Ten Steps to Make Your Life CRUSTIER Starting Today (step 2): Oi Polloi "Outrage" Ep, 1988

Oi Polloi. 

A name synonymous with respect, integrity, resilience and invigorating raucous singalongs for punks all around the world since 1981. Of course, the band has had more members than I have had showers so far this year, however the dedication and positive energy that the singer Deek demonstrates on stage and on records is truly remarkable and, indeed, inspiring. Throughout their almost four decades of activity, Oi Polloi have released a lot of records so that one may feel understandably a bit lost looking at their discography. Because they have always been a staunch DIY punk band with anarcho politics, Oi Polloi remained in the DIY circuit and kept playing and sharing records with younger punk bands and releasing materials for DIY labels, while many self-proclaimed "bigger" bands proved to be nowhere as hard-working or honest in their approach. As time passed, and contrary to many old punk bands who were disconnected with the real DIY punk scene, Oi Polloi's sound has consistently evolved along global contemporary punk trends. As a result, you can say that most of their works reflect and capture the sonic moods of specific time periods while still retaining that distinct "Oi Polloi touch". And since this Scottish lot were very much alive and kicking (hard, it has to be stated) when the original UK crust wave started, it is little wonder that their late 80's output encapsulates some of the defining features of the old-school crust sound.

OP are a rare band in that everybody kinda likes them, maybe not love them, but at least show some sort of respectful appreciation for what the band stands for and for giving punks the cathartic opportunity to shout "Punk picnic oi oi oi!" once a year (sometimes twice if you're lucky). I first heard OP in my teenage years, that confusing time when "streetpunk" and oi meant the world to me, a romantic era when lyrics about "punx and skins getting drunk together on the street because they were on the dole and rejected by the system that they had to fight to survive" symbolised the essence of "real punk" and had a gospel-like quality. Admittedly the words were mostly abstract since still being a high-school kid I was neither technically unemployed nor "on the street" and was neither even that sociable nor a heavy drinker. It was more of a teenage fantasy than anything I guess. But anyway, my best mate had taped an album of a mysterious band called "Oi Polloi" which I remember he described as a great oi band (but then, with not one but two "oi" in the moniker, the opposite would have been nothing shirt insulting) with a singer sounding like he'd swallowed a whole box of rusty nails. It was Unite and Win!,  of course, OP's first album, quite possibly a tape of the Step-1 reissue of 2001 but I never owned it so it is just an overeducated guess. I really enjoyed the tape and thought the massive terrace-styled chorus were ace but as I was getting more and more into Crass and official anarchopunk bands at that time, I also appreciated that some songs, judging from their titles, seemed more serious. The extraordinary realization that there was a whole anarchopunk scene in the 80's coexisting with the so-called UK82 wave was one of biblical proportions and I dove headfirst into that black and white world adorned with doves, circled E's and slogans written in the crass font. In fact, you could say that I am still happily swimming. The year 2002 proved to be crucial in my relationship with OP as it was marked with two important events. First, I obtained the Outraged By the System cd that compiled 1988's Outrage Ep and their 1987 split Lp with Toxik Ephex and should therefore have been called The Crust Collection (but I doubt Step-1 would have been up for it as it would have deterred the baldies from getting it). This cd was a right kick up the arse as it blew away what I had heard previously from OP. It was heavier, harsher and faster, more intense but still very groovy indeed. It was crust but bleary-eyed me did not know it at the time. Also in 2002, I got to see OP in action, live at an antifa festival in Geneva, Switzerland, and they were absolutely amazing, with a serious political message but also a lot of positivity and fun and I remember singing along hard on "The only release". This live experience was a second, well-deserved kick up my sorry arse and I felt silly for originally misconstruing OP as an "oi band with alright lyrics". I came home safe in the satisfactory knowledge that OP had been an anarchopunk band all along and have since only revisited their oi repertoire with great moderation (there are some enjoyable numbers if I'm being honest that do speak to the 16 year old fan of the Rejects, Blitz and the Upstarts that secretly lives inside me and only gets out when someone plays "East End" after 1am).

To accurately present all the evolutions of OP would be a tedious task so let's stick to one of the the band's major works, the Outrage Ep, released in 1988 on the famous Bristol-based label Words of Warning whose very first record was a 1986 compilation Ep entitled You are not Alone that already included OP with the song "Nuclear waste" (as well as Stalag 17, Hex and Symbol of Freedom, you can read my thoughts on it here). OP had already demonstrated rather aptly that they were more than able to deliver intense Discharge-inspired anarchopunk on their previous releases, and the very direct Resist the Atomic Menace 1986 Ep, on Endangered Musik, and the Unlimited Genocide split Lp with the magnificent AOA, released the same year on Children of the Revolution, featured raw, aggressive and quite convincing instances of that fast brand of anarcho music popularised by  the mighty Antisect, Anti-System or Icons of Filth, the latter being a major influence on OP's songwriting, especially regarding the combinations between the heavy mid-paced moments and the all out trashing ones, a delicate art if there ever was one. The band further increased the intensity on their two next releases that coincided with the arrival of guitar player Arthur who was admittedly rather fond of the then booming thrash metal sound (hence the numerous guitar solos, the man would join The Exploited later on). I am not going to delve too much on the 1987 split Lp with the insanely catchy and tuneful Toxik Ephex, but suffice it to say that the infusion of a more metallic guitar sound conferred a generous crusty crunch to OP's music. This development was perfectly logical as not only were many early 80's anarcho hardcore bands "going metal" by the mid/late 80's but a whole new generation of bands were pioneering a new sound, playing faster, darker and heavier punk music. Because OP have been around forever, their production is nowadays rarely approached from a global diachronic perspective which is a shame since the band's progression enlightens and illustrates that of anarchopunk and as the crust wave properly kicked in in 1987, it makes sense that the band's sound reflected that new development (although such processes are almost never the outcome of a conscious decision, they just happen during practice).

