Suburban Voice #148--The Best of 2021

ANTI-MACHINE (photo: Rachael Shorr)

Yes, I know it's been the better part of a year since I posted/published anything. But I finally pulled it together for a Best of 2021 list. Hope you find something you hadn't heard before. 

I don't have to tell everyone how much this year sucked, yet again. I made it to a grand total of three shows, so having a "best live" listing doesn't make a whole lot of sense, but much appreciation to Kyle for keeping the Banshee Den open and everyone else making an effort to keep DIY punk alive. 

As I said, this year sucked. My friend Pat Lynch passed away last month. He was only 51. We were friends for over 20 years and, before the print version of Suburban Voice went on "hiatus," he helped out with the zine. And he was usually my companion when I took road trips around the country--Thrash Fest in Minneapolis, Chicago Fest a few times, another trip out there to see Infest and Los Crudos and countless shows in the local area. He was just a great guy and I wish he'd taken better care of himself. His family gave me his music collection and I've been having a blast going through it and checking out some music I might have overlooked in the past. 

2022 will be the 40th anniversary of Suburban Voice, which started as Suburban Punk. How will I mark the occasion? That remains to be seen... 

It was a bit tough picking out a "record of the year." So keep in mind that the top ten are the records I listened to and enjoyed the most and what my favorite was depends on the day...

One last note... thanks to the photographers who allowed me to use their work in this blog. Since I've only been to a handful of shows the past few years, I didn't have many of my own to use or they're bands who haven't made it up this way. 

THE TOP TEN...

1. M.A.Z.E.-II (Lumpy, LP)

This is a vinyl pressing of M.A.Z.E.'s 2019 tour demo and their best recording to date. It's also the band's first vinyl release since their tepid-sounding s/t 12" on Lumpy. In between, there's been another demo and live tape but this is the best of the bunch. M.A.Z.E. are so goddamned charming sounding. Cute, without being cloying, putting punk, post-punk and pop, along with a whiff of trad Japanese musical touches into a blender and getting it both sweet and coarse. The re-recordings of the songs from their 2018 demo added quite a bit of thorniness. It's their own thing--I really can't think of another band who sound like this--and its quirky appeal will find its way into your heart. 

2. SLANT-1집 (Iron Lung, LP)

Blazing hardcore punk from South Korea, although their drummer Garrett "Tits" Belair is from Massachusetts. And Slant certainly favor the no-bullshit sound that emanated from Boston's Boiler Room. Double guitar scorch and a solid rhythmic foundation provide the perfect setting for Yeji's scalding razor howl, which doesn't dominate the proceedings but is one part of the band's deadly attack. A good mix of tempos, while never letting up on the intensity. 

3. LYSOL-Soup For My Family (Feel It, LP)

When I was a kid, my old man used to call me an "insolent little bastard." In retrospect, it probably wasn't very nice but maybe he was pissed at me for playing my music too loudly. This is an album I would have played loudly back then and am doing so today, only there's no one here to give me a hard time about it. Lysol ooze insolence and garage/punk/rock 'n roll smarts. They do tip their hand a bit--the Iggy yell during the "TV Eye" rave of "Glasgow Smile." It's not all strut, either. They also take the speedier trek on occasion, as with "Dissociation" and "Blessures Graves." It's not a complex formula but, sometimes, keeping it simple and raw is the right path to follow. 

4. ANTI-MACHINE-EP (Toxic State, 7")

Walker Behl, late of Crazy Spirit, is the vocalist in this band and he lends his nasally snarl to a straight-forward hardcore punk attack. Buzzing and burning guitars powered by solid, in-the-pocket drumming. The lyrics document day-to-day frustrations, unable to focus and seemingly unbothered by that. What is bothersome are the nationalists and other right-wing scum, and the death of friends, something that seems to have affected most people I know over the last few years. And this ear-grabbing ass-kickery as least provides some sort of coping mechanism. 

5. CHAIN WHIP-Two Step To Hell (Neon Taste, 12")

This isn't a pleasant country step dance and you sure as hell don't need to honor your partner, unless it's picking them up off the dance floor if they slip in the scrum. Slam-bang, semi-catchy punk aggro, with the lyrics spat out with phlegmy venom. And damn they're pissed off, with a pointed critique of late-period capitalism, although this isn't an intellectual dissertation, it's punk rock. Wrapping up with a punchy cover of Subhumans' "Death Was Too Kind," fitting in perfectly with the band's malevolent intent. 

6. COLLATE-Medicine/Genesis Fatigue (Domestic Departure, 7")

Two songs from their 2019 recording "Symptomatic" and they both pack a wallop. Jarring post-punk remains their calling card and it's particularly churning for the hectic "Genesis Fatigue." Tight instrumental interplay that's enhanced by not-too-slick production values. It's over way too quickly--the remainder of the songs from that session deserve a vinyl pressing, as well.  

7. COCHONNE-Emergency (Sorry State, demo)

Post-punk minimalism with abrasive, sarcastic, taunting, high pitched vocals in both French and English. For the English language "Asking For A Friend," things take a dark turn exploring (consensual or non-consensual?) sexual adventures. The final song, "Vampire," with its rollicking organ, is reminiscent of underappreciated Houston band MyDolls (whose lyrics also plumbed uncomfortable regions--yes, I realize there's a potential double meaning there). The instrumentation is sparse but it still sounds full, the way the rhythms, guitar and keyboards bounce off each other. There was also a 200 copy vinyl pressing.

8. THE COWBOY-Riddles From The Universe (Feel It, LP)

The latest from Cleveland's prolific The Cowboy doesn't mark any drastic change in direction nor does it aim for any sort of musical "maturity." Instead, the idea is to make a sense-enveloping racket, albeit one that's not completely devoid of melody. Throbbing bass-lines, bludgeoning drums and guitar trills that occasionally have the ghost of Keith Levene hovering above (OK, I know he's not dead), if he played more power chords. I'm thinking mainly of "Breeze Machine" there. Post-garage-punk, maybe? Steve Peffer and Josh Banaszak's musical partnership goes back over a decade and a half, starting with Homostupids, and they've perfected it, at this point. 

9. X-INTRUDER-Punished For The Crime Of Lacking In Judgement (Discos Enfermos/No Front Teeth, LP)

Solo project for a gentleman named Marco Palumbo, who owns the No Front Teeth label and has played in a number of different bands. Mainly mid-tempo anarcho-inspired punk that had me thinking of Cross-Stitched Eyes a bit, minus the Killing Joke proclivities. Peni to an extent, as well. Double-tracked nasally vocals and a sonic, mind-messing buzz of guitar and bass to go along with the beat (man? machine? I'm not sure). Throbbing, repetitive and, if this was some sort of way for Marco to get through the shutdown in 2020, it was a great use of his time.

