Sunday, 5 December 2021

UK84, the Noise Ain't Dead (part 4): Leukaemia "Demo 1984" Ep, 2016

Originally, I expected this piece to be a difficult one to pull out. First, let me apologize, with humility. I incidentally inserted the wrong download link on the previous write-up about Legion of Parasites. Basically, I pasted the Leukaemia link instead of the Undesirable Guests one but then I presume the heedful readers of Terminal Sound Nuisance - yes, like yourself for example - will have noticed this unusual blunder and realized that this was no LoP and another band entirely and I am grateful to the benevolent soul for quickly spotting my faux-pas and calling for its prompt correction. So I salute your vigilance my noise-loving Comrade. But my gaffe is not the reason why I thought this post might prove to be quite hard as I have never been one to be in any way hindered by loss of face. The main concern I had was that there is not much information about Leukaemia and that therefore there was an alarming chance that I might not be able to show off my usual breathtaking knowledge about punk-rock with accurate details and insight about the life and death of the band and what they did music-wise after the demise of Leukaemia and their favourite brand of cider. 

Unfortunately, this 2016 reissue does not include any particulars about Leukaemia which, I think, is a bit of a missed opportunity. Quite austere really. I am one to support any effort aimed at offering a new life and exposure to little-known, obscure bands and recordings and this is where the record's intentions point to: allowing unsuspecting punks, and potentially a new generation, to discover what Leukaemia were all about. The Ep still is the only way to hear and enjoy the songs with a decent sound and, if, I feel, constructive criticism is necessary, I was not the one heroically getting through the long and sometimes laborious process of releasing it so that I am, first and foremost, thankful, even if a little frustrated too because everybody's looking for a little bit more, innit?


So Leukaemia, right? Clearly not the most famous band of the era and I suppose that, if you are familiar with them at all, you either saw them "back in the day" and probably forgot much of their live performances because you were still in your teens, got plastered at all gigs then but not so drunk that you did not pick a demo tape; or you downloaded the demo from the colossal blog that has been uploading an insane amount of punk recordings from all decades and countries since 2008, a prehistoric time when there was neither Instagram nor Snapchat and Twitter was still only a small twat farm. The blog is very much a database in which you can lose any sense of time and priority and slowly starve yourself to death because you are too busy downloading 80's Czech punk-rock. There are worse deaths than that and the blog is shoegaze-free so that it is very much a safe space for all. However I did not personally become familiar with Leukaemia through any of these two ways (the first one can be eliminated straight away as I was much too busy baby crawling in 1984). 

Sometime in 2009, I downloaded a tape compilation called To Russia With Love from a blog, out of curiosity, a trait that I consider to be the greatest quality only as far as punk music is considered (I am no melomane and others genre leave me cold). I sadly cannot remember the name of the blog, at all, and could not find any trace of it on the web so if you were the one behind the uploading, I wish to thank you solemnly. At that time there were a lot of fine, praiseworthy punk blogs and, well, my memory is failing me right now. To Russia With Love looked a little mysterious and, as a consequence, alluring to my thirsty for knowledge self. Being a lifelong fan of British punk music, the compilation tape's lineup appeared exciting indeed as it included some UK bands I had absolutely never heard about. While some bands on the tape were already mates (like Liberty, The Deformed or Symbol of Freedom), others were merely passing acquaintances (I only knew the one song from Anathema) and a significant number were total strangers that eventually proved to be brilliant. Elating indeed. Schutzhaft were a snotty and direct catchy classic Mortarhate-ish anarcho band with a brilliant guitar sound; Co Exist were a tuneful Alternative-like act; Ted Heath were a strange mix of progressive rock introduction and hard-hitting raw UK hardcore punk Last Rites. But the band that really caught my attention was Leukaemia.


