Destroy! The influence of punk.

• “Brendan Dawes: on the edge of oblivion.”

  Growing up in a small seaside town just north of Liverpool, artist Brendan Dawes was always determined to make something of himself. Leaving school at 16 with no formal qualifications, he found himself propelled forward by the rise of revolutionary computer technology and a passion for Acid House."The computer was like this amazing box where I could make creative things. I always wanted to make stuff in some form, back then it was music. But with computers, I thought, this is incredible. You could just type into it, and it would do things. It just spoke to me." (Brendan Dawes)A self-taught coder, Dawes developed a unique approach to his work, leading him to opportunities worldwide. In 2004, he created Cinema Redux, a pioneering work that transformed an entire film into a single visual and earned a place in the Museum of Modern Art’s (MoMA) permanent collection in New York.Never one to stand still, Dawes became a key figure in the rise of NFTs, with Black Mamba’s Revenge, an abstract work based on the final fight scene in Kill Bill Vol.1, that sold at auction within the first hour of its release in 2020. This milestone marked a new evolution in his work leading him to collaborate with director Gary Hustwit, in 2024, on the groundbreaking documentary Eno, based on the extraordinary life of musician Brian Eno. The film, the first generative documentary ever shortlisted for an Academy Award, was hailed as a “revolutionary cinematic experience.”In February 2025, always at the center of creative disruption, Dawes took part in Christie’s inaugural AI art auction in New York, a controversial event that divided the art world. While some saw it as an inevitable evolution of artistic practice, others condemned it as a fraudulent attempt to profit from AI-generated works trained on artists’ intellectual property without consent.Always a true radical, Dawes continues to push the boundaries of contemporary art, seamlessly blending technology, data, and visual storytelling. Whether digital or physical, his work remains at the forefront of cultural upheaval, redefining what art can be in an era of constant transformation.-Follow us on Instagram @destroypunkpodcast for the latest updates. Or visit us online: https://destroypunkpodcast.com for transcripts, show notes, and more. Hosted on Acast. See acast.com/privacy for more information.

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• “Daniel Miller: revelation vs limitation.”

  DJ, producer, musician, and founder of one of the most influential independent record labels, Daniel Miller began his journey in 1976, just as punk was shaking Britain to its core. Returning to London that spring, he threw himself into the movement, drawn to its urgency, rebellion, and creative freedom.Hearing The Ramones’ debut on John Peel’s radio show was a revelation, and solidified his love for music that defied convention. A few years later, inspired by the experimental sounds of Can and Faust, he recorded his first single as The Normal: Warm Leatherette, a cold, mechanical, dystopian anthem, which became an unintentional underground hit.“The big saying at the time was, ‘All you need is a guitar and three chords.’ My thing was, three chords were far too many. You can just have one finger on a keyboard and still make an interesting sound. Which I thought was more punk than being in a traditional rock band.” (Daniel Miller)After a short tour, he returned home to find a pile of demo tapes from an unknown artist named Fad Gadget on his doorstep. That moment sparked the birth of Mute Records, a record label that would redefine electronic and experimental music, and the rest is history.A true maverick, Miller has never chased trends or commercial success over everything else, instead championing artists who push boundaries and the very definition of music. From the industrial provocations of Throbbing Gristle and Laibach to the groundbreaking synth-pop of Depeche Mode, Yazoo, and Erasure, his influence is woven into the fabric of modern music, and his pursuit of originality remains as relentless as ever.-Follow us on Instagram @destroypunkpodcast for the latest updates. Or visit us online: https://destroypunkpodcast.com for transcripts, show notes, and more. Hosted on Acast. See acast.com/privacy for more information.