10. SPECIAL INTEREST-Trust No Wave (R.A.T.S.)

Special Interest in their embryonic phase, their 2016 demo finally given the vinyl treatment. Vinyl treatment? Get your mind out of the gutter although there's an abundance of dark sexuality and sensuality to go with Special Interest's churning industrial punk. Minimalist rhythms accompany a fusillade of other-worldly, piercing guitar emanations and formidable bass plow, as Alli's vocals weave through the mesh. It's not any sort of rock 'n roll backbeat but a swirling, enticing cacophony. They add on a bonus track, the bad-trip ambiance of "I'll Never Do Ketamine Again." Aiming for the mind, as well as other areas due south and hitting both with gleeful deviance.

... BUT WAIT, THERE'S MORE... OTHER PICKS FOR 2021... IN ALPHABETICAL ORDER

DOLLHOUSE (photo: Séamus)

BOOTLICKER-s/t (Neon Taste, LP)

No joke--the last time I saw Bootlicker, at the Ram Ranch in Boston,  I started punching the wall. Thankfully, there was no injury to me or the wall. I wouldn't want them to lose their security deposit. On their first 12", after a number of 7"s and a live tape, Bootlicker play the sort of mean-sounding, bootboy punk (pun intended)-meets-hardcore that could still cause wall-punching. The recording quality isn't pretty at all and it brings out the band's blunt force and Lewis' agitated vocals into bold relief. Speaking of relief, they're searching for an escape from the mundanity of everyday life and finding a whole lot wrong with the world. What's right about the world are kickass bands like Bootlicker. (neonwaste.com)

BRUTE SPRING-The Perilous Transformation of Kid Spit (Swimming Faith, demo)

Another one of many projects for John Toohill (Radiation Risks, Science Man, etc). This is in an industrial-meets-early Suicide vein. I'm not talking about Suicide's first album but their original rehearsal tapes on which the accompaniment was even more primitive and the at-time whispered vocals barely audible, as with "Spiritual Leader." Still, there's a higher level of energy for many of the tracks, ala the Wax Trax aggro units--"Into Ribbons" and The Orange Strain," for instance, or the high-speed "Escape Armistice," sounding like a computer in an emergency state. It's not all mechanized, either... slashing guitar lines percolate through a few of the songs. A good balance of intensity and sutblety. (brutespring.bandcamp.com)

CANAL IRREAL (photo: Zeltzin Vazquez)

CANAL IRREAL-s/t (Beach Impediment, LP)

A band with Martin from Los Crudos, Limp Wrist and many others and Scott Plant, who has played in Droids Blood and Broken Prayer in recent years. Dark-hued goth-tinged punk with Martin's vocals howling through the din. It sounds closer to Scott's recent projects, minus the keyboards. Some haunting guitar lines that stick in the brain. It's not trapped in a morass of gloom 'n doom stasis. Canal Irreal infuse their songs with a burning energy and that prevents the former from happening. (beachimpedimentrecords.blogspot.com)

DOLLHOUSE-The First Day Of Spring (Toxic State, 7")

A few members of Mommy resurface in this NYC band, including vocalist Mike Caiazzo and the band's name (likely) comes from Mommy's song "In My Dollhaus." Mommy had some industrial elements but that's absent here. It adheres more to the NYC sound spearheaded by Dawn of Humans and Crazy Spirt, especially for "This Is Heaven," with Hank Wood's recognizable drum patterns. One thing that continues is the exploration of mental health issues covered with Mike's previous band. "The Shadow Baby" starts with a gigantic, ear-worm guitar line. "It's The First Day Of Spring!" has more of a melodic pulse harnessed to the sonic mesh, even throwing in some acoustic guitar. A potent statement. (toxicstaterecords.com)

ELECTRIC CHAIR-Social Capital (Iron Lung, 7")

It's 2021 and I still love hardcore punk--when it's done right, that is. No bullshit, no chug, just fast and loud, along with pissed-as-fuck lyrics, be it about disgust with everyday life, social climbers or Proud Boy scum. Even some whiddly metal leads that will annoy those "hardcore has nothing to do with metal" purists but it fits in perfectly, especially for the semi-epic title track. (ironlungrecords.bigcartel.com)

FASHION PIMPS & THE GLAMAZONS-Jazz 4 Johnny (Feel It, LP)

This oddly named Cleveland band (another one with Steve Peffer) don't play jazz. Nope, this is nervy, expansive rock with ear-piercing, otherworldly, earwormy guitar lines, a thundering bass undertow and synthesizer washes and shadings, all delivered at a steady mid-tempo pace. Hints of early Pere Ubu (the synth, in particular), although it's just one part of their modernistic sound. A sarcastic bent to the vocals and lyrics--I'm not 100% sure if "V.R." is meant as a tribute or paean to Elvis and Kurt Cobain--maybe it's both. An aural thundercloud. (www.feelitrecords.com)

FREAKEES-Freakee Deakee (Tomothy, 7")

Coming to you from the new wave punk garage--three fast ones and one slower track, "Freakee Friday" that takes up the entire flip slide and sputters its way to the end. It kind of drags to be honest. Not the case for the semi-abrasive punk of "Haha" and "The Middle" or the thrashy "Republicans" (their one "political" statement, I suppose). Freakees are a prolific band, having put out over 10 releases in four or so years. A sampling shows this to be one of their more "accessible" efforts but still rough-sounding. (houseoftomothy.com)

GOLPE-La Colpa e Solo Tua (Sorry State, LP)

Banging hardcore from Italy. The drumming has all the subtlety of a battering ram, the engine behind the band's mainly mid-to-fast tempo full-on attack. Definitely some d-beat/Swedish scorch in the equation, with surging guitar, along with hoarse vocals. One of the better albums in this particular style I've heard lately--it's loud and in your face, just the way it should be. (www.sorrystaterecords.com)

HEZ

HEZ-Guerra Interior (Discos Enfermos)

Hez are from Panama but there are some Spanish punk influences, namely the offbeat noise-mongering of Una Bestia Incontrolable. Echo on the nasally vocals and swirly whirly guitar on occasion. On "Esposas," it's like a six string conversation with some sort of alien force. Still, for the most part, this is a loud and fast attack, moreso than in the past. Their first release in four years and back with a vengeance. (discosenfermospunk.bandcamp.com)

IMPLODERS-s/t (Neon Taste, 7")

The bands on Neon Taste have a certain sound--a prickly brashness mixing punk attitude with bruising hardcore. That's an accurate description for Imploders and "Dimwit" is a point-making calling card, although I think the vocalist is saying "I don't want to be a nimrod." You get the idea, either way. Being that they're from Toronto, I'd say Career Suicide informs their sound to an extent, and that's never a bad thing. (neonwaste.com)

KRIMI-Demo (Helta Skelta, demo)

Two members of Cold Meat in this band. Post-punk legends Kleenex had a song called "Krimi," so you can probably guess the band's style and they do it very well. Authoritative vocals from Ashley and some strong lyrical matter, as with "Vicious Cycle," which is about the inevitable result from cutting the social safety net--"destined to fail, doomed from the start." Musically, it draws from the UK well ca. 1979-80, favoring a melodic approach to go with the slash and jab. Still, there's a sharp punk focus, as well, particularly for "Friction." (heltaskeltarecords.bigcartel.com)