To Russia With Love - the title is actually completed with "Piss Off to Russia Yourself" in case you were wondering about some sort of worrying James Bond worship - was released in 1985 on LOL Tapes, a label I did not know when I first heard the comp but was very meaningful locally (and yes, the name has not exactly aged well but no one knew at the time what would become of the acronym "lol"). Based in Surrey, LOL Tapes - meaning Love Of Life - was run by Lorenzo from Anathema and existed from 1984 to 1987. Beside releasing Anathema demos, including one shared with the amazing Systematic Annex, and tapes from bands like The Apostles, Martial Law or Post-Mortem, LOL put out many homemade tape compilations that exemplified the staunch autonomous DIY spirit, the radical politics and sense of togetherness of the anarchopunk scene at that time. Discogs tells me that there were eleven of these compilation tapes (there were three volumes of Persons Unknown) which usually included smaller bands that often did not have vinyl releases. Seeing the lineups in 2021 might give the wrong ideas about the level of popularity of the bands but I would assume that, in 1984, bands like Passion Killers, Onslaught, Kulturkampf or Dirge - who all enjoyed proper vinyl reissues in the last decade or so and have become rather known about - were not exactly headlining festivals and very much local bands (though I could be wrong, in 1985 I was still babbling, and not about Discharge, so what do I know). Many other bands have remained locked in obscurity and unfortunately, so far I have only been able to hear To Russia With Love and Somewhere Over the Rainbow There's a Better World (the latter wan the award of "Cheesiest Name for Punk Mixtape" in 1985) and although many of the songs from the compilations are now available elsewhere, I would love for someone to upload them properly. They are pieces of our common history and provide a look at a particular time, place and stance and are therefore significant.


To get back to Leukaemia, their two songs appearing on To Russia With Love, "3rd World annihilation" and "Pain and suffering", were previously included on another LOL tape, the split demo tape shared with the aforementioned excellent Schutzhaft for which Leukaemia had recorded a total of seven songs, which make up the 2016 Ep. Leukaemia were from Peterborough (like Schutzhaft) and Stamford and were part of a thriving local scene in the mid-80's with established bands like Destructors or English Dogs and certainly dozens of other local bands that I am unaware of. Leukaemia can rightly be said to be one of those "underestimated bands" that punks regularly debate about. Sometimes such verbal jousts can be endless - they obey to the typical "the pettier, the longer" theorem - but I can safely claim that Leukaemia is a hidden UK hardcore gem and maybe the best band of that category that you have never heard of. The demo was recorded (live in the studio I assume) in November, 1984, in a studio in Peterborough (although the singer says "Cheers goodnight" at the end of the song "Roman conquest" so it is a little confusing, perhaps it was just in jest) and you'd be very wrong to expect Leukaemia to unleash the kind of chaotic noise-loving Bristol-styled (like Dead Meat for instance) that UK punk is oft associated to. 

First, the band's recording is really tight, especially considering that it was only a first demo and that the deliciously raw production indicates that there probably were not many takes or tracks. Second, Leukaemia were more diverse than your average punk band and I see them, not unlike Legion of Parasites, as an early example of a UK punk band being influenced by American hardcore. They do not really sound like a US hardcore act though. The chorus clearly have that British sensibility, the themes, occasional dual vocals and spoken bits and anarchopunk topics also point to a national tradition. But still, the demo hinted at what was to come: the rapid spread of non-British punk influences, which was, for such an insular place, not to be taken for granted. Leukaemia manage to combine a punky singalong vibe and catchy UK punk arrangements with more subtle guitar parts, thought-out bass lines and some vocal work and energy typical of early American hardcore. If the band was rather fast, they always kept a tuneful, hummably memorable side, unlike the more Discharge-oriented bands of the period and on that level they do remind me of a cross between bands like Potential Threat and Legion of Parasites, other mid-80's punk-as-fuck proto-hardcore bands like Last Rites, The Fiend and Criminal Justice, some US hardcore of course and even Conflict for the threateningness. The guitar has a distortion but does not sound heavy in the mix and the clear sound of the bass drives the thing. The pissed vocals are high in the mix and you can understand everything they are saying which makes the songs even more aggressive. I personally love how the drums sound like, primitive and energetic (and there is some solid drumming on the demo), and I feel that, for this kind of raw punk hardcore, this recording is quite ideal. 