Outrage was recorded in 1988 with the same lineup as the Toxik Ephex split but the production is clearly more powerful and balanced and I don't think OP ever sounded as ferocious as on these four songs. The title song "Outrage" is a crushing metallic discharge-y number like Antisect and AOA at their most intense with a thrash influence reminiscent of Final Conflict or Legion of Parasites and probably too many solos (but then that's also what makes such records so charming). The next one is the anthemic "Thugs in uniform", a song that has been medically proven to coerce punks into raising their fist and sing along (still one of Nature's greatest mysteries). While written and recorded as an oi song in its early version, on this Ep "Thugs in uniforms" sounds like Hellbastard teaming up with Icons of Filth to cover the Cockney Rejects. It retains the yobbo punky snottiness of the original but with a crustified moshing power complete with wanton "huh". Just perfect. I absolutely love this song. The opening scorcher on side B might be my favourite though as this rerecording of "Resist the atomic menace" blows away the original. Starting in utmost epic fashion with a heavy mid-tempo beat and a galloping thrash riff, the song then explodes into an uncontrollable cavemen crust storm with classic OP singalongs for good measure. The level of intensity is through the roof here and I particularly appreciate how the song goes back to the early stenchcore metal part with added anarcho spoken words over it. Genuinely classic song that reminds me of Pro Patria Mori in terms of anarcho crusty metal punk power with hints of Concrete Sox and "Out from the void"-era Antisect. Phew. The last numebr "Death by night" is once again a direct, heavy and thrashing fast Discharge-inspired tune with massive chorus, crazy soloing and mean spoken parts. It is undeniably a great one taking cues from aforementioned scruffy bands and I am also hearing a Swedish influence, like Anti-Cimex or Crude SS maybe, which would make sense of course. The sound on Outrage is heavy and intense with the appropriate rawness, highlighting the band's ferociousness as the drum pummels, the guitar thrashes, the bass thunders and Deek alternately vociferates with his distinctive gruff tone or vehemently recites political speeches. This is uplifting, energetic and powerful old-school anarcho-crust and unquestionably a classic Ep of the genre although it is seldom hailed as such, as if the band's longevity and different incarnations somehow prevented one to look at some of their works individually and contextually. Thanks fuck I'm here.          

 

Lyrically, OP hit hard as usual with straight-forward, in your face protest words about the dangers of nuclear power plants (in particular Dounreay in northern Scotland), police brutality, mad scientists and governments and multinationals plundering the Earth and its people. Pretty typical tropes but each song is accompanied by a short explanatory text providing some insight about the context as well as useful contacts to get involved in the struggle. The band even included a short and devastating review emanating from the evil "music press" likening their sound to "a breath of fresh ordure, way surpassing all expectations of dreadfulness" which made me giggle. It would have made a great title for a record. My only issue with Outrage is that the cover looks bland and very unappealing, which, for such an intense record, is a real shame and arguably any other piece of artwork from the insert would have been a better choice. I would even argue that, had Outrage been graced with a cover meaningly conveying its crusty anarcho power (especially in the light of some subsequent OP's artworks), it might be held in higher regards nowadays. Following the Ep, the band would release their utterly classic - and ace-looking - album In Defence of Our Earth in 1990, also for Words of Warning, this one clearly a well-known and appreciated work reflecting OP's songwriting flair as well as a certain diversity. Still, it does not beat Outrage in terms of sheer power. But then, few records do.  

     

Oitrage    

Ten Steps to Make Your Life CRUSTIER Starting Today (step 1): Generic / Mortal Terror "S/t" split Lp, 1988

Hallo there, how's life? 

It has been four weeks since the end of the confinement and, little by little, it looks like the average locals are slowly finding their way back to being their own self-centered arseholes in an open air environment again. Excruciatingly banal stories of how they survived lockdown through Netflix and virtual boozing session with their mates now fill the air like butterflies in spring. I suppose future anthropologists will analyze this gregarious storytelling frenzy as a truly moving sign of resilience proving that life - or what passes for life anyway - always finds a way. As for me, I find it quite perplexing that the inevitable global realization that modern life is basically a massive existential void - one fueled by our own vanity, our shortening attention span and our belief in a new trinity made up of the superficial, the performative and the spectacular - has not sparked more philosophical questioning about the culture of consumerism, speed and artificial abundance we call home. 

Like everything else, punk-rock has been put on the back burner. At this time of the year, Europe is always full of touring bands looking for gigs and a way to sell their new record and the main issue has always been how to respond logistically to all the demands. But now, as Subhumans once said, there's no more gigs, at least for a while and no punk festivals will be held this summer. Punk is a multifaceted entity composed of several species and subspecies (often referred to as "scenes") that can usually coexist and even sometimes interbreed, although the gathering of some antagonistic punk species (like tough guy hardcore jocks and gutter teen punks) is injudicious and bound to result in testosterone contests, venue bans or plans of split records, which is much worse. However, there is one particular gene that runs through all the different punk tribes: the festival gene. Punks can't get enough of fests. Festival organizers tend to blend species that can appreciate, or at least tolerate, each other in order to avoid too much confrontation, so that everyone on location wears similar tribal distinctions that makes the audience feel at home and part of a passionate and dedicated community. From the outside, it just looks like two hundreds black-clad scruffy drunks in a field pretending to watch other scruffy drunks trying to play loud music on stage. But festivals can be said to symbolize the apex of the punk year as they are spaces for the expression and reaffirmation of a collective cultural identity. Ideally booked during the punk mating season, summer, festivals are also perfect opportunities to parade in full regalia in order to boast and impress potential partners, belittle possible rivals and cement your punk credibility through the acquisition of tasteful shirts and badges (you can stream the records online so why bother paying for them?), or you can also share beauty tips, trade useful contacts abroad for your next tour and further develop your love for nature in lice-ridden camping sites that are little more than a barren wasteland littered with cans and the first wave of festival goers. Heaven.