MUJERES PODRIDAS-Muerte en Paraíso (Beach Impediment, LP)

Another Austin band with Dru Molina (Kurraka, Criaturas) along with compatriots who have played in such bands as Vaaska, Bastard Sons of Apocalypse, Breakout and many others. A serene beach scene on the cover and it's decidedly more melodic than some of the other bands these people are involved in. Instead of guitar shredding, the playing is textured, with a warm tone and adding West coast punk shadings and even a hint of goth on the intro to "El Chico En La Discoteca" and "OVNI." It's not a full-blitz attack, but there's still bite to go along with the tunefulness. (beachimpedimentrecords.blogspot.com)

NAG-Observer (self-released, demo)

Second album in under a year for this Atlanta band, following 2020's "Dead Deer." The production is a little fuller but the band's modus operandi remains pretty much the same. New wave meets post punk meets 80s goth. "Satellite Rock" veers towards the latter, but there's a harder-edged punk feel to "Burning Books." Cyborg rock? It's more human-sounding than robotic. Released digitally and on tape last spring, with a vinyl pressing on Drunken Sailor due this month. (werenag.bandcamp.com)

PARANOIAS-Napalm Springs (Helta Skelta, 7")

This came out in mid-December 2020 but close enough. It was probably 2021 by the time it reached the States from Australia anyway. This Perth band play gnashing garage/punk/rock 'n roll with high, singy songy vocals that have an inescapable charm. My guess is they might have borrowed the "Murder Punk" comps of old Aussie punk from their parents or older siblings... who knows? There's a brashness in their playing--sometimes surfy/sometimes slashing guitar lines and it all starts with some hearty bass strum. It's just so goddamned likable that you can't help but smile, while jumping around. (heltaskeltarecords.bigcartel.com)

PIGEON-Deny All Knowledge of Complicity (Adagio 830, LP)

Hailing from Berlin, Pigeon present a bleak vision, both lyrically and with the blurry black and white images in the accompanying lyric booklet. "Can't Cope With It" states "it happened, that's why it can happen again" and, given their location, it's not hard to figure out what Pigeon are talking about. A kaleidoscope of early 80s influences--Joy Division, Killing Joke, Echo and the Bunnymen, Teardrop Explodes, played with a sharp finesse and the arrangements are quite sprightly, nothing doomy or echo-laden. An abundance of drive and a strong sense of melody, as well. (www.adagio830.de)

RESEARCH REACTOR CORP-Live At Future Techlabs (Sweet Time, LP)

...or live in the lounge room. Is that the same as a den? In any case, hopefully there's soundproofing because this is plenty loud. RRC is from Sydney, Australia, the mastermind of Ishka Meades. It's a solo project but my guess is he had some help, since it's a live recording. Wild lo-fi punk/new wave/garage mania with Devo-esque guitar and cheesy synth, untamed and unleashed. Aussie kin to the Coneheads, VCR and bands/projects of that ilk? I'd say that's accurate. (sweettimerecords.com)

TØRSÖ

TØRSÖ-Home Wrecked (Revelation, 7")

Short, and not very sweet. The latest from Tørsö is another dose of high-powered, hardcore punk. Blazing guitar, a powerful rhythm, (Giacomo is a monster behind the kit) and Ethan's soaring vocals. Two originals and cover of the Faith's "You're X'd." (revhq.com)

T-TOPS-Staring At A Static Screen (Magnetic Eye, LP)

First full-length album for this Pittsburgh band in about 6 years and it's pretty ground-shaking. T-Tops have always specialized in beefy 90s rock that would have fit in well on Amphetamine Reptile. They check the right boxes with plenty of loud axe-mangling, bludgeoning drums and rough-hewn vocals. Hammerhead did the same thing back then and there's also a hint of "Bleach"-era Nirvana. Heavy without being metal... mental, maybe. (t-tops.bandcamp.com)

TWOMPSAX (photo: Rob Coons)

TWOMPSAX-Disgusting Me Out (Manic Noise, demo)

On their new demo, Twompsax vocalist Cher Strauberry states right up front what her band is all about--encouraging transgendered people to fight back against systems of oppression and take what's rightfully theirs: the freedom to live. Aurally, it's impassioned, low-fidelity, raucous bedroom punk with a barbed hookiness. It's even more primitive-sounding than their previous demo and two of the songs are just Cher accompanied by guitar, but it ain't no "unplugged" bullshit. (manicnoiserecords.storenvy.com)

SOME REISSUES

7 SECONDS (1984, photo by Cindy Mendes)

GUN CLUB-Fire Of Love (Blixa Sounds, 2xCD)

Hard to believe it's been 40 years since this incredible album was released. And if you were listening to it for the first time, you'd assume that the members of the Gun Club were Texas rednecks but they were an LA band and vocalist Jeffrey Lee Pierce actually co-wrote the title track for the Circle Jerks' "Group Sex." And while Gun Club evolved from the punk scene, their sound was inspired by traditional blues, given a revved-up treatment, especially for their cover of Robert Johnson's "Preaching The Blues." There's also a slow-simmering cover of Tommy Johnson's "Cool Drink Of Water." Originals like the punky "Sex Beat" and tour-de-force of "For The Love Of Ivy" are all-time classics. The latter song does have the n-word in it (something they got a lot of grief for) but it also has some truly inspired playing, with the concluding soft to loud jolt and the great line "I was all dressed up like an Elvis from hell." Jeffrey Lee's untamed yet soulful vocals were the obvious focal point, but the secret weapon was Ward Dotson's slide guitar. 

In addition to the album, the CD tacks on alternate takes and demos, some of which were sketches for their second album "Miami." I've always thought the four track demo of "Devil In The Woods" was superior to the "Miami" (it appeared on the "Keats Rides A Harley" compilation). The second disc is a live set recorded at Club 88 in LA in March of 1981, where the band are going full-tilt. Gun Club were always a live gamble--I saw them nearly upstage the Cramps when they toured this album but they were a complete debacle a few years later at a show at Boston University. Not the case here. "Fire of Love" comes from a dark place and I've played this album more than a few times when driving through rural areas late at night. Perfect accompaniment. (blixa.com)

7 SECONDS-The Crew (Trust, LP + 7")

Deluxe... and I mean deluxe reissue of 7 Seconds first full-length album from 1984. The production was cleaner at this point but, truth be told, it took some of the edge off and the drum patterns are pretty similar throughout--thumpa-thumpa, with few rolls, except during the slower portions. Still, their upbeat songs remain infectious and take me back to when life didn't seem so, uh, complicated, although I might not have known that at the time. And, along with the more melodic sound they'd semi-adopted, there was a positive message throughout, against misogyny, racism and maintaining as much of an optimistic outlook as possible. Aesthetically, it's a beautiful package, opening into a gatefold, with an 18 page glossy booklet. It tells the 7 Seconds story and includes flyers, photos and explanations for the lyrics. And some copies (like mine) include a bonus 7" of six songs taken from a 1983 recording session. They were from an aborted album on Alternative Tentacles (and later released in the mid-90s as "Old School") and have the raw production of the first two EPs. In other words, more of a bootboy feel and embryonic takes of such songs as "Here's Your Warning," "Young Til I Die" and others really kick ass. I'd like to see the full session get another re-pressing. (trustrecordscompany.com)

