Why why why but why? Well, why not?
In a world ruled by chaos, people have always needed some semblance of stability to cope with life without falling into madness, despair or shoegaze. Some choose religion because absolute truths construed as eternal and transcendental are reassuring and because it is looks like a logical, if lazy, choice. Others choose the footie because the love for your club is immortal and thicker than blood. Pets can be a solution because a dog's love is unconditional, comforting and stable. Punks would go for d-beat because not only has the genre not evolved much throughout the years but because it is not supposed to, it is seemingly unaffected by time, immutable. You can't get much more stable and anchored than this. Of course, there have been evolutions in terms of production, music does not exist in a technological vacuum, some bands did bring new elements as far as textures are concerned and others played with the degree of referentiality (aural and visual), an essential part of the genre in itself. But still, the potential for change is limited indeed. And well, I need stability right now and d-beat appears to be a pleasant way to indulge. And to be honest, it is fun.
To make things clear, I will only be talking about orthodox d-beat and "just-like-Discharge" bands here, just like I did in the two previous d-beat series The Chronicles of Dis in 2016 and Sonatas in D Major in 2019 (and needless to point out that I also wrote about such bands in transversal series). It does not mean that all the bands will sound exactly the same. Well, it will if the genre does not particularly appeal to you or if your don't know your Disclose from your Dischange. But the idea is to focus on the variations or absence thereof, the details, the context, all the tiny things that make a band stand out and draw the lines between absolute Discharge clones, proto-d-beat raw punk lovers, orthodox d-beat and even "just-like-Disclose" bands, a category that did not exist in the 90's and 00's. The selection was particularly difficult this time because I decided to cover a long period, from 2008 to 2023 (Sonatas on D Major tackled the 1991-2006 span), and there have been literally hundreds of d-beat bands, or rather bands claiming to play d-beat, in the past 15 years and I had to settle for 21 (obviously the length of the reviews will vary). Punk changed drastically between 2008 and 2023 with the scene becoming irremediably and vitally dependent on the internet and social media. Playing traditional d-beat in the mid 00's and today are two very different sports. With youtube, you can have access to every one of the most obscure dis-influenced bands of the 80's and as a result it is much easier to play specific "niche" referential hardcore punk. Not so much in the 00's.
And what better example of this shift than No Fucker from Utica, a band that I thought had been dead for years but actually toured Europe this spring. They formed as early as 2002 and Conquer the Innocent is the last record they released in the 00's. At a time when neocrust and stenchcore dominated the punk airwaves (with Japan being the usual exceptions), No Fucker were a very different scruffy animal, a proper d-beat raw punk band, one of the last of their kind in that decade. The 90's d-beat wave was long gone in Sweden by then and the few survivors like Meanwhile, Disfear or Diskonto no longer relied on the primitive raw aggression of the genre. In North America Deathcharge had turned into an excellent dark punk act, Decontrol had split up and Holokaust's raw hardcore period was short-lived. Tragically, Kawakami, and with him the immensely influential Disclose, passed away, turning him and his baby into a legend and probably the most appreciated d-beat band ever. The late 00's were a peculiar transitional time.
It has to be said that Disclose were the inventors of the concept of "d-beat raw punk", a specific take that relied as much on Discharge as on the proto Discore, the pre d-beat bands, those raw hardcore bands that predated the actual "genrification" of Discharge-worship of Disaster and Dischange (which is when I personally placed the real birth of d-beat as its own genre). They were significantly influenced by Discharge, sounded like Discharge to an extent, but did not crave to sound "just-like-Discharge" as their work on textures underlined. And No Fucker belonged exactly in that philosophy. They were not the only ones to bow at the altar primitive and raw d-beat bands at the time, and Spanish bands like Destruccion or Firmeza 10 were even cruder in their "hardcore radikal" approach (an ambitious aesthetic choice in a time of overproduced neocrust and metal crust that certainly alienated many listeners).
That is not to say that there were no Discharge-influenced bands in the 00's, there were tons of them. After all, who doesn't use a dis beat? And let's not forget that Portland's Warcry, a serious "just-like" band were going strong. But No Fucker were one of the last of the d-beat raw punk of their generation and although they are mostly remembered for their splits with Disclose (their major modern influence, undeniably) with whom they toured in States, they are not necessarily looked at in depth. No Fucker is a band aimed at fans of Discharge, fans of Discharge-influenced bands, fans of Discharge-mimicking bands and (all euphemisms for nerds).
Their music is as much a display of great raw hardcore as it is a loving reflection and a comment on the Discharge phenomenon itself. The name of course refers to the notes on Discharge's first Ep that said "thanks to no fucker" so from the start, if you do not get the reference, you can be a little left out of the fun, not that it is the band's intention (I assume) but you will not "get the ref" as Gen Z's say. The band's label is called No Real Music, a line taken from the song "But after the gig" and a song from the Ep is called "Realities of the war" (let's not even mention the Discharge font, that was already very common and a prerequisite of the genre and the last words of the Ep "svart framtid" like the 80's Norwegian hardcore band). You can see this in two ways. You can either find it ridiculous, a proof of the absence of creativity and "dis is getting pathetic" like Active Minds would claim, or you can say that it is a way to engage the listener in a network of common reference and a genuine demonstration of love for punk culture. And really, that will be a central aspect Last Night a D-Beat Saved My Life (as if you had not already guessed).
But let's talk a bit about the six minutes of music you will find on Conquer the Innocent, shall we? As I mentioned No Fucker are not a d-beat band in the same sense as Warcry or Meanwhile, they build on the rawness of early Discharge, on the Dis-inspired 80's bands that immediately followed and on a band that had already worked on such a synthesis, namely Disclose. The sound is perfect for the genre, raw, evidently, but still with a lot of energy (I love how the drums are really forward). The guitar sound is dirty and distorted but you can hear that it has been thought out and purposefully created and the vocals respect the old-school scansion, flow and accentuation. I can hear Shitlickers, early Cimex or Subversion on the first side, brilliantly executed, the second side is a little faster and include some Bristol-by-way-of-Japanese-style "crasher" rolls, adding some punch and on the whole Disclose's Tragedy is a close point of comparison (in fact they can be said to be as influenced by the actual record as they are by the influences of this record) but the distortion is not as prevalent here and I am reminded of the vastly underrated Decontrol too (dislickers pioneers I suppose). By its own standards, it is a flawless record.
The band released a discography for their recent tour and it is a good way to get all the band's material but the new Tombs Ep.
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