With the festival season basically ruined, the delicate reproductive cycle and natural balance of punk is endangered as the hot new bands of 2020 will not be allowed to tour this summer and that ace-looking studded jacket you completed in March will be left vastly unseen, a real shame if one considers the number of likes it already got on Insta. So what now? With the cancellation of punk festivals, summer can quickly get bleak and I have a feeling that the crust species, always particularly fond of festivals because of their natural tendency to get dirty and their imperviousness to most natural infections and parasites, will be especially badly hurt. And when my people are in trouble, when suffering awaits them, when they are no longer able to enjoy an average Doom-like band at 3am while downing their twentieth can of lager of the day, well it does make the eye watery and one just knows one just has to do something, especially if one never shirks from doing one's duty, albeit at one's small personal level, to make a festival-free summer bearable. So why not revisit records from the classic crust era, from the late 80's to the early 90's, and from the cradle of genre, Britain. I have been longing to write about (sometimes minor) UK crust classics for a while and now is as good a time as ever to indulge in this difficult but delightful task that will hopefully cheer up my fellow crusties in these dark times and provide with fancy topics of conversation and perhaps enlighten some commoners in the process (open-minded me, right?). 

What a lengthy introduction... My congratulations if you have read that far, your lionhearted tenacity shall be rewarded. Let's proceed to the actual record, one that I am particularly fond of and yet does not really get the credit it deserves. The hometown of Alan Shearer, Newcastle, and its wider area have always produced quality punk bands and the two participants of this split, Generic and Mortal Terror, both hailed from this town and epitomised that Northern take on the mid/late 80's UK hardcore wave although in different fashions. To be honest, I selected the album because of Mortal Terror, a band that, as one of the very first crust-influenced crust bands, managed to synthesise all the characteristics of the foundational crust wave in a very free and unselfconscious manner. Few crust records sound as gloriously spontaneous and punky as MT's side of the split with Generic and I cannot overstate how much I like it and, in fact, for a self-proclaimed crusty to claim the opposite would be tantamount to high treason. Therefore, although Generic technically occupy the first side of the Lp, I will deal with MT first. Let's start with a bit of formative history. Trapped in a Scene tells us that there were a couple of pre-MT bands, none of which released a demo, though I would have loved to give Nausea a listen as it was made up of Duncan and Scales who ended up in MT, Steve who went on drumming for Senile Decay and Hellkrusher (and much later one The Vile) and of Mandy, on the bass, who would end up singing in Health Hazard. By early 1988, the first MT lineup solidified with the aforementioned Dunc on the guitar and Scales on vocals, another singer named Pug, bass player Phil and another Phil on the drums who was at the time also responsible for the epic rhythm section of Newcastle's undisputed crust heroes Hellbastard. Small world, innit?

I already wrote a bit about MT ages ago (well, in 2012) when I tackled their split Lp with Aural Corpse but the split Lp with Generic being my favourite, I had always been toying with the idea of ranting once again on the crusty allurement of MT. I have to concede that, at first, I thought that the split with Aural Corpse was the band's first. My reasoning - if flawed - was pretty sound and based on the theory of punk evolution which determines that the Antisect/Anti-System/AOA anarcho hardcore style predates the ENT/Deviated Instinct crusty mayhem. However MT did it the other way around, starting with crust savagery and ending up sounding like they were around in late 1984, which was fairly unusual. In our deleteriously hyperconnected world, the relative obscurity of MT remains mysterious and I am disconsolate to confess that my specially-made MT shirt has not yet proved to convert anyone to the band's greatness. Truly unexplainable when one considers that MT's music is crust gratification of the highest order and tick absolutely all the boxes you are entitled to expect from an old-school UK crust record. From their very moniker that manages to sound formulaic even in 1988, but is at least an honest indication as to what you are going in for, to the obligatory ten second joke "song", the numerous mid-tempo filthy metallic "stenchcore" moments, the hyperbolic dual vocal cavemen crust teamwork, the epic grungy introduction to the deliciously raw and urgent sound (the eleven songs were recorded in five hours for £29), the MT side is classic in the best sense of the term, reminiscent of early Extreme Noise Terror for the speed and the brutally angry vocals, Terminal Filth Stenchcore Deviated Instinct and Grind the enemy Axegrinder for the crunchy and dirty dark metal riffing, Ripper Crust Hellbastard for the epic crust power and even early Napalm Death and Sore Throat when MT sound at their most manic and obnoxious. Whenever I play their side of the split (which is often, hence the skips), my face light up with beatific glee and the moment when the first song "Horrible death" kicks in into that typical, quintessential early crust sound after the ominously catchy introduction, to me, that epiphanic moment basically signifies crustness in all its disgusting glory. The ultimate crash course in crust.

This recording is equally fascinating because it stands for an early instance of crust-inflenced crust music, meaning that MT were one of the first punk bands to borrow openly from the genre's forefathers - who were peaking at the time - and try to replicate and indeed synthesise the original UK crust sound. The force of the band in 1988 precisely lied in their youthful and direct synthesis of the crust style that was at its apex at the time and could even be said to become quite derivative at that point. Therefore, I would further that MT absolutely sounded like generic UK crust and that, if in the late 80's or early 90's it would have been something of a limitation, a couple of decades later, I would argue that it is precisely what makes it so good and the perfect synthetic introduction to the original sound of crust. Besides, if you are really craving for creativity you've got that moody anarchopunk tone on "Sick butchers" and an merry oi-ish vibe of "Yankee go home" that does not really work that well but you could argue that such creative imperfections and silly humorousness are part and parcel of the crust genre and are therefore legitimate. MT's insert is a traditional cut'n'paste artwork completed with a sloppy collage and the lyrics are politically-oriented and deal with with animal abuse, US imperialism and an evil man called Bernard.