WASTED YOUTH-Reagan's In (Jackpot, LP)

"Reagan's In" is both very much of its time, as well as timeless. Loud and fast and catchy. They had a nasty teenage attitude, mainly expressed for "Uni-High Beefrag," a rather misogynistic rant. But the songs are quick, razor-sharp and snotty as fuck, with an anti-authoritarian chip on its shoulder. Pressed on minty (or puke green) colored vinyl. (jackpotrecords.com) 

Suburban Voice blog #147

READ YELLOW

Time for another reprint of a Maximum Rocknroll column, this one from MRR #394 (March 2016), with a few modifications…

 
UNDER THE RADAR—the 2000s
 
I’m an obsessive maker of playlists for my iPod—either putting together sequences from my old mix-tapes or having various “best of” collections spanning different years and decades. I’ve been listening a lot to my best of the 2000s mixes, lately—the oughts or zeros or whatever you call them, and there are quite a few songs/bands that might have been lost in the shuffle (not a pun about the iPod shuffle, honest). So this column is dedicated to those that I feel flew under the radar a bit. They might not be obscure to everyone but some of you might want to check these out. And they’re pretty easy of find and won’t set you back that much, except maybe Nazti Skinz.. So in chronological order…
 
FAMILY DOG-So Cal Hardcore (El Pocho Loco, CD, 2000)
Another CD-only release and another band doing the simple and straight-forward hardcore punk on their one and only release. Definitely not taking themselves too seriously in a lyrical sense but not devolving into forced funny-punk. From a musical sense, this is loud, fast, rough and buzzing stuff, stripping it down to its high energy essence. Family Dog included Monty Messex from Dead Fucking Last and it’s very similar to that band’s approach. What more could you want?

REGRESS-Price of Power (Boot Camp, 7”, 2001)

Regress had quite a pedigree—Joe Losurdo from Life Sentence, Anthony Illarde from Rights of the Accused and Chopper Stepe from Negative Element, all 80s era Illinois bands. As you’d imagine, this is throwback hardcore and the production is raw and trebly. Even an anti-Reagan song for good measure. They had another 7” after this and actually appeared on MRR’s “Public Safety” comp and the second “Histeria” comp on Lengua Armada so maybe they’re not that obscure but this is the best one and worth hunting down. Check out some audio here.
 
SPAZM 151-s/t (Mind Control, LP, 2001)
Obliterative from start to finish. This Dallas band had a gigantic chip on their collective shoulders, as well as a love for classic US hardcore, including Poison Idea, Jerry’s Kids and fellow Texans The Offenders (the last song on the album are a medley of songs by the latter two bands). Thrash that rocks and rolls and it’s injected with pissed-off venom. Plus cover art from Randy “Biscuit” Turner. How can ‘ya go wrong?

 
NAZTI SKINZ-Sic Semper Tyrannis” (Youth Attack, 7”, 2002)
This is the record that actually gave me the idea for this month’s column. Every time I listen to it, I wonder why more people don’t know about it. It’s probably because this LA band was very short-lived, playing only 5 shows and this 7” had a one-time pressing of 500 copies. They seem to have disappeared without much of a trace. With members of The Locust, Le Shok, C.R.A.S.H., Monorchid and others, the band’s name might have caused some confusion (although if you look closely, it’s pronounced “nasty skins,” not “Nazi skins”), along with titles like “Defending Liberty” and “Race War.” It’s a twisted mix of basic old school hardcore and darker Midwest touches (Mecht Mensch, for instance). Six songs, none of ‘em topping a minute.

 
IKARA COLT-Chat and Business (Fantastic Plastic, 2002)
Being that they were a UK band and had split up by the middle of the decade, I’m not sure of their level of familiarity these days but I’m pretty sure they wouldn’t be a household name to a lot of my loyal readers. Nervy, sometimes moody math/post-punkish rock, if you want to pigeonhole it. You can hear bits of The Fall Wire and late 80s/early 90s AmRep rockers Tar, although there’s more drive in their compositions. It’s perhaps closer to what a band like Hot Snakes did, minus the Wipers inspiration. Paul Resende has a subtle, yet expressive vocal style that accompanies the sound, instead of dominating it. A heady mesh. 

R’N’R-“I’ve Had It/Your Rules” (Cadmium Sick, 7”, 2002; re-pressed by Dead Alive, 2003).
A band with members from different parts of Massachusetts, this was their shining moment (along with their furious track “What’s Your Damage” on the “Stab To Kill” comp on Stab and Kill). After a piss-take rock ‘n roll intro, R’N’R get down to business with a throttling, mid-paced scorcher and Joe Shumsky (who played in many bands, including Fit For Abuse, Think I Care and Vaccine) unleashes the anger full-on. By the time he finishes with the long list of things/people he’s had it with, you say, “yeah, I guess he really HAS had it.” The b-side also kicks ass.
 
 

READ YELLOW-Read Yellow (Fenway CD, 2003)
This Western Mass. band’s albums were just so-so, but this four song EP is a scorcher, especially the title track/theme song and “The Association.” Head crushing riffs and  hooks played with a go-for-broke fervor and edge-of-sanity vocals. Not really punk, not really hardcore but it’s loud and crushing.

 
SHELL SHOCK-Born To Kill (Puke N Vomit, CD, 2005)
Kill, kill, kill and kill again. A firebomb of hardcore punk—hard ‘n fast and catchy, especially the circle pit breakdown for “Declaration.” From the opening exclamation of “WHAT THE FUCK IS GOING ON,” this was one of those albums that made me remember what I liked about hardcore. Combine that rage with angry lyrical sentiments and it’s a good way to channel the disillusionment that even middle-aged reviewers still feel—“We don’t want to be like you” is still something easy to relate to, even to this day. Adhering to the KISS rule—“Keep It Simple, Stupid!” Only released on CD.

 

VIOLENT MINDS-Eyes Of Death (Parts Unknown, LP, 2007)

Philly band connecting with pure Motorcharged aggression. As with Nightstick Justice above, this band has songs that make you move and the transition from the slow to fast part on “Fight Authority” is seamlessly-executed. The driving drums and bass are the engine and the guitar riffs possess a brilliant simplicity, throwing in the occasional lead line. There’s a perfect balance between the instruments and Zach’s hoarse vocals.
 
