As a musical movement that stemmed from youthful cynicism towards societal values and a contracting economy (as well as a disappointment and disgust with both the hippie movement and disco), punk rock would inevitably embrace dystopia as methods of musical storytelling and social critique. From its early days, punk was obsessed with death, the apocalypse, corrupt societies dominating and controlling the lives of ordinary people. The MC5, a populist rock band with a notable impact on early punk, was noted for association with the White Panthers, a Black Panther splinter group. The band espoused a ten-point plan that included “total assault on the culture by any means necessary, including rock’n’roll, dope, and fucking in the streets”, and would detail this vision further in the song “Motor City is Burning”.
As the genre developed, so did its sense of style when it came to utopian and dystopian critique. Seminal and highly political band The Clash loved the apocalypse as a lyrical topic. “London Calling” was a reaction to the Three Mile Island incident depicting a London on the verge of collapse due to human incompetence and cruelty; “Armagideon Time” was much the same. “Know Your Rights”, meanwhile, had a speaker who espoused the three rights of a fictional but all-too-real society: “1. You have the right not to be killed…unless it was done by a policeman or an aristocrat. 2. The right to food money as long as you don’t mind a little investigation, humiliation and rehabilitation. 3. The right to free speech, as long as you’re not dumb enough to actually try it. There are those who suggest that these are not enough – to these people we say, get off the street.”
The trend continued as the genre diversified. Devo, a band originating from Kent State students who had witnessed the 1970 National Guard shooting, built its mythos on the concept of “de-evolution”, or the regression of human society into more simple-minded creatures. Frequently sarcastic, their most unsubtle song is “Beautiful World”, which proclaims: “it’s a beautiful world we live in. For you.” The Talking Heads, a notable post-punk/art-punk band entrenched in the early scene, would detail an anti-utopian vision of total convenience and natural destruction on the song “Don’t Worry About the Government”, as David Byrne sings lyrics that read like he’s been indoctrinated, and a post-apocalyptic portrayal of perpetual war on “Life During Wartime”, where it is implied that Detroit, Houston, and Pittsburgh have been wiped out or seriously damaged in some way. A year later, the seminal dystopian punk band, the Dead Kennedys, would release their debut album.
The Dead Kennedys had a particularly satirical streak, and so wrote songs like “California Uber Alles”, depicting lyricist Jello Biafra’s nightmare world: an ultra-gentrified, cool and hip California run by then-hippie Jerry Brown. “Uncool nieces” and the like are escorted by the “suede-denim secret police”, a literal fashion police, into “organic poison gas” chambers. Elsewhere, the anti-utopian “Kill the Poor” describes the simplest method for doing away with poverty, crime and slums: neutron bombs, endorsed to the liberals by Jane Fonda. “I Am the Owl” on their second album is sung from the perspective of a Nixon-esque “Plumber”, spying on you in every capacity – even through the person you sleep with.
There are obviously many more bands with dystopian themes in their songs, and obviously all of these songs are open to interpretation as far as those themes go. But the capacity for music to depict societies and apocalypses in an effort to criticize current societal trends and values is a vast and important one, often untouched on in the same way as literature.