On the first side of the Lp are another Geordie orchestra, Generic, who were, in a paradoxical act of self-awareness and humility, not that generic in the British context of the mid/late 80's. If you hold any interest in that part of the music scene, then you will undoubtedly be familiar with Generic. If the name does not at least ring a distant bell, I'd, first, recommend a serious re-assessment of your life priorities and second, an immediate exploration of the band's solid discography. I wouldn't blame you too harshly for this academic lacuna since, in spite of releasing three Ep's and two split Lp's between 1985 and 1989 and being really active during a crucial period of the UK punk scene, Generic are tragically seldom discussed nowadays. As usual for this type of band, I strongly suggest you read their chapter in Trapped in a Scene if you want all the juicy bits about how they came to be, but since I don't really have anything better to do right now, I might as well throw in a couple of trivia details. The band formed in 1985 in Newcastle and was made up of Sned and Micky, who used to play in the excellent anarcho band Blood Robots, and of Terry and Wizz from In Memorium (which I have never heard). The driving idea behind Generic was to play energetic and angry hardcore punk with uncompromising political lyrics and although it would not be irrelevant to classify the band in your dusty and thick "fast hardcore thrash" folder, some pieces of songwriting were still quite reminiscent of the golden anarcho age (for example in the band's frequent use of spoken parts or in some of their darker, more tuneful moments), an artistic take on the 80's hardcore genre that undeniably increased my liking for them. Sure, you can enthusiastically jump and wear bandanas to the music, but there is always a Chumba-like moment just around the corner as well (or even litteral Chumba members like on the Torched Ep).

I freely admit that I played the Ep's more frequently than the Lp's and I feel that the Generic side on this particular album would have made a good Ep, were it not for the strange and uselessly long dub outro to "Violation" and the rather forgettable untitled last song (more a joke than anything else I guess). By the time Generic recorded the songs for the split, the lineup had changed several times and the band even survived a separation. As well as drumming, Sned played the bass on this one, with Wizz on the vocals and Terry on the guitar. If you are looking for energetic, versatile and angry hardcore punk with raspy vocals this sunday then it might very well do the trick. The songs are mostly fast-paced but the many manic tempo changes and songwriting creativity, notably some delightfully heavy crusty mid-paced moments or eerie anarcho intros, keep the listener on his or her toes and engaged. Clearly not formulaic and taking inspiration from a wide hardcore spectrum, Generic stood for international hardcore punk, both musically and conceptually, more than any other British bands at the time. I can hear MDC, CCM, Siege, Negazione, Olho Seco, Heresy, BGK, Black Flag, Kuro and probably many others. While the creeping anarchopunk influence gives away that Generic are indeed an 80's English bunch (the accent effortlessly revealing the specific region), I would argue that the music's core, its inspiration lies in the international hardcore wave and in the desire to be a part of it in the philosophy of "act locally, think globally". A pretty good listen even though I keep thinking that with a bit of trimming it would have a smashing Ep instead of a decent split Lp. In terms of lyrical content on this one, Generic appear to be quite critical of "the scene" and all the stereotyping, especially as far as masculinity is concerned, it can generate. There are also songs of empowerment encouraging you to seize the day. Generic always had relevant and relatable political and personal lyrics and it is indeed very shocking to know that the singer Wizz later on got charged with sexual misconduct which understandably makes an official Generic discography impossible.

This split Lp was released on classic Darlington-based label Meantime Records (run by Ian from Dan) in 1988 and I'm starting to realize that I'm basically posting all the Meantime discography little by little. Damn. After this album, MT went on to release another split Lp with Aural Corpse with a different lineup on Looney Tunes Records before they split. Scales then went on to sing in Sawn Off (with Sned from Generic) in the late 90's and Afterbirth in the mid 00's while Dunc played in Grudge. Generic recorded a last Ep, Torched, after this Lp. Drummer Sned and first guitar player Micky reunited in the great One By One in the early 90's and played in many bands afterwards (without mentioning running Flat Earth Records for Sned).

Enjoy this humble album as it conveys a relevant image of what the DIY punk scene was about in the North of England in terms of music and honesty. I love it.

PS: unrelated to the issue but since it cannot be said enough: fuck the police institution, fuck white supremacy, fuck the class system. Fuck.  

Generic Terror

Distorted Hope and Cruster Rags: the Rise of Japanese Crust (1989/2019)

First, I wish to reassure my numerous faithful readers that their beloved leader and torchbearer of good taste in punk - if you need the vulgate I am referring to myself - is in rather good health and has been spared, so far, by that nasty virus roaming the streets and looking for an easy, and preferably weak prey to victimize, not unlike the "apolitical" skinheads of my youth who relished beating up teenagers who wore patches of Crass they deemed deeply offensive to their identity and anti-hippie religion. Those were the days. But anyway, I am sure that all my protégés will be relieved to know that not only do I stand uncontaminated but also that the Terminal Sound Nuisance staff has not been indulging in unproductive slothfulness in the past weeks. Indeed, their worrying natural tendency towards slacking, whenever it raised its ugly head, was harshly punished as I forced them to choose between listening to a 90's shoegaze mixtape or the whip (and they generally picked the latter as any sane person would). They were thus both incentivised and desensitised to work hard and provide their honourable sensei with the ground materials needed to complete his oeuvre, one that would, beyond dispute, replenish our mental energies and restore balance to the galaxy: three compilations of Japanese crust music covering thirty years of crasher madness, noiz addiction, apocalyptic stench and dove logos.  

