The “Revenge of the Mekons,” is a portrayal of a hardy British punk rock band that epitomizes the term “cult band.” Director Joe Angio not only provides the audience with a brilliantly made narrative of this weirdly diversified band. He also portrays his belief that they are as good as any music group one can think of. As their fans confirm, the Mekons did not merely replicate their inspirations in any of these instances. They distorted and remade ideas, producing something unique and completely their own. Mekons almost always discussed the sociopolitical roots of songs such as folklore and country, which arose from the hardships of blue-collar workers. Rock and folklore music were not a perfect match, but the Mekons band has made it work acoustically and ideologically.
The Mekons have many fans, including reviewer Greil Marcus, director Mary Harron, and novelists Jonathan Franzen and Luc Sante. All among whom appear to Angio’s crew like ardent believers. Although the band did not sell many records, they performed in nightclubs rather than live music. The audiences admire not only the group’s acoustic prowess and engaging stage performances but also its tenacity over 30 years. In some ways, the Mekons are a fantastic nightclub band. The kind that enthusiasts of any musical culture that appreciates uniqueness and energy will embrace. Their distinction is that they have successfully turned the world into their platform. Traveled abroad and released album after album but still did not get enough money to abandon their regular occupations.
Angio delivers a sequential narrative of the band’s existence while focusing on the personal and group characteristics that overview its tenacity. The tinderbox was Leeds University’s art department and the flare. As it was so mostly in 1977, was also the arrival of the Sex Pistols. Numerous Leeds undergraduates with little or no discernable musical talents seized instruments. They started generating their unique punkish sounds in response to the tyranny throughout the United Kingdom concert. Several of their friends, known as the Gang of Four, felt the same way. When the Mekons were first approached about a recording contract. They informed the producer that he must enlist their highly determined and established buddies, “a proper band,” instead. The producer responded that he did not require a proper band. He desired the Mekons’ cacophony, which he perceived as having an adolescent rock vibe.
The band gained a large audience after their record performance was broadcast by renowned BBC Radio DJ John Peel. This was only a small leap further to a contract with Virgin Records. The Mekons, on the other hand, do not get along well with major music labels. The band was arguably extremely demanding of its freedom and authority. In contrast, the record seemed to have no desire to continue to bankroll a band that cannot produce quick hits. As it occurred a couple of years later with A&M Studios in the USA. Most British rocks were associated with the period’s leftist politics, and the Mekons are no exemption.
Due to the 1984 mineworkers’ protest, and numerous anti-Margaret Thatcher movements. They eventually stopped touring because musical and political advocacy combined led to conflict. Punk bands were widely perceived as “possession” when the Mekons first began performing, which indicated teenage impudence and disobedience. After several years, they might be thriving in a mental state. The term now symbolizes a cheerful embracing of their relationships, supporters, and the delights of music production. The movie successfully portrays this upbeat attitude that is likely to subscribe to those audiences who have not already become supporters.