 

NIGHTSTICK JUSTICE-Claustrophobic  (Grave Mistake, 7”, 2008)
There’s been an endless glut of old-school hardcore punk bands from the turn of the century on, but a lot of it starts to run together after awhile. What made these guys stand out was their fucking RELENTLESSNESS, particularly on the opening song “Control.” This song just MOVES-- guitars on stun, bass on bulldoze, with a tinge of over-the-top Cleveland hardcore burn. And when Jeff Corso bellows “get the FUCK out of my way” on that song, you get the feeling you’d better do just that. One song going into other with a feedback transition, slowing down only for “Hypocrite,” an epic at over 3 minutes. They had three 7”s and a 12” over their fairly brief tenure and this one’s the best. Alex from Grave Mistake sent me a test pressing of this record for my 50th birthday because he knew how much I loved this one.

 

BASTARD SONS OF APOLCALYPSE-Strangled By The System (Todo Destruido/Adelante, 12”, 2008)

Vocalist Eddie Leal has been in a number of bands over the years—Vaaska, Criaturas and Deskonocidos, to name a few. BSA dished out ferocious Discharge-meets-Poison Idea mania. I don’t know if it’s a D-beat in the strict sense and I don’t give a fuck about the nuance; all I care about is shredability and BSA definitely possessed that quality The galloping drumming is what really keeps things moving here and the occasional lead guitar break always happens at the right moment. BSA do allude to their musical approach in “No Charge D-Beat RocknRoll.” Amidst a not-so-cheery worldview, that’s the sole moment of lyrical levity here, a celebration of “kids playing with no future.” SV record of the year for 2008.
 

WINNING LOOKS-s/t (Waiting, 7”, 2008) 

Down ‘n dirty rock ‘n roll in a guitar/drums, both of ‘em sing format. This four song EP from these two NYC ladies was recorded by Bikini Kill’s Kathleen Hanna and there’s a slight hint of her musical pedigree. But it’s just as much garage, really cooking on a song like “Breakdown,” although all four songs have plenty of thump in ‘em. Two voices chanting in near-unison, in a hearty high register and the music has a complementary brazenness. Recorded in 2006 but I'm pretty sure it came out in 2008.

GENERAL INTEREST-Right By The Beach (Ride The Snake, 12”, 2009)
This Boston band were an offbeat, nimble, ultra-tight musical unit dishing out some formidable post-punk. Guitar, bass and drums play off each other, hooks occasionally emerging but the main attraction is the dynamism in these compositions. But what really makes them unique are Steve Shea’s almost cartoonish semi-spoken vocals and lyrics that could be “shit from a new notebook” to quote The Minutemen, one band who were an obvious influence (Gang of Four and Nation of Ulysses also figured into the equation). There are political/sociological messages, though they’re combined with a smart-assed sarcasm. “Crusty Dog Show” aims a vicious barb at, well, traveler crusties who, while being “freegan” and “going green,” still abuse their dogs (“I’ll bet you’re not spanging for Kibbles & Bits”). “Capricious Youth” pokes fun at the type of people who can’t make up their minds about everything from education choices to relationships.
 

CATBURGLARS-s/t (Criminal IQ, LP,  2009)
Garagey punk rock that's full of vim, vigor and fun times. Buzz and bash in the vein of some of the Rip Off Records bands i.e. the sound is rough and the songs snotty as hell. Willfully stoopid lyrics... want an example? "You make me mad/you make me mad/You make me so mad/You make me mad/You never give me what I want/All you ever do is piss me off." Heavy sentiments there! A winning tandem of wise-assed attitude and the burn to back it up and their cover of The Runaways’ “Cherry Bomb” rocks like a motherfucker.
 

Suburban Voice blog #146

CATCHING UP ON SOME BOOK AND ZINE REVIEWS

LONG GONE ILLEGAL PUNK VENUES IN BOSTON by Chris Strunk (Free The Future Press, half-size zine, 40 pg.)

Pretty self-explanatory--a history of "illegal" DIY spaces in Boston and environs for the first decade and a half of the 21st century. Author Chris Strunk--who played in such bands as Conversions, Vile Bodies and Crisis Actors, as well as booking the occasional show--offers a tour of various basements, warehouses, lofts and college/community/art spaces that hosted unlicensed punk shows. It was a constant game of whack-a-mole, as the police got more aggressive with shutdowns, necessitating a quest for the next space. Because, as we know, it's a major crime for people to get together and enjoy watching music. 

The venues are presented more or less in chronological order and Strunk tells stories not only about the shows, but the atmosphere/people. I can think of a few spaces he missed (Guns of Brighton, Movie Loft and the Box Fort) but it's pretty comprehensive. I've been to probably 2/3 of the venues he writes about and there were a lot. It shows that people really cared about creating an alternative to the rock clubs. Even before the pandemic, DIY spaces had dwindled a bit--one of the best in recent years was Markus Basket, in the Space Studio in Somerville--and that only lasted about six months. But there were a few promising ones before the shutdown that will hopefully be around once things get back to more or less normal. (Incidentally, I contributed photos to this book and the cover drawing is based on one I took of the Boiler Room). (printedmatter.org)

MODERN MACHINES by David A. Ensminger (Left of the Dial Books, softcover, 154 pg.)

A collection of various interviews done over the years by David Ensminger--some from his old zine and website "Left Of The Dial," others from various print and web outlets. A few are brand new (yours truly, Dave MDC, Chip Kinman from the Dils). It's not the most aesthetically-appealing book--print is tiny, layout nothing fancy. But in terms of content, it's top-notch. David has a knack for bringing out the best in his interview subjects and they're in-depth and more conversational than the typical Q&A format, even when they were done through messaging. There are some lengthy deep-dives with musicians and artists who haven't saturated every other book about punk. People such as Scott Ryser from the Units, discussing his musical and literary influences and giving insight into the early SF scene. John Robb from the Membranes offers a historical analysis of the late 70s/early 80s UK era. Eugene Robinson, who originally cut his teeth in hardcore band Whipping Boy and, later Oxbow, has followed an eclectic musical path, as well as becoming an author and fighter. Better-known interview subjects are John Brannon, Bill Stevenson from Descendents and Steve Soto from Adolescents. Plenty to dig into here. 

PETER AND THE WOLVES by Adele Bertei (Smog Veil, softcover, 93 pg.)

The Peter in the title is Peter Laughner, founding member of Rocket From The Tombs and Pere Ubu, as well as many other Cleveland bands. I reviewed a box set of his music a few installments ago. Author Adele Bertei has had a lengthy musical career, including a stint with NYC no wave legends the Controtions. This short book is an expanded version of a book she self-published in 2013, originally meant to be part of a full memoir but never got an official release. It details her friendship and wild adventures with Laughner in Cleveland and NYC. He was a musical mentor but also a deeply troubled individual, who was dead before his 25th birthday. He was well-versed in all sorts of music and literature, but also led an unstable life controlled by drugs, alcohol and an unhealthy fixation with guns. Considering his prolific musical career, one wonders what the future would have held.