Instead of engaging in pointlessly dull tasks like taking some fresh air or writing a lockdown diary showcasing the void at the centre of one's life, I decided to dive headfirst in the ruthless world of Japanese crust in order to extract its essence, its core, find meaningful ways to highlight it and create comprehensive but still palatable entries into the Japanese crust modes of expression. To be honest, it was no mean feat, and I am not just saying that to make myself look like an ideal of perseverance, it was a massive endeavour as I had to cut through hundreds of recordings spanning three decades to find songs that fitted my initial postulate. Since, of course, before I send the troops deep into Japanese crust territory, I had to think about what it was I was actually digging for. Doom-like cavemen crust? Epic Antisect-ish metallic crust? So-called Osaka-flavoured crasher crust? Or the specifically Japanese "crustifying" take on Swedish hardcore? Although an educated ear can always spot the Japanese crust bands, they nevertheless display a rather wide variety in terms of speed, mood and intent. What unite those bands, however different they might objectively sound, lie in the very articulate referentiality, the level of fervid intensity and the common hyperbolic tension that permeate the music. I have pondered about the identity and guises of Japanese crust in the past on several occasions for the blog, most notably in the series Japanese Crust vs the World and Noize Not Music is a Fine Art so I point you in these directions if you need more background information about and examples of Japanese crust's referentiality and thunderous vibe. 

Because crust has been a genre capable of maintaining a high level of popularity and quality in Japan to this day, a single compilation would have fallen short of illustrating the density of bands and the different evolutions that crust initiated in a country where punk, in all its manifestations, is and sounds very special. In the end, I settled for three compilations, one for each decade. I am aware that this is not without its shortcomings. Some bands have been going for more than a decade - indeed the immortal LIFE could have been included on any of the three volumes - while others basically sit between two decades. On the other hand, many of the bands appearing on the first compilation, about the 90's, can without a doubt be considered as characteristically "90's crust bands" while many of the more contemporary bands have that typical overdistorted sound that is rather common these days and will, I am sure, be known as a typical "2010's sound" in the future. So while it might not be ideal, I still feel this is the most relevant means of classification available to me. 

Another possible point of contention is, obviously, the selections themselves. As you can see, some bands that technically do not play crust music made the cut. In other terms, there are NON CRUST bands on CRUST compilations. Coming from someone who has always been despotically strict where crust boundaries were concerned, who never missed an opportunity to disparage mediocre crusty posers and who turned Terminal Sound Nuisance into the respectable establishment for elite level crust punx it is known for today, rather like a kosher tag but for the crust cult, the admission of non-crust music into a self-proclaimed crust compilation can be seen as somewhat problematic, disharmonious, if not blasphemous. But then, as cooler prevailing heads would offer, one also has to consider the aesthetics of the bands concerned. Although I am well aware that bands like Frigöra or Isterismo did not abide by the crust rules of music, they used a lot of crust references in their artworks or other paratextual elements so their presence does make sense in the broader context of such selections. Similarly, a band like Framtid never clamoured to play crust music as their obsession revolves mostly around the Swedish hardcore but their unabashed love for the raw mangel sound is precisely shared by many original crust groups so that in the end they are still in the vicinity and can therefore be invited to the party. The pure d-beat bands however were not included since the worshipping of Discharge belongs to a different, though related, genre.

I did my best to be exhaustive and relevant but unfortunately, and contrary to appearances and in spite of my resolve, I am not quite omniscient and I may have omitted some bands that I am either unaware of or deemed too far from the basis of reasoning I subjectively postulated. I wish I could have included cavemen crust acts like Indistinct Unrest, Crusthead Humanerror (yes, that is their name!) or A.K. but the songs were barely audible and unfit for human consumption, though if you focus long and hard, you can make out some tasteful grizzly shouts. Too bad. As for Condoom, I have sadly never got to listen to them but my heart, along with some obscure internet nerds, suggest that they too would have a rightful place in such compilations. What you do get in the end are three compilations that are about 70 or 80 minute long, with 102 bands, and as many songs, in total. As usual, my masterful compiling technique allowed me to equalize the songs like a boss for the most part and you will concur that listening to hours and hours of harsh distorted punk is not always the most pleasant of tasks, though it is clearly one worthy of the Crust Medal of Merit. 

Finally, I hope you enjoy the compilations. They were, as usual, made out of love, and you should enjoy, immoderately and irresponsibly, the pummeling walls of distorted aggression and apocalyptic despair that make up this vernacular crust genre. For a long time, I was rather suspicious of, if not a little antagonistic to, Japanese crust. Of course, as any self-respecting punk with unflinchingly good tastes, I loved the metallic variety of the Japanese wave and praised bands like SDS, Effigy or AGE, but found much of the Japanese crust bands too redundant and too prone to imitativeness. With time, I learnt to appreciate the peculiar art of emulation and referential aesthetics so characteristic of Japanese crust (being a massive sucker for Antisect, early Doom, Sore Throat and the Bristol noiz helped too) and I have grown to become a genuine lover of their local adaptation of this multifaceted genre that has tragically vanished in many places during the past decade but that punx keep alive and well over there. And this commanding loyalty is something I greatly admire. Up the crust.

Below are the tracklists. I am currently uploading the fuckers onto youtube but my computer is old so it takes forever.

1989/1999:

1. AGE “Exploding insanity”, Exploding Insanity mini Lp, 1999 (Niigata)
2. LIFE “Eco system”, The World Lies Across Them Lp, 1999 (Tokyo)
3. Truth of Arize “The day after”, S/t demo tape, 1998 (Kobe)
4. Crocodileskink “Discrimination”, S/t split Ep with Força Macabra, 1997 (Tokyo)
5. Victims of Greed “Mouth head”, No Hesitation to Resist compilation 10'', 1998 (Osaka)
6. Warcry “Hope for a change”, Keep Drinking Attitude demo tape, 1993 (Osaka)
7. Discord “Animal rights”, S/t demo tape, 1998 (?) (Tokyo)
8. Ability “System”, S/t demo tape, 1998 (Mie)
9. Socialcrime “Manzokusuruna”, Protest Noise Ep, 1998 (?) (Tokyo)
10. Battle of Disarm “Human disaster”, 反戦-反動物実験 - Join no army, police and politician split Lp with Brainstorm, 1993 (Tokyo)
11. Despair “The free world”, Final Noise Attack compilation Ep, 1994 (Osaka)
12. Golem “Mid”, Sadness demo tape, 1999 (Tokyo)
13. C.F.D.L. “Selfish shit”, Atrocity Exhibition 12'' Ep, 2002/1990 (Aichi)
14. Mindsuck “Blind and dominion”, Natural Crust & Punk Force compilation Ep, 1996 (Nagoya)
15. Lasting Noise Attack “Prejudice”, 3 Songs demo tape, 1998 (?)
16. Crusade “Dishonest the world”, No Trust demo tape, 1992 (Osaka)
17. Mental Disease “Red needles”, Get the Knowledge. Free your Mind Ep, 1996 (Kariya)
18. Collapse Society “Practice?”, Tokyo Crusties Conp, compilation Ep, 1994 (Tokyo)
19. Acid “Gray Earth”, Gray Earth Lp, 1991 (Tokyo)
20. Frigöra “Religion”, S/t Ep, 1995 (Kawasaki)
21. SDS “Riding on the ghorst at the midnight”, Pain in Suffering / Future Stay in the Darkness Fog split Lp with Misery, 1991 (Gifu)
22. Unwise “Worth of existence”, Worth of Existence Lp, 1993 (Tokyo)
23. Gloom “Scum”, Recomendation of Perdition 12'' Ep, 1997 (Osaka)
24. Äpärät “Disposition”, Chaos of Destruction comilation 3x Lp, 1997 (Yokohama)
25. Condemned “Disease germ in the present day”, To All Human Error demo tape, 1994 (?) (Osaka)
26. Instinct “Ordered brains”, Massenslavement demo tape, 1997 (Nakama)
27. Abraham Cross “Course for life”, Peace can't Combine 12'' Ep, 2002/1995 (Tokyo)
28. Hakuchi “World in a mess”, Gods Disturb Ep, 1993 (Niigata)
29. Macrofarge “In the world”, S/t split flexi Ep with Euthanasia, 1989 (Tokyo)
30. Defiance “Deformed peace”, What is Crust? What is Melo-Core? Be Different Hardcore? compilation cd, 1998 (Osaka)
31. Iconoclast “After the blood shed”, Who Does the Freedom and Equality Exist For? Ep, 1994 (Kanazawa)
32. Reason Why “Contradiction”, Final Noise Attack compilation Ep, 1994 (Osaka)
33. Reality Crisis “Chain & rule...united”, Deformed Society Ep, 1999 (Nagoya)
34. Antiauthorize “System roots”, Our Wind... Ep, 1995 (Tokyo)
35. Carnage “Change”, What is Crust? What is Melo-Core? Be Different Hardcore? compilation cd, 1998 (Mie)

1989/1999

2000/2009:

1. Contrast Attitude “Judgment of the cross”, Awave! / Now the World is from CHAOS to another more CHAOS... split Lp with Acrostix, 2004 (Mie)
2. Effect “Fight for freedom”, Effective Disaster cd, 2005 (Tokyo)
3. Voĉo Protesta “Scarred”, Slave to Convention – a Tribute to Doom compilation cd, 2007 (Tokyo)
4. Revölt “Destiny of doom”, Crust Night 2002: the War Begins for Them!! compilation cd, 2002 (Kumagaya)
5. Proof of Existence “What will happen tomorrow”, Scriptural Disaster Lp, 2003 (Yokohama)
6. Calamity “Destroyed oppression”, Crust Night 2003-2004: Destroy Amm War Bastards and we Know it!!! compilation cd, 2004 (Tochigi)
7. Agree To Differ “No justice in war”, System is Maintained by Us. If we suspect it, we can Unite to Break the fuckin' System!! split 2x Ep with Change, 2002 (Hiroshima)
8. Sacrifice “Beite beatha bas”, Crust Nights 2005 compilation cd, 2005 (Sendai)
9. Arize “Destroy!”, This is Arize World demo tape, 2003 (Gifu)
10. Peaceful Collapse “麻痺”, Reality? demo cdr, 2003 (Sendai)
11. Defector “Lunatic annihilation”, (パンクシステムデストロイ) Punk System
    Destroy Ep, 2003 (Osaka)
12. Urban Head Raw “Throw it away”, End of Restraint compilation cd, 2003 (Kitakyushu)
13. Unkind “(F)”, Crustie Not Hippies Ep, 2004 (Kanagawa)
14. Kriegshög “Extinction”, S/t split Ep with Deathtribe, 2008 (Tokyo)
15. Border Line “Lost in maze”, S/t demo cdr, 2004 (?) (Fukushima)
16. Equality “Revenge is peace?”, Our Lips Say Freedom demo tape, 2002 (Aichi)
17. Affect “Darkness silence”, Darkness Silence demo cdr, 2004 (?)
18. Argue Damnation “Manifesto”, Direct Action Now Lp, 2000 (Kobe / Osaka)
19. Screen Out “Innosent victims”, Despair of Ignorant Ep, 2000 (Ibaraki)
20. Minds Continue “No more army”, S/t Ep, 2007 (Tokyo)
21. Devastated Goes “Masscommunikill”, Devastation demo cdr, 2007 (Osaka)
22. Alive “Mind”, Mie City Hardcore 2 – Howlling Noise Crusties from Gates of Hell compilation Ep, 2002 (Mie)
23. Chaos Engine “陰核”, Chaos Reigns, a “Ray” of Hope Remains Ep, 2007 (Yokohama)
24. Effigy “Mortal war”, We Knows Our Guilty / Lama on Loppumassa split Ep, 2001 (Takamatsu)
25. Disdomestic Violence “Mad economists”, S/t Ep, 2006 (Saitama)
26. Tohchika “Noise room”, Crust Night 2003-2004: Destroy All War Bastards and we Know it!!! compilation cd, 2004 (?)
27. Death Dust Extractor “Slave system”, Slay Your Masters or Slave in Chains Ep, 2008 (Tsuyama)
28. Hermit Prose “Spiral of the Earth”, Down Beats Sect Ep, 2006 (Suita)
29. Reduction “Nature screams”, Social Disorder Ep, 2002 (Osaka)
30. Zoe “Slaughter”, The Last Axe Beat Lp, 2004 (Osaka)
31. Nationstate “Japanese title”, S/t demo tape, 2005 (Osaka)
32. Answer Crying “Punk rock sucks”, Under the Authority – Endulance and Lie are your Reality? Cd, 2004 (Aichi?)
33. Deceiving Society “Nonsense battle”, Detonation Cruster 12'' Ep, 2001 (Mie)
34. Acrostix “Eternal winter”, Awave! / Now the World is from CHAOS to another more CHAOS... split Lp with Contrast Attitude, 2004 (Mie) 