Someone mentioned in the comment below the youtube upload of the demo that Leukaemia were influenced by The Stranglers, Rudimentary Peni, Discharge and American hardcore and who am I to say that a cocktail of these four wouldn't sound like them? If you are looking for genuinely raw dynamic fast punk music, the 1984 Leukaemia demo will delight you. My favourite song has to be "Reactor disaster" with its dual vocal work and opening spoken part it basically pushed all the right buttons. I am an easy man to please. The band did not record anything else, which is a shame, since the demo definitely displayed potential and one can only dream about what the boys could have achieved in a proper studio and with a proper vinyl release. Some of the songs are actual hits and, had they been given the power the band probably craved for, the world could have been a very different place. Or at least I would doubtlessly own one more record. 

This Ep was reissued by Pro-Anti Records, a label based in Switzerland and run by one Grant Dow, who previously played in The Desecrators, an epic local crossover act that also had Gizz Butt - from English Dogs and yes, Prodigy - on the guitar. So I suppose Grant Dow lived at some point in Peterborough and moved operations to Switzerland. I have no idea what or if the members of Leukaemia did afterwards band-wise so you may enlighten me.   

Monday, 29 November 2021

UK84, the Noise Ain't Dead (part 3): Legion of Parasites "Undesirable guests" 12'' Ep, 1984

Legion of Parasites is one of my favourite band names ever. Sure, it might sound like a bit of a mouthful at first, especially for non-English speakers - witnessing your average French punk even trying to pronounce it is a once in a lifetime experience - but LOP is a name that works superbly, both metaphorically and literally, and it always retains a majestic punk-as-fuck connotation regardless of the meaning you see in it. I first came across this truly exquisite name on Ebay, of all places, which is, I'm well aware, something of an anticlimactic and unromantic revelation that could have cost me some punk points back then but - in a world where (dis)liking a youtube link is the most common acceptable way to engage with new music - sounds almost charmingly innocent 16 years later. I wish I could say I first heard of LOP from a vintage 80's mixtape that a benevolent older punk gave me as a sign of acknowledgement and gang recognition or upon finding out that my mom had had an affair with the bass player when she visited England in the early 80's, but reality is often trivial and disappointing and still we have to live with it as best we can as my wellbeing coach would say. 

A guy on Ebay - he would later on create the very exhaustive UK punk-oriented Nation on Fire blog - was selling homemade cdr's with many - and I do mean many - rare and obscure recordings from UK punk bands that I had never heard of. It was the mid-noughties, I was not the stinking rich bastard I have now become and my Dickensian lifestyle meant I did not have an internet connection at home and could not download anything from soulseek. Therefore, once you got past your reluctance to sell your soul to the evil speculating, commodifying machine that was - and still is - Ebay, getting cheap DIY cdr's full of old-school punk goodness was a good solution and allowed me to become familiar with dozens of incredible anarcho and UK82 bands (A-Heads, Fallout, Potential Threat, Death Zone...) that I had never heard of and I could not find anywhere else. It was a time of excitement, wonder, discovery, celibate and also of waiting since the cdr's did not just instantly appear on your doorstep. Now I check new bands by clicking on a Google-sponsored youtube link and then complain about it on a Google-sponsored blog so that ordering cdr's on Ebay may almost sound deliciously quaint which is already saying a lot about the prevalence of nostalgia.