The writing is candid and Bertei doesn't flinch from discussing the less savory aspects of his life or people she encountered. Regarding Laughner's tenure in Pere Ubu, Bertei doesn't have a lot of positive things to say about their vocalist David Thomas (aka Crocus Behemoth), who has generally written him out of the band's history (even with significant contributions to songs like "Final Solution" and "Heart of Darkness"). But she also ruminates about the sensitive, inquisitive man who took essentially took her under his wing, encouraged her to pursue her musical passions and made an indelible impact that's lasted with her to this day. (www.smogveil.com)

PUNK POST PUNK NEW WAVE by Michael Grecco (Abrams, hardcover, 240 pg.)

This hardcover, coffee table book is a great visual time capsule of music photography from the late 1970s/early 1980s. Michael Grecco is a professional photographer and basically cut his teeth with these selections, taken mainly in Boston, although there are some from other east coast cities. The cover, with Wendy O. Williams from the Plasmatics taking a sledgehammer to a TV in a radio station office, is immediately enticing. The photography includes plenty of live photos, but also candid ones of not only the bands but audience members and local "personalities," as well. There are the requisite "big names"--PIL, Dead Kennedys, Devo, Cramps, Elvis Costello, Killing Joke, Lene Lovich, Iggy and the Ramones, but lesser-known locals Human Sexual Response are featured in a number of photos. Grecco hit up just about every venue, from the DIY space Thayer Street Lofts and grungy clubs like Cantone's and, of course, the Rat to larger venues like the Channel, Paradise and Orpheum Theater. And the photos aren't always pretty. Plenty of sweat, motion and audience interaction. It's all very intimate.  

KILLING JOKE (The Channel, 1981)

Throughout it all, Grecco successfully captures the ambiance (for want of a better term) of what was going on in the music scene. My only critique is the photos don't have any captions or names on them and you have to consult the index in the back. I suppose the names shouldn't matter, just the visual. This brings back a lot of great memories and will provide a view into the past for those who weren't there--or can't remember it! (abramsbooks.com)

PUNKS AROUND #12-14 (half-sized zines)

The last three issues of Alex Herbert's zine. Each issue takes on a specific topic. #12 deals with non-cis punks, with essays, interviews, drawings and comics contributed by trans, non-binary and gender non-conforming punks (as it says on the cover). If you think you know everything about trans issues, guess again--I learned quite a bit here and, one conclusion is that, for all of its professions of open-mindedness, not even punk is always that welcoming for non-cis people. You can never put yourself in someone else's shoes, but it's still valuable to be exposed to these viewpoints and recognize their daily battles. 

Issue #13 is about straight-edge, with interviews and essays, including Nancy Barile (Al from SSD is her husband) and Tony Rettman, who wrote "Straight Edge--A Clear-Headed History of Hardcore." He caught some flak from people who didn't think he should write the book because he was no longer straight-edge. Plus a guide to horror movies from Jasmine of TØRSÖ. 

Finally, #14 concerns mental health. A collection of artwork, collages and poetry, plus some pretty intense stories from individuals dealing with different aspects of mental health--dealing with various afflictions, some intense, some milder and finding ways to cope. And it takes courage to write about these travails in a public forum.  Anyway, much respect to Alex for publishing 14 issues in an era that's been moving away from self-published zines. (punksaround.com)

THE STORY OF DEATHREAT IN STILL LIFE by Justin Briggs (Vague Absolutes, zine, 40 full-sized pages)

Everything you'd ever want to know about Deathreat--for those who have never heard of them, they were one of many interrelated bands based in Memphis and Portland, OR, which include(d) His Hero Is Gone, Tragedy, Severed Head of State, Criminal Damage, Warcry and lots more. Deathreat offered up a more direct hardcore punk style, brief songs packed with pure rage. Anyway, this zine is a cornwith flyers, photos, miscellaneous ephemera and a few interviews, including one by yours truly that originally appeared in Suburban Voice. The project started in 2013 and was rescued after some technical difficulties where the folder of scans, layout etc. was corrupted. Luckily, the data had been backed up on what was described as an at-first "uncooperative back-up" drive. But persistence paid off and it's finally seen the light of day. I'm glad it did because Deathreat seem to be a somewhat underrated band and this will hopefully inspire people to go back and check them out. (vagueabsolutes.limitedrun.com)

... and one music review... 

GANG OF FOUR 

GANG OF FOUR-77-81 (Matador box)

If I was going to put together a box set for one of my all-time favorite bands, this is how I'd do it. Sure, it's expensive and, if you're on a bit of a budget, there's a CD version, but if you're more than a casual fan, you want this. Trust me. The package (and it's a heavy-duty one, with a cardboard outer shell) includes their first two albums "Entertainment" and "Solid Gold," a 12" with the various singles tracks and a double live album recorded lived at the American Indian Center in San Francisco in 1980. This was done for a live radio broadcast and it's the first official release. Plus there are two badges and a lavish hardcover book with lyrics, essays, photos and even copies of rejection letters from various record labels.

Gang of Four are often referred to as pioneers of post-punk. Considering they started in 1977, that might not be completely accurate. The book mentions about how vocalist Jon King and guitarist Andy Gill visited NYC and checked out the popular bands of the day--Richard Hell and the Voidoids, Ramones, Talking Heads, etc, and brought that inspiration back with them, leading to the formation of Gang of Four. And, yes, it started at an art school in Leeds.

Reviewing albums I've heard hundreds of times can be a daunting task--trying to put their groundbreaking music into non-pretentious terminology and not assuming that everyone has already heard them. But it's my job so I'll try... Gang Of Four's modus operandi featured leftist lyrics touching on various political and sociological issues, sometimes in a broader context, sometimes taken from an personal, observational viewpoint. In other words, it didn't seem like a lecture. They took those words and merged them with jarring and propulsive compositions, but there were also some killer, hook-filled melodies. Gill's guitar lines are jabbing but also melodic and that's accompanied with a superb rhythm section. Dave Allen's bass playing has equal emphasis and Hugo Burnham's drumming is totally in the pocket. King is the main vocalist, with a more "conventional" style, while Gill's vocal turns have more of a somber, resigned-sounding tone. 

The final three songs on "Entertainment" is one of the best ending sequences on any album, starting with the "At Home He's A Tourist," the brooding "5.45" and "Anthrax," with a fusillade of guitar atmospherics introducing the proceedings and featuring one of the all-time great guitar "solos. "Solid Gold" had a more spacious and deliberate sound, although songs like "What We All Want," "Cheeseburger" (with humorous lyrics about the American experience taken directly from truckers they encountered at a pool room in LA) and "In The Ditch" provide a churning, hard-edged charge. It's not a major departure but there's more tension and minimalism. "To Hell With Poverty," from the singles album, was their last great song--almost cheerful, but with a dire message--"Some are insane and they're in charge." The live performance is spread over two discs and features a more-or-less greatest hits selection from the first two albums. The sound is a little echo-y, but doesn't sound like a low-fi bootleg. Hearing these recordings make me once again regret not seeing them on that tour.   