2000/2009

2010/2019:

1. Avvikelsse “Relief”, S/t Ep, 2016 (Osaka)
2. Sow Threat “Filthy chain”, S/t Ep, 2014 (Okinawa)
3. Ferocious X “Värld av skit”, Värld av Skit split Ep with Sistema En Decadencia, 2019 (Osaka)
4. Ulcer “Remains”, Vandalism Lp, 2017 (Kagawa)
5. Akka “Inverse proportion”, 5 Songs Ep, 2012 (Shikoku Island)
6. Subliminal Darkness “Personal greed”, 4 Tracks demo tape, 2012 (Gifu)
7. Lastsentence “Strange fruits”, S/t demo tape, 2011 (Osaka)
8. Attack SS “Nuclear time bomb”, No Nukes Ep, 2012 (Okazaki)
9. Strange Factory “In slat”, Fukushima Nightmare Ep, 2012 (Fukushima)
10. Framtid “Nuclear power genocide”, Defeat of Civilization Lp, 2013 (Osaka)
11. Disturd “Collapse”, Dark cd, 2015 (Kobe)
12. Massgrave “Yin and yang”, You are Freaks Too... tape, 2010 (Tsuyama)
13. Isterismo “Mentire”, Hardcore Inferno compilation Lp, 2010 (Tokyo)
14. Deformation Quadric “A.B.E. Weapon”, Anger at the Social System cd, 2017 (Osaka)
15. Zyanose “Condemn racist”, Permanent Damage split Ep with Enzyme, 2019 (Osaka)
16. Absurd Society “Refusal of the change”, Absurd-Society =不条理な社会 Ep, 2013 (Sapporo)
17. Disgust “Natural born enemies”, Power Corrupts split cd with Extinction of Mankind, 2010 (Nagoya)
18. Lastly “A look at the now”, Crazy Fucked Up Deadly Local Ep, 2014 (Hida-Takayama)
19. Unarm “核心を問う", Myth and Reality 311 Lp, 2013 (Tokyo)
20. Asmodeus “闇", Life? Demo cdr, 2010 (Tokyo)
21. Scene Death Terror “?”, live in Osaka, 2016 (Osaka)
22. False Insight “Masquerade”, S/t split Ep with Asocial Terror Fabrication, 2015 (Shizuoka)
23. Unconscious Nondiscrimination “?”, live at Huck Finn, 2019 (Gifu)
24. D-Clone “Where is it”, Creation and Destroy Lp, 2012 (Nagoya)
25. Radioactive “War must disarm 2017”, 8 Track demo cdr, 2017 (Tokyo)

26. Kaltbruching Acideath “Customary slaves”, S/t split Lp with Zygome, 2019 (Tokyo)
27. Defuse “Cry of roar”, Cry of Roar Ep, 2017 (Osaka)
28. Dropend “Narcissist paranoia”, Distortion Hell Ep, 2013 (Tokyo)
29. Asocial Terror Fabrication “Soak into the soil”, S/t split Lp with Instinct of Survival, 2018 (Tokyo)
30. Zikade “Extinct conductor”, S/t split Ep with Braincëll, 2019 (Ashikaga)
31. Deformed Existence “Elitists (who spikes and vivid)”, Hate With Patriotism demo tape, 2019 (Tokyo / Niigata)
32. Zay “The question of silence”, Silence and Clamor demo cdr, 2015 (Mie)
33. Axewield “Ominous dream”, War Machine cd Ep, 2010 (Takamatsu)

2010/2019

  

Condannato A Sperare: a Look at Classic Italian Hardcore 81-90 (part 2)

Alright then, this is the second and final part of my brisk and hopefully pleasant walk throughout vintage Italian hardcore punk music. Since I am afraid many of us are still in lockdown, let's call such compiling endeavours mental artistic journeys that you can still pogo to in your bedroom (or in the bathroom if you do not want your partner to judge you). 

If you want to know more about the motivations behind these compilations, I refer you to the first part. Condannato A Sperare (a line from the exquisite last song of the mix), like its twin, aims at illustrating with relevance what made the Italian hardcore wave so special and unique (and, looking with disbelief the insane prices that some 80's specimens can reach, so sought after). You could argue that the Italian sound was the perfect synthesis between US hardcore, British anarchopunk, Bristol noize punk and Discharge-influenced hardcore punk and I guess you would not be wrong. But then, you could also contend that, for all its influences, Italian hardcore was first and foremost its own style and offered a new, rejuvenated aesthetics of punk anger and it is not coincidence if the adjective most commonly associated with Italian hardcore is "furious". 

The influence that Italian hardcore currently holds in the DIY hardcore punk scene is difficult to evaluate. While it is undeniably a prestigious and highly qualitative scene in the eyes of serious hardcore lovers and the fact that the genre has been steadily and widely reissued since the mid 2000's points to the existence of a genuine, if limited, interest. However, outside of Italy, it would be far-fetched to claim that 80's Italian hardcore music is a pregnant influence and referential point for contemporary raw hardcore bands, that generally prioritise American, Swedish, Finnish and Japanese worships, with bands like Wretched being a major exception. Rather strange methinks since some Italian hardcore bands utterly correspond to the notion of "raw punk". 