 You've got to love the tiny shield and the determined facial expression

Reading the name "Legion of Parasites" on that cdr list made me giggle like a schoolboy upon hearing a fart. Now, that was a name I certainly could relate to. In those years dominated by the pompous neocrust lexicon, the name sounded rather puerile, irreverent and fresh and evoked music you could eat your bogies to. Most of those cdr's came with a cheap xeroxed cover of some original artwork and I was looking forward to seeing how the band had transcribed the notion of the legion of parasites pictorially. The name was highly significant after all. Did it refer to how the State treated the young and the unemployed as social parasites to be crushed and tamed? Or did it mean that, in the face of state capitalism, you should resist and become a so-called parasite, live on the dole, on the fringes, squat buildings, shoplift and shower as little as possible (this last one is not compulsory but still recommended)? Perhaps it met both definitions as it would have sounded more relevant politically? Perhaps it was a comment on capitalism' s parasitic nature? And then it could also be adequately used by a spikes'n'studs unit getting smashed in front of a derelict brick wall they just happened to walk by? And being "a legion of parasites" could mean all of that at the same time! With such a moniker, I thought, you just could not go wrong. In spite of the many hypotheses I silently pondered on upon waiting for the parcel of cdr's - it was best to buy them in bulk - not once did I imagine that the visual accompanying the cd would be that literal. 

In The Day the Country Died, guitar played Sean said about the striking choice of name that "we - everybody - were just this legion of parasites on the face of the Earth really. (...) We knew we were parasites as well, but we were trying to change that, trying to put something positive back in..." which points to the people-as-parasites-under-the-capitalist-system theory and makes sense. However, the first visual of LOP I saw did not exactly reflect it. The early discography cdr displayed the front artwork of Undesirable Guests as the cover which shows a rather crude - I have seen better technique from middle-schoolers - drawing of a body louse dressed as a Roman legionnaire. Was it some sort of postmodern situationist statement about the performativity of our radical political projections onto art or was it just a matter of "wouldn't it be funny if we had a louse legionnaire on the cover"? The insect parasite trope was further developed on the backcover through a drawing - quite accurate this time - of a flea (or is it a lice? Because of Fleas and Lice I can never tell) which seems to indicate that LOP were quite serious about the literal parasite-as-organism visual theme and the title Undesirable Guests seem to suggest that those body lice may have settled, uninvited and unwanted but clearly determined, in a comfortable and warm locale of the nether region. No more shall be said on the subject. Rather surprisingly when comparing with Undesirable Guests', their first demos' artwork, Another Disaster and Death Watch, displayed typical 80's anarchopunk imagery of blurry warships and sloppy drunk-looking grim reaper so that the choice of going body lice on their first vinyl could appear somewhat of a bold decision. Unsurprisingly and for the best, LOP did not use that fascination for parasitic insects on their next work. Still, for all the oddity of the cover, I would claim that the cover of this 12'' Ep might be the most relevant visual representation of the "noise ain't dead" series: unpredictable, punk-as-fuck and chaotic. And I love it.

LOP can be said to be a classic early UK hardcore band so details about them are rather easy to find now. But still, let me brief you a bit. The band formed in Bedford more or less officially around 1982 and recorded their first demo the same. Another Disaster was a primitive and quite discordant thoroughly enjoyable twelve-song effort if you are, like myself, into raw and energetic snotty anarchopunk, a bit like a cross between early Flux of Pink Indians, Disorder or early Anti-System, with some songs pointing at the fast noisy hardcore unit they would soon become although a significant portion of the demo was still traditional mid-paced anarcho music. The next recordings, Death Watch and Party Time, both recorded in 1983 and released on a single tape emphatically illustrated that LOP were the fastest band in the land, especially with Death Watch. Relentless and absolutely furious hardcore punk with a proper rawness that made most of the competition sound a little tame, the songs making up the demo opened the cdr I ordered - which covered LOP's punk years, from 1983 to 1985 - and I remember falling in love instantly. 


To be fair, the recording might possibly be a little rough for some but I would argue that this typical fast 80's hardcore vibe with the angry and snotty vocal delivery of Cian - guitarist Sean's brother - and the anthemic singalongs actually has to sound raw. Mob 47 with too good a production would have not have sounded half as good. As mentioned, LOP were one of the fastest bands around (with 1