In addition to all of the above, there's a 90 or so minute cassette with various demos, rehearsals and unreleased songs. The real early stuff should probably have stayed unreleased, since it's very rough-sounding and the better-known songs are played at a sluggish tempo. An exception is the poppy "Elevator," which sounds a bit like The Jam or Wire's "Mannequin." Two untitled tracks recorded at Cargo Studios have a solid rhythmic fire. The Polydor demos for the songs that ended up on "Solid Gold" are killer, offering a few different wrinkles from the released versions. Oddly, the vinyl version doesn't include a download for these songs but the CD version does (while eschewing the cassette). 

Only a couple of quibbles--I wish they'd included the original "Damaged Goods" EP, but Hugo told me that they didn't have the rights to those, and "I Found That Essence Rare" on "Entertainment" lops off the introductory riff, which makes zero sense. Otherwise, this is everything you ever need from Gang of Four. "To Hell With Poverty" was the end of the band's first era, with Dave Allen's exit, and they never came close to this level again, moving into less-electrifying territory. But for those four years, they were one of the best bands on the planet. (matadorrecords.com)

That's it for now... I'll be getting my ass in gear any day now and get around to finishing long-overdue record reviews. 

Suburban Voice blog #145

I'm really going to try to publish more blogs this year... some will include reviews, maybe I'll do an interview or two and some will come from the archives, my Maximum Rocknroll columns, in particular. In case you missed it, I retired from MRR last year. I really don't feel like retelling or rehash why and, in the end, I might have burned a few bridges but it was ultimately on my terms and I have no regrets. It was time. 36 years of contributing, the last 15 as a columnist is a good run. 

This piece (with a few modifications) is from my November 2016 column (MRR #402). It was about the 35th anniversary of what I consider to be one of music's pivotal years, filled with an abundance of landmark releases. I'm sure my readership is familiar with the vast majority of these bands but the point is showing the importance of what happened in 1981. Who knows... maybe some of you will check out bands that were under your radar a bit. 

1981--THE YEAR PUNK REALLY BROKE

September marks the 30th anniversary of the release of Nirvana's Nevermind album—you know, the album that brought punk BACK! It was as if the 1980s and the vibrant punk and hardcore underground had never happened. Nope, we went straight from the Ramones, Sex Pistols and Clash to Kurt and the boys’ breakthrough. There was a film called “1991: The Year Punk Broke," ostensibly a tour documentary about Sonic Youth that also included Nirvana, as well as Babes In Toyland and Dinosaur, Jr.  The documentary was shot by Dave Markey, a talented filmmaker who has legitimate punk bona-fides, having logged time in Sin 34, as well as publishing We Got Power zine. Speaking of the latter, there's a really good book that includes photos, interviews and reprints of the issues. It's still available here. 

I don’t think I need to recap much more about 1991, except that tons of bands got signed in a major label feeding frenzy and the same happened three or so years later with Green Day’s breakthrough. Truth be told, Nervermind has some solid tracks but I don’t think I need to ever hear “Teen Spirit” again.

But was that the year punk broke? Of course not. I took a quick look at my 1991 “best of” list that year and some of my favorite were Superchunk, Jawbox, Fugazi, Tar, Jesus Lizard, Born Against and Cosmic Psychos. Good bands, some of ‘em great, but not exactly a banner year in the total scope of things.

1976 and 1977 are usually viewed as ground zero for punk’s explosion and there was, indeed, a plethora of timeless, classic albums and 7”s and it wasn’t all one monochromatic ball of noise, either. There was a lot going on around the globe and it’s hard to fuck with debuts like the Ramones' and Clash’s self-titled albums, Never Mind The Bollocks, Damned Damned Damned, the early Stranglers and Saints albums, the early Dangerhouse records and so on. Definitely an era of change.

But I think an argument can be made that 1981 was the pivotal year for punk’s development, a branching out into new and exciting directions, without giving up its energetic focus. 40 years ago… hard to believe! There was plenty of diversity and creativity and many great bands made their vinyl debuts or put out attention-grabbing follow-up efforts. The first generation of bands had largely moved on, drastically altered their sound or put out less-interesting albums. But there was a veritable bounty of greatness that year. It certainly had a profound effect on this writer’s musical tastes. I got exposed to a lot of it through local college radio shows, especially “Media Blitz” on WMBR (the MIT station), which played all west coast punk.

So let’s start with the west coast and nearby environs. So many incredible records that year, beginning with TSOL’s debut 12” and Dance With Me album. There was an evolution even in the short space of time between the two, moving from politicized punk into something a bit more shimmery and gothic, but still providing a solid punch in the gut. Agents Orange’s “Bloodstains” single actually came out in 1980 but their first full-length, Living In Darkness, was a perfect merger of surging melodic punk and surf music and the album was packed with memorable songs. The Adolescents also helped invent the classic, melodic west coast punk sound on their debut full-length, following their “Amoeba” single. “Kids of the Black Hole” is an anthem for the ages. Bad Religion never sounded better than on How Could Hell Be Any Worse, long before the rough edges were smoothed off and the lyrics started reading like a PhD dissertation. Descendents' first 7, Ride The Wild, came out in 1980, but the first with Milo, the Fat EP, comes storming out of the gates. Featuring the 12 second classic “Weinerschnitzel” as well as feisty punk gems like “Hey Hey” and “Global Probing,” which hinted at the more tuneful elements that would follow on Milo Goes To College.

The Slash Records subsidiary Ruby yielded a pair of groundbreaking albums that year. Gun Club’s Fire of Love featured swampy, dark-hued bluesy punk. Jeffrey Lee Pierce soulfully croons, along with the occasional hell-raising whoop. Seamless transitions from soft to loud ‘n back again, paying tribute to the original bluesmen but wrapping it inside of a barbed concoction. Some of the lyrics are spine-tingling, such as with “For The Love Of Ivy”: “I’m gonna buy me a graveyard of my own/and kill everyone who ever done me wrong/I’m gonna buy me a gun just as long as my arm/and kill everyone who ever done me harm.” I admit I sing that from time to time when feeling a bit put-upon. A great album to listen to when driving late at night, especially through rural back woods.

The other Ruby release was the second album from the Flesh Eaters, A Minute To Pray, A Second To Die, which was a complete overhaul from the frenetic punk of their previous All Questions Asked album. With an extended lineup that included people from X, The Blasters and Los Lobos, it was a mixture of razor-sharp guitar lines, growling and atonal sax and even marimbas creating a mutant voodoo punk stew (something like that). Chris D’s vocals could wake the dead, especially his shrieks on “See You In The Boneyard.” It’s almost joyful sounding but also scary as fuck. This was the only disc with this lineup, as Chris scaled back to a more compact grouping for the subsequent Forever Came Today, with saxman Steve Berlin the only holdover. I can’t really think of any other record that sounds like this one.