Anyway, like Quali Domani Quale Futuro, this compilation has 55 bands and 55 songs in a little above 90 minutes. This should get you through the weekend.

Enjoy!

1.Upset Noise « Vita militare », Vi Odio / Warfare split Ep, 1984 (Trieste)

2.5° Braccio « Rabbia e disperiazione », Torino 198X, 1983 (Torino)

3.Infezione « Cazzo per cervello », Oppressione Quotidiana demo tape, 1986 (Modena)

4.Auschlag « Distruzione totale », Last White Christmas 1, compilation tape, 1984 (Viareggio)

5.Riot « Non abbiamo futuro », Il Destino Dell'Uomo compilation tape, 1984 (Chioggia)

6.Disopia « Vittoria », Pace None Significa Vivere Nel Piricolo di Guerra demo tape, 1984 (La Spezia)

7.Attrito « Elogio al vagabondaggio », S/t demo tape, 1990 (?)

8.Reig « Violent change », Disarm Ep, 1982 (Macerata)

9.Bloody Riot « Polizia assassina », S/t Lp, 1985 (Roma)

10.Upside « Golpe », Nati Per Soffrire Ep, 1983 (Sassuolo)

11.Uart Punk « Vita militare », S/t demo tape, 1981 (Messina)

12.Drastic « Agonia ecologica », Tra Il Sogno e la Realtà compilation tape, 1984 (?)

13.Alternativita « Nessun futuro per il qualunquismo », La Notte Dell'Anarchia compilation tape, 1984 (Milano)

14.Pedago Party « Morire a Beirut », 4 Per (A)//(A)(A) Per Tutti compilation Ep, 1984 (Piacenza)

15.Capite Damnare « Lunga vita... alla morte », S/t demo tape, 1988 (Milano)

16.Peggio Punx « Rumori », Disastro Sonoro Ep, 1983 (Allesandria)

17.Kobra « Occupazione », Corri Nel Sangue Dei Tuoi Nemici Ep, 1985 (Milano)

18.I Refuse It! « Sacrifici umani », Sfregio Permanente split tape with CCM, 1983 (Firenze)

19.Bacteria « Non vogliamo piu pagare », Schiavi Nella Città Più Libera Del Mondo compilation Ep, 1982 (Bologna)

20.Blaxfema « Vivisezione », Menes demo tape, 1985 (Pavia)

21.Punk Sound Against « Non abbiamo bisogno del paradiso », Nostra Pelle demo tape, 1982 (Sassari)

22.Acid Cocks « Vita sbagliata », Raptus – Negazione & Superamento compilation Lp, 1984 (Modena)

23.Cani « Guai a voi! », Guai a Voi! Ep, 1983 (Pesaro)

24.Stigmathe « Corri e sopravivi », Suoni Puri Dalla Libertà Ep, 1983 (Modena)

25.The Skulls « V'oi! », Punk Territory Vol.4 – Italian Hardcore 1981-87 compilation cd, 1995 (Catania)

26.CCCP Fedeli Alla Linea « Militanz », Compagni, Cittadini, Fratelli, Partigiani 12'' Ep, 1985 (Bologna)

27.Sinky Rats « Odio »; Vergognati mini Lp, 1985 (Torino)

28.Azione Non Violenta « Morti per amore », Soggetti Nervosi demo tape, 1985 (Falconara)

29.Last Call « Non posso piu aspettare », Tra Il Sogno e la Realtà compilation tape, 1984 (Bari)

30.Raw Power « Burning the factory », S/t demo tape, 1983 (Poviglio)

31.Chain Reaction « Personal autodistruzione », Gabbie Ep, 1985 (Bari)

32.Pravda « Quarto potere », Autogestione! compilation tape, 1983 (Cividale)

33.Obiezione « Vuoto », L'Incubo Continua compilation tape, 1983 (?)

34.Anti « Neuro », Racc N.1 split tape with Sottocultura, Stalag 17 & Impact, 1983 (Firenze)

35.Irah « Marconi occupato », Nè Buoni Nè Cattivi... Soltanto Incazzati split Ep with Stalag 17, 1983 (Bologna)

36.Disper-Azione « Combatti », Sempre Immutada Fede Ep, 1985 (Como)

37.Stalag 17 « Anarchia nella mia vita »,  Nè Buoni Nè Cattivi... Soltanto Incazzati split Ep with Irah, 1983 (Bologna)

38.Basta « Caos », Non Posso Sopportare Questa Sporca Situazione Ep, 1984 (Certaldo)

39.Diserzione « Lotta per non morire », Quando Si Sentirà L'Ultimo Rimbombo... demo tape, 1982  (Domodossola)

40.Strage « Rifiuto », La Note Dell'Anachia compilation tape, 1984 (Milano)

41.Digos Goat « Una visione di morte », Il Delirio Lp, 1988 (Cermignano)

42.Fottutissima Pellicceria Elsa « Si vive per morire », S/t demo tape, 1983 (Gorizia)

43.Disarmo Totale « Vegetarianismo », Opzione Zero demo tape, 1982 (Stienta / Ferrara)

44.Sottopressione « Religione imposta », Rovina Hardcore – Live 1981-1985 compilation tape, 1995 (?)

45.Declino « Coscienza distruttiva », S/t Ep, 1983 (Torino)

46.Negazione « Incubo di morte », Condannati a Morte Nel Vostro Queto Vivere Ep, 1985 (Torino) 

47.Nerorgasmo « Distruttore », S/t Ep, 1985 (Torino)

48.Shockin' T.V. « Solo parole », Milano 1983 split Ep, 1983 (Milano)

49.Juggernaut « Juggernaut », S/t demo tape, 1983 (Firenze)

50.Warhead « Fuckland islands », In Rock We Trust demo tape, 

Condannato A Sperare