner, and Billy Duffy, his guitar chops and experimental ethos distinguished himself as a distinct entity, combining the intricate, reverberating, and scratchy textures of post-punk instrumentation with some of the most creative and memorable heavy riffs in rock history.

Geordie Walker played a rare golden arch-top Gibson ES-295 filtered through two separate amplifiers, producing a captivating sense of delay. His guitar playing, characterized by bold and assertive arpeggios, conveyed raw, visceral anger and profound beauty. At high volumes, his distorted tones created a wildly harmonious effect, evocative of both shamanic and psychedelic influences. He wove a deep, almost spiritual connection in his rhythm and energy.

Among Geordie Walker’s admirers was Jimmy Page, who extolled Walker’s guitar sound as “really strong.” Further accentuating this legacy was Kevin Shields of My Bloody Valentine, who lauded Walker’s guitar prowess. Shields characterized Walker’s technique as “this effortless playing producing a monstrous sound,” an eloquent tribute that encapsulates Walker’s unique ability to meld effortlessness with the powerful, resonant sound that became his trademark.

The late 80s and early 90s saw a decline in new wave and synthpop, prompting Killing Joke to adopt a louder style. Walker’s experimentation during this era was diverse. Geordie Walker’s guitar artistry was a defining feature on four notable albums: Killing Joke’s Extremities, Dirt, and Various Repressed Emotions (1990), Pandemonium (1994), Democracy (1996), and the industrial supergroup Murder, Inc.’s self-titled album (1992). This period marked a significant shift in Walker’s musical style, as he embraced hard rock and heavy metal influences, reintroducing a more heavy, overdriven sound. On Pandemonium, he experimented with crunchy, repetitive palm-muted power chord riffs, indicative of a departure from his new wave roots.

Walker’s musical repertoire extends beyond the realm of Killing Joke: he was also a pivotal figure in industrial music supergroups such as Murder, Inc. and The Damage Manual, contributing his unique guitar stylings and artistic vision to these groups. He also produced UK girl punk rock act Mary-Jane.

In 2021 Killing Joke released K÷93, a collection of three long-lost songs featuring Geordie Walker, Jaz Coleman and Joy Division/New Order’s Peter Hook.

Killing Joke’s last album, Pylon, was released in 2015.

An EP titled Lord of Chaos was released in 2022, featuring the original members of the band.

The band has made the following announcement via social media confirming Walker’s death:

“It is with extreme sadness we confirm that at 6:30 am on 26th November 2023 in Prague, Killing Joke’s legendary guitarist Kevin “Geordie” Walker passed away after suffering a stroke, he was surrounded by family. We are devastated. Rest In Peace brother.”

Follow Killing Joke:

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William’s final performance with The Furs was at the Pearl Concert Theatre in Las Vegas, marking the end of their autumn tour. He passed away two days following the band’s appearance at the Darker Waves Festival in Huntington Beach.

Williams’ passing marked the end of a remarkable career and a life well-lived. He leaves a brilliant legacy, with a history of also collaborating with renowned artists such as Billy Idol, the Power Station, Dirty Projectors, The Killers, and more.

Born in 1955 in Evanston, Illinois, Williams began his musical journey in the realm of free jazz, where he showcased his prodigious talents as a member of the avant-garde NRG Ensemble. Later, he found a new home with The Waitresses, where he became a staple of the Christmas season thanks to his iconic saxophone solo. He was also immortalized in the theme song for the TV show “Square Pegs.”

From 1983 -1989 and rejoining after 2005, Williams lent his musical prowess to the Psychedelic Furs. His inclusion introduced a fresh dimension to the Furs’ sonic palette: Williams’ saxophone artistry seamlessly melded into their sound, playing a pivotal role in the Furs’ critical acclaim and commercial triumph. Williams also held the distinction of being the longest-serving member, second only to vocalist Richard Butler and bassist Tim Butler.

Williams also founded the legendary acid jazz collective known as Liquid Soul, which fellow saxophonist Bill Clinton enlisted to perform during his second inauguration. Williams received a Grammy nomination for Best Contemporary Jazz Record in 2001.

John Zorn credited Mars Williams as “one of the true saxophone players–someone who takes pleasure in the sheer act of blowing the horn. This tremendous enthusiasm is an essential part of his sound, and it comes through each note every time he plays. Whatever the situation, Mars plays exciting music. In many ways he has succeeded in redefining what versatility means to the modern saxophone player.”

Aside from his illustrious career as a musician and composer, Mars Williams demonstrated unwavering dedication to the realm of woodwinds and jazz improvisation education, spanning over three decades. He assumed the role of Woodwind Instructor at Bard College, where he shared his profound knowledge for a two-year tenure. Moreover, Williams conducted master classes and clinics at a range of esteemed private and public institutions, leaving an indelible mark on aspiring talents. His pedagogical influence extended to institutions such as the University of Massachusetts, Amherst, the University of Chicago, Roosevelt University in Chicago, Illinois, and the June Collins Smith Museum of Fine Art in Auburn, Alabama.

The initial diagnosis of his illness came in December 2022, a distressing revelation that prompted the launch of a GoFundMe campaign aimed at supporting the musician with his mounting medical expenses. Despite the formidable health challenges he faced, Mars Williams displayed unwavering dedication by continuing to grace the stage alongside the Psychedelic Furs.

His death was announced in a letter from his family and friends:

Dear friends,

It’s with great sadness that we send this message to let the many people who loved and supported Mars Williams know that he passed away earlier today after his year-long struggle with cancer. He was surrounded by family and friends, both in person and around the world, who held him close, and loved him dearly.

Until the end, Mars’ inexhaustible humor and energy, and his love for music, pushed him forward. As it became clear in late summer that his treatment options were coming to an end, he chose to spend six weeks of the time he had left living as he had since he was a teenager – out on the road performing night after night. Those last performances with the Psychedelic Furs will live on with all of the other incredible contributions that Mars has made as a person, and as a musician, and that boundless energy will continue to inspire.

We’ll be working to plan a celebration of life fitting for someone who was a hero to so many. We’ll send out information about that when possible.

Much love,

-Mars family & friends

Raise a glass to the great Mars Williams tonight: a dedicated musician and consummate pro, who brought joy to countless ears.

A musical tribute titled Music for Mars: Liquid Soul Benefiting Mars Williams is slated for November 25th at Metro in Chicago. Special guests on the roster include members of the Psychedelic Furs, Dave Matthews Band and Guns N’Roses. Check the site for more information.

 

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Jamie Reid, painter not just of canvases but of revolutions. Reid’s journey began at John Ruskin Grammar School in Croydon, where the seeds of rebellion were sown. Alongside school chum Malcolm McLaren, he waged wars of words and art, staging a sit-in at Croydon Art School, a battle cry that resonated through the years.

Reid’s love of situationism wasn’t merely a fashion or a phase; it was the very marrow of his being. The soul of Jamie Reid’s work was nurtured in the wild gardens of the Sixties’ end, his artful heart beating with the rhythm of revolution, situationism, and the raw passion of the Paris riots.  These passions he shared with Malcolm McLaren were not mere whims; they were the building blocks of a manifesto, turned into visual epics.

A master of discord and disarray, Reid wielded scissors and glue with the precision of a surgeon, crafting letters cut from the very fabric of societal unrest. His work was not merely a picture; it was a ransom note to an entire generation. In the dark corners of Suburban Press, a radical firebrand that Reid piloted through turbulent waters, he birthed this ransom-note style. It was as if he tore away the mask of propriety, exposing the raw, unfiltered face of punk rock, especially in the UK.

The Sex Pistols were a tempestuous tapestry woven of Rotten’s snarl, McLaren and Westwood’s vision, and the piercing note of rebellion that cut through the air in 1977. They were cogs in a machine, or rather, strokes of a brush that painted a picture, changing not just music but culture itself. They were a song, they were a scream, they were an art movement, and Reid’s unique, collage-inspire art found its groove. His sleeves were no longer just pictures; they were alchemy, a crucible in which the revolutionary fervor of the Sixties was distilled into pop art that throbbed with life and power. Reid’s images were odes to an era, perfect in their rage and their beauty, as iconic and enduring as the music they accompanied. They stand now not just as relics of a time gone by, but as timeless classics, as vibrant and alive today as they were in that heady, tumultuous year when they first burst upon the world.

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In a statement, the singer’s family said: “It is with great sadness that we announce the passing of our beloved Sinéad. Her family and friends are devastated and have requested privacy at this very difficult time.”

In 1987, Sinéad O’Connor released her debut studio album “The Lion and the Cobra. This album gained popularity thanks to several notable singles. The first single, “Troy,” was well-received and particularly popular in the Netherlands and Belgium. The second single, “Mandinka,” was a mainstream pop hit and gained further traction for her career, especially in the UK and Ireland. The third single, “I Want Your (Hands on Me),” received less success than the previous two but still managed to grab attention. The album was recognized globally, marking a strong start to O’Connor’s career.

For her second studio album, I Do Not Want What I Haven’t Got, she sang a heart-wrenching rendition of the Prince-penned track “Nothing Compares 2 U.” This song resonated with millions of listeners worldwide and was recognized as the world’s number-one single in 1990 by the Billboard Music Awards. Earlier this year, she was bestowed with the first-ever Classic Irish Album accolade at the much-anticipated RTÉ Choice Music Awards.

In a personal spiritual journey that took place in 2018, Ms. O’Connor embraced the faith of Islam, adopting the name Shuhada Sadaqat.

In 2021 O’Connor stepped into the literary world as she unveiled a deeply introspective memoir titled “Rememberings.” Her extraordinary life further became the subject of a cinematic exploration directed by the accomplished Kathryn Ferguson just a year ago.

The chronicles of O’Connor’s life, as well as the albums that served as the passionate exorcisms of her troubled childhood, are punctuated by bold personal statements – flung, it seemed, in frustrated yet inexplicable desperation. A particularly infamous incident from 1992 remains etched in public memory, where, on Saturday Night Live, she controversially tore up a photograph of Pope John Paul II. A defiant act of rebellion, and one that went ridiculed for decades until the harsh truth behind her act was unveiled. Such was the legacy of an often misunderstood artist who fought her inner turmoil.

In 1991, O’Connor revealed her beliefs by stating that she believed child abuse to be the fundamental cause of all global issues. The haunting melody of her 1994 song, “Fire on Babylon,” saw O’Connor pouring her heart out about the devastating impacts of abuse – particularly remembering that inflicted upon her by her mother. This subject became a personal mission she carried throughout her life, advocating tirelessly for the rights and protection of abused children.

Although O’Connor’s life was full of strife and pain, her greatest gift to the planet was her extraordinary voice delivering truths many were unprepared to hear at the time. Today, we celebrate the artistic genius and bravery of a woman who almost singlehandedly took us out of the decadent fantasy world of the 80s and delivered us to the altar of plainspoken authenticity. Her unapologetic individuality offered a fresh blueprint for younger female artists, opening new avenues for self-expression and reinvention.

While Sinéad O’Connor’s singing was rich with passion and sensuality, she deliberately circumvented the clichéd personas often imposed on female rock stars – astonishing at the time. Resisting the confines of being a flirtatious temptress, a free-spirited hippie, or a posturing rebel, she carved her own identity in the industry. It was as if Joan of Arc had reincarnated in the form of this Irish poet with the shaved head, deeply expressive dark eyes, and loose attire that stood as a bold statement against conformity.

O’Connor’s unique vocal craft, a mesmerizing blend of Celtic influences, banshee shrieks, and feral yelps, spanned over breathy sweeps ranging from the tenderly soothing to the grittily abrasive. It was Sinéad’s voice that reverberated throughout the 90s. Among those profoundly impacted were artists such as Sarah McLachlan and Alanis Morissette, who found themselves moved and inspired by O’Connor’s genius. Morissette, in particular, spoke of the deep inspiration drawn from O’Connor’s music, crediting it as a significant catalyst that stirred her creative spirit before she penned  Jagged Little Pill.

May she have finally found the true peace and love she deserves. Farewell Sinéad.

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Monte Cazazza was widely recognized for his fundamental contributions to shaping the genre of industrial music. His pioneering work was most notable during the mid-1970s, when he collaborated with the renowned London-based Industrial Records, coining the famous phrase for the strange musique concrete-inspired sound experiments emerging from the label. This period was instrumental in cementing his influence in the evolution of industrial music.