Black Flag, of course, were an established band by then but put out three pivotal records that year—the Six Pack EP and Louie Louie/Damaged single, with Dez Cadena on vocals and then Damaged, with the newly-recruited Henry Rollins taking over the mike. I know there are naysayers who claim that Rollins ruined Flag. I don’t buy into that assessment—each of the band’s four original-era vocalists had their merits and I’m actually most-partial to Dez’s glass-gargling howl. Damaged, though, is fierce throughout, save perhaps the novelty-esque “TV Party.”

Dead Kennedys’ In God We Trust, Inc. was something of a jump on the hardcore express and doesn’t really stack up to Fresh Fruit or Plastic Surgery Disasters but the back-to-back “Religious Vomit” and “Moral Majority” capture the dawn of the Reagan era pretty well. Actually, the most important release on Alternative Tentacles that year was the Let Them Eat Jellybeans compilation, which was probably an entry point for many novices into the punk underground, serving up crucial tracks by Bad Brains, Black Flag, Flipper, Circle Jerks, Really Red and Feederz. There were excursions into artier punk forms, as well.

Flipper were raising holy hell in the Bay Area that year with the repetitive, annoying-in-a-great way Love Canal/Ha-Ha-Ha and Sex Bomb/Brainwash singles. The latter paired a song about the demise of blonde bombshell Jayne Mansfield (that’s what the crash at the end of the song is) with the endless torture of “Brainwash.” A cruel DJ on one of the Boston college stations once played that song for 45 straight minutes.

After a couple of 7” releases, Minutemen’s debut 12” The Punch Line continued the band’s kinetic, punky and funky oeuvre, with only two of its 18 songs topping the one-minute mark. Saccharine Trust's Paganicons 12” had a similar muse although the songs were longer and Joe Breuer’s vocals cut hard against the grain. Meat Puppets’ debut 7’ In A Car dished out fast ‘n frenzied punk but you could tell they weren’t going to be a one trick pony, not with the more country-inflected “Big House” or jazzier “Out In The Gardener.” The Arizona sun was already baking their brains. Or maybe something else they ingested, if you catch my drift.

Speaking of Really Red, who were from Texas, their overlooked classic debut 12” Teaching You The Fear moved punk and post-punk into challenging realms. Like Really Red, the Big Boys were, of course, also from Texas and Where’s My Towel?/Industry Standard was their first studio 12”, following the Frat Cars 7” and split live record with The Dicks. The Big Boys certainly expanded any definition of punk and were also coming from a funky/punk muse ala the Minutemen and, as with that band, they could play their asses off but weren’t show-offs.

Of course, 1981 was the year hardcore exploded all over the US. In DC, the burgeoning Dischord label already had the Teen Idles 7” under their belts but, during ’81, they unleashed both Minor Threat 7’s, SOA’s No Policy, Youth Brigade’s Possible EP and Government Issue’s Legless Bull. Not a bad year’s work. Touch and Go records weren’t exactly slacking either, not with the likes of The Fix’s Vengeance and Jan’s Rooms EPs, the first two Nercors 7” s and the Process of Elimination compilation 7”, which marked Negative Approach’s boiling-over debut. Toxic Reasons appeared on that comp and made more noise with their Ghost Town 7” (following 1980s’ War Hero) featuring Ed Pittman’s sandpapery snarl and a feisty punk attack, adding a reggae inflection for the title track.  Chicago’s Effigies made their vinyl bow on the Busted At Oz compilation and their own Haunted Town EP. Not really hardcore but packing one hell of a wallop and the live footage of them in the You Weren’t There documentary of Chicago punk is worth the price by itself.

As far as I know, the first band to use “hardcore” in a record title was DOA, for their second 12” Hardcore ’81. They’d been around since ’77 but made things louder and faster, without losing the melodic sensibility that informed their previous recordings. I remember picking this one up on the same shopping trip as their Something Better Change album and, at first, was taken aback by having shelled out $8.50 for a relatively short EP but after getting it home and spinning it three or four times in row, any sense of being shortchanged quickly disappeared. Quality, not quantity, right?

I perhaps use the term groundbreaking more than I should but it really applies to the Wipers’ masterpiece Youth of America. The title track is a ten minute tour-de-force showcasing Greg Sage’s mindblowing guitar wizardry. It’s as much about tone as dexterity and no one has come close to matching it, even though more bands have been influenced by these guys (Sage, really—it’s his baby) in recent years. Nor have those bands been able to replicate the emotional heft in his vocals and lyrics. 1979’s Is This Real sounded like little else that year and had a more economical, punky attack, while Youth of America was a more expansive work.

Lest you think I was only paying attention to what was going on in the States, there was plenty going on overseas, as well. Discharge continued to rewrite the book for loud ‘n fast music and 1981 yielded their Why 12” and Never Again EPs, building on the primitivism of the first 7”s and setting the stage for the sonic bombast that would occur the next year with Hear Nothing, See Nothing, Say Nothing and the State Violence State Control 7”. Disorder were creating a crazier-sounding punk elixir on their first two 7”s, Complete Disorder and Distortion to Deafness, both of which provided the blueprint followed by the early Finnish hardcore bands and many others since then. Mean, loud ‘n fast punk definitely made its presence felt in the UK that year and the floodgates opened in 1982.

Two other UK bands’ sophomore efforts stood out that year—Killing Joke’s What’s THIS For and Gang Of Four's Solid Gold LPs (as well as the To Hell With Poverty 7”). Whereas Killing Joke’s self-titled first album (following a few earlier EPs) had more of a lumbering and crushing sound, What’s THIS For was looser and more rhythmic, although there was an ominously noisy cloud hovering over the proceedings. Solid Gold had a more spacious, tension-and-release feel than the Gang’s debut, although songs like the churning “What We All Want” and thumping “Cheeseburger” were quite direct. Even Public Image Limited’s third album, The Flowers of Romance, tried something different—having lost bassist Jah Wobble, the remaining core of John Lydon and Keith Levene mainly built the songs around drums and synth, sparingly using guitar and bass. The last PIL album remotely worth hearing. “Banging The Door,” with hammering drumming by Martin Atkins (who appeared on about half the tracks), is the standout.

UK Anarcho punk was coming into full-flower and two memorable debuts came from Flux of Pink Indians, with their Neu Smell EP and Rudimentary Peni's first EP.” Flux’s “Tube Disaster,” bookended by two spoken word passages, is a catchy punk anthem. Peni dish out a dozen succinct blasts of stripped-down punk, punctuated by Nick Blinko’s edge-of-psychosis vocals. Zounds' The Curse of Zounds and Demystification offered a more melodic take. 

I wasn’t as familiar with non-US/Canadian/UK punk at that point. I know Japanese band The Stalin’s Trash came out that year and cut a pretty original punk path, with strains of the ’77 era, post-punk and anarcho stylings. In all honesty, though, I didn’t hear that band until much later on.  

I’m sure I missed a lot, especially from the non-English speaking world, but the records I’ve covered here make a compelling argument for 1981 being a crucial year, the bridge between the ’77 era and what followed throughout the 80s. Many of those bands’ influence can be felt to this day.