Dog Faced Hermans
| Dog Faced Hermans | |
|---|---|
| Origin | Edinburgh, Scotland |
| Genres | Post-punk, anarcho-punk, avant-punk,noise rock, experimental rock |
| Years active | 1986–1995 |
| Labels | Demon Radge, Calculus Records, Vinyl Drip, Konkurrel, Alternative Tentacles |
| Associated acts |
The Ex Rhythm Activism Two Pin Din Volunteer Slavery |
| Website | http://dogfacedhermans.bandcamp.com/ |
| Members |
Marion Coutts Andy Moor Colin McLean Wilf Plum Gert-Jan |
Dog Faced Hermans were a four-piece post-punk band that formed in Scotland in the mid 1980s and remained active through the mid 1990s. They emerged from the UK anarcho-punk scene with a guitar/bass/drums line-up, but also incorporated trumpet and other instruments not commonly found in punk music at that time. Their composition style incorporated many genres of music outside of rock, including folk, jazz, ambient and noise music with often unorthodox instrumentation.
Dog Faced Hermans formed in Edinburgh, Scotland out of the female-fronted funk-punk sextet Volunteer Slavery, named after an album by Rahsaan Roland Kirk. Londoner Andy Moor, who was studying anthopology in Edinburgh, first met Colin McLean at a benefit for the Scottish Campaign to Remove the Atomic Menace, and the two shared a love of James Brown, free jazz, reggae, and African music. Wilf plum had been moonlighting with local noise bands Finitribe and Stretchheads, and Marion Coutts took time off from her studies at Edinburgh College of Art to play trumpet.
They band got their new name from a scene in a Frankenstein movie, "where a woman dreams that her husband, whose name is Herman, gets turned into a dog." When the group started, they played primarily improvised music, "like bashing oil drums and hitting the guitars without actually playing very many tunes," according to drummer Wilf Plum. The group's longer improvisations were condensed into shorter arranged songs that maintained their experimental qualities. The Hermans' line-up stayed constant throughout their tenure, with Marion Coutts fronting the band on vocals, trumpet and percussion, Andy Moor on guitar, Colin Mclean on bass, and Wilf Plum on drums. Within their first three years as a band, the Hermans recorded and released a few singles and two albums on their own Demon Radge Records and on journalist Everett True’s label, Calculus. These early records demonstrated the breadth of the band's influences, including British and Scottish post-punk, American no wave, and various styles of folk music, exemplified in their renditions of the Italian partisan song "Bella Ciao" and the blues standard "John Henry".
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