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In “Monks: The Transatlantic Feedback,” we’re treated to the rock recollections of a small-town mayor, a church custodian and three other geezers. Though to them it feels like a lifetime ago, in the 1960s, they were members of The Monks, one of Germany's most avant-garde early rock bands. Said to be the spiritual forefathers of punk and heavy metal, they pioneered the use of amplifier feedback in their attempts to veer away from the sound of The Beatles.
The documentary, directed by Dietmar Post and Lucía Palacios, is a full-fledged rocker retrospective: Beginning at the roots, with five young servicemen who were inspired to go overseas by Elvis' own enlistment (and because they were broke), and continuing through the band’s first American show in 1999. Along the way, we get a glimpse of postwar Germany, listen to anecdotes about life in the army and witness some, but not enough, of the evolution of a radical new soundscape.
The five soldiers — Gary Burger, Larry Clark, Dave Day, Roger Johnston and Eddie Shaw — who had been stationed, in Johnston's words, "as cannon fodder," decided to stay in Europe and perform as The Five Torquays. All they wanted to do was have some fun before going back to the States and having "real lives," but that didn't last long; the experimental sound of Germany had a permanent effect on them.
In the films we rarely hear the voices of anyone except the band members themselves. As a result, the scope of the documentary is extremely narrow. We don't get to hear from their managers, Walther Niemann and Karl-H Remy, who were students of art and design and pursued a vision for The Monks. Niemann and Remy transformed them from just another surf-rock and Brit-pop cover band playing in G.I. bars into a brand that sported shaved heads and black robes. And even more radical than their conceptual image was the indefinable sound of their music: Yelped vocals, a mix of acoustic and electric noise, heavy rhythmic tension and a pared-down minimalism.
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