Cazazza’s subversive performance art emerged in the unforgiving climate of the mid-seventies underground, where he carved his distinctive niche in an aggressive, head-on collision with societal norms. Monte Cazazza had indeed carved a formidable reputation within the underground scene as an artist who was anything but conventional. His performances pulsated with volatility for maximum shock value, and his aesthetic, often perceived as potentially threatening and antisocial, was a part of his artistic DNA. With Cazazza, art was a dance in the shadows; a pursuit of darkness that transformed and transcended the mundane. His artistry was not content to merely tease the edges of acceptability; but pugnaciously pushed, prodded, and danced on the precipice of human morality itself.

Monte Cazazza never shied away from new artistic territories. A frequent collaborator with the avant-garde, industrial troupe Factrix, Cazazza was instrumental in sculpting the innovative sound that came roaring out of San Francisco’s thriving underground scene. Working alongside Mark Pauline and the at Survival Research Laboratories, he lent his extraordinary talents to create scores that were as compelling as the projects they accompanied. He also played with the Psychic TV collective, appearing on a number of albums, including Godstar.

Later in his career, Cazazza traded the stage for the silver screen when he co-founded MMFilms, an indie film and distribution company. He continued to weave his musical magic, delivering soundtrack recordings.

His passing was announced by Meri St Mary on Twitter yesterday.

It is With immense sadness and Love I had to let Monte go. He was very ill & in pain so I take comfort in the fact that that part is over but I miss him already! Where ever it is we go off to I am certain He will be causing trouble in his own way RIP the One & Only Monte Cazazza pic.twitter.com/SWoOjqQHz8

— Meri St. Mary (@MeriStMary) June 30, 2023

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The illustrious Pop Group’s original guitarist, John Waddington, has tragically passed away at the age of 63, the band announced on their social media. No specific details surrounding the cause of his death have been revealed. Waddington’s passing comes just two months after that of his former bandmate Mark Stewart.

In its statement, the Pop Group called Waddington “an influential musician, and an integral member of the group.” The statement continued, “His energy and friendship will be sorely missed, and his unforgettable musicianship will always be remembered.”

John Waddington’s journey began early, leading his own band, the Boyfriends, during his teenage years. At the tender age of 17, Waddington migrated to the vibrant music scene of Bristol to join the Pop Group in 1977. The Pop Group quickly became an embodiment of the era’s vibrant and experimental movement with their groundbreaking debut album, Y, released in the same year. Under the vision of frontman Mark Stewart, the band synthesized diverse musical elements from anti-establishment lyricism to innovative compositions, challenging and reshaping the prevalent punk norms. Waddington played a vital role in shaping the band’s distinctive sound, a harmonious cacophony of dub-influenced avant-garde funk.

Y went on to become one of the definitive albums of the post-punk era. Their unique approach to music, infusing frenzied guitar riffs with reggae master Dennis Bovell’s dynamic production techniques, opened up a new avenue for post-punk, integrating elements of dub and funk. The influence of their sound was profound, extending well into the 2000s and inspiring dance-punk revival bands.

The band continued to push boundaries with their 1980 release, For How Much Longer Do We Tolerate Mass Murder?, an album unapologetically critical of the political landscape, under the banner of Rough Trade.

After The Pop Group disbanded in 1981, Waddington went on to collaborate with the New Age Steppers, an acclaimed post-punk supergroup, in addition to other notable acts such as Maximum Joy, Playgroup, African Head Charge, and Judy Nylon.

In the 1990s, Waddington broadened his musical horizons, delving into the guitar-pop genre with the band Perfume. Adding another string to his bow, he played bass on “Take What You Take” from Lily Allen’s breakout 2006 album, Alright, Still.

Although Waddington did not participate in The Pop Group’s subsequent reunions, his career saw him contribute to the 1981 debut of Maximum Joy, Station MXJY, another project enhanced by Sherwood’s production. Waddington continued to make memorable appearances on records by Judy Nylon and by On-U Sound affiliated projects including New Age Steppers and African Head Charge. His energy and friendship will be sorely missed, and his unforgettable musicianship will always be remembered.