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• Sensoria : Scene x Scene

  In 1984, industrial music legends Cabaret Voltaire released Sensoria on the Some Bizarre record label, the first single from their sixth album, Micro-Phonies. The song mixed driving beats and multicultural rhythms over a winding soundtrack and a hypnotic vocal.The Cabs, as they were known, never sought fame in the traditional sense; instead, they just thought it was important for you to listen. For them how things were presented was just as important - believing it was about your takeaway from the experience, as a whole, that mattered most.Peter Care, a pioneering filmmaker from southwest England, had been making films for the band since the 70s, yet the music video he made for Sensoria was one of the most requested videos on the MTV video charts for seven months and was subsequently procured by the Museum of Modern Art in New York. It was also voted the Best Video of the Year in 1985 by the LA Times and is considered the greatest “underground” music video of all time.In this special episode of Destroy!" called Scene x Scene, we talk to film director, Peter Care, the "up and over" camera rig designer, Tony Hill, and Cabaret Voltaire cofounder Stephen Mallinder, about how the video was made.-#sexpistols #anarchy #1976 #destroy #destroypunkpodcast #punk #cabaretvoltaire Hosted on Acast. See acast.com/privacy for more information.

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• “Andy McCluskey: electric dreams.”

  There’s an urban myth that OMD (Orchestral Manoeuvres in the Dark) were “discovered” by Lindsay Reade, the wife of Factory Records founder, Tony Wilson. As a local Manchester celebrity and TV presenter, Wilson was often inundated with cassette tapes from bands wanting to get on one of his shows. He kept them all in a shopping bag in his car and would often throw the rejections away, allegedly. As the story goes, Lindsay reached into the bag one day and played a tape by a “bunch of hairy shits from Liverpool.” Wilson said it was crap, Reade said it was a hit. It was Electricity by OMD. Founded in 1978, Orchestral Manoeuvres in the Dark, have sold over 40 million records, and are considered “one of synth-pop’s most influential bands.” Its original members, Andy McCluskey, and Paul Humphreys, continue to perform at sold-out shows worldwide and write critically acclaimed songs to this day. One of their biggest hits, If You Leave, was written in a day for John Hughes’s big 80s hit film, Pretty in Pink. It helped the band “break” America and also break into the hearts and minds of every teenage misfit and outcast. “All the music in John’s movies was the soundtrack of his characters. They're not the jocks and the cheerleaders. They are the outsiders. And what do they listen to? They listen to English imports. And off the top of our heads, we wrote, If You Leave, in a day, and it was massive.” (Andy McCluskey)-Follow us on Instagram @destroypunkpodcast for the latest updates. Or visit us online: https://destroypunkpodcast.com for transcripts, show notes, and more. Hosted on Acast. See acast.com/privacy for more information.

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  54:27
• "Malcolm Garrett: conceptual continuity."

  The day Malcolm Garrett walked into Virgin Records in 1977 and bought Anarchy in the UK was a revelation. The Sex Pistols, and punk, were a modern manifestation of his Dadaist dream, and seeing them playing on TV that day changed his life. From that moment on he knew he was destined to bring his artistic vision to the masses and went on to create some of the most daring and original work for multiple punk, post-punk, new wave, and new romantic bands in history: Magazine, Duran Duran, Simple Minds, and Culture Club, amongst many others. His cover for the Buzzcocks notorious single “Orgasm Addict”, is considered one of the most important record covers of that time. Unafraid to mix high art with pop culture, his work also helped define the aesthetic of an era, creating unique visual identities that elevated the public image of each band he worked with. And, as the 80s saw the birth of MTV, his unique vision also helped them conquer the second “British invasion” of America, enabling them to cement a place in the hearts and minds of anyone who had just turned 16. “In 1977, the rebellious ‘Dada’ movement that I was looking for suddenly walked through the door, and it was a band called the Sex Pistols. It was like a light switch. Click. That’s it. Today. I’m a punk from here on in.” (Malcolm Garrett)Born and raised in Cheshire, on the outskirts of Manchester, England, his contrarian point of view and passion for design earned him an MBE in 2020. He is currently the creative director of Images & Co and continues to work with long-term business partner and Design Manchester co-director, Kasper de Graaf.Follow us on Instagram @destroypunkpodcast for the latest updates. Or visit us online: https://destroypunkpodcast.com for transcripts, show notes, and more. Hosted on Acast. See acast.com/privacy for more information.

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