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Taylor’s partner, Cheryl Curtice, announced her passing on Facebook.

“Dear friends and loved ones of Teresa Taylor. I want to let you know the sad news. Teresa passed away clean and sober, peacefully in her sleep, this weekend,” Curtice wrote. “She was so brave, even in the face of her horrible disease. We were all fortunate to have her beautiful, strong spirit in our lives. She will be forever missed. We will have a memorial service sometime in the future. I love you, beloved Teresa.”

Born in 1962 in Arlington, Texas, Teresa Taylor’s musical journey began during her high school days, where she discovered her affinity for the drums. Sharing the rhythm section in various marching bands in Austin and Fort Worth, she forged an enduring alliance with King Coffey, her future comrade in the Butthole Surfers.

Butthole Surfers got their start in the vibrant musical milieu of 1981’s San Antonio, Texas, nurtured by the creative brilliance of vocalist Gibby Haynes and guitarist Paul Leary. Two years later, in 1983, the band’s core composition took its final shape with the addition of drummer King Coffey, thereby securing the foundational line-up, resulting in their self-titled debut EP. A serendipitous encounter brought Taylor to the Butthole Surfers; she offered the band members a warehouse space she was renting, which they used for rehearsals. Entering this dynamic collective as the second drummer, Teresa Taylor stamped her unique rhythmic signature on the band’s canvas, intensifying their musical experimentation and boundary-pushing drive. Teamed once again with her old high school marching band accomplice, she fostered a rhythmic dialogue that redefined and enriched the band’s distinctive musical identity.

Teresa Nervosa’s impactful drumming reverberated through the Butthole Surfers’ influential discography, a series of game-changing albums that are presently being resurrected for a new audience by Matador Records.

Throughout the vibrant and tumultuous decade of the ’80s, Taylor provided a pulsating heartbeat to the band’s music, driving their groundbreaking performances. Her drumming prowess can be heard on numerous influential records, including “Psychic… Powerless… Another Man’s Sac,” “Cream Corn from the Socket of Davis,” “Rembrandt Pussyhorse,” “Locust Abortion Technician,” and “Hairway to Steven,” among others.

Taylor’s rhythmic partnership with the band was briefly disrupted in 1985-1986, but she returned to fuel the Surfers’ sound once again. Unfortunately, in 1989, she had to part ways with the band under the weight of health complications.

Following her departure from the Butthole Surfers, Taylor faced a daunting crisis involving an aneurysm and subsequent brain surgery. Despite these challenges, her indomitable spirit has been etched into the annals of music history.

Adding another feather to her cap, Taylor graced the silver screen in Richard Linklater’s influential 1991 film, “Slacker.” In an unforgettable role, she portrayed a hipster woman peddling a pap smear purportedly from pop icon Madonna. Her character’s undeniable charisma not only caught the audience’s attention but also earned her a spot on the movie’s poster, further underlining the expansive range of Taylor’s talent.

The news of Teresa Nervosa’s death was confirmed by the Butthole Surfers via their social media channels. They honored their companion stating, “She passed away peacefully this weekend after a long and grueling struggle with lung disease. Her spirit and legacy will echo in our hearts indefinitely. Rest in Power, dear friend.”

Taylor’s diagnosis had been known for some time. In November 2021, she announced on social media that she had “end-stage lung disease,” with one to five years’ life expectancy.

“I don’t have cancer or any harsh treatments,” she said. “I know I smoked like a chimney and this is to be expected. My spirits are up. I broke my arm when I fell and wish I had something for pain, but otherwise I’m pretty comfortable.” She wrote an update a year later, acknowledging her “imminent death,” but kept up with her former bandmates. “It’s all been a blast,” she said.

Her final social media update, shared a week ago, hinted at her challenging health journey and highlighted the support from her partner Cheryl Curtice. Her post read, “I’m leaving for a short stint at a care home, so Cheryl can have a week of caretaker respite. I hope everybody has a good week.” This poignant farewell resonates with the strength and courage Taylor embodied even in the face of adversity, a testament to her enduring spirit.

Rest in power, Teresa. You’ll be remembered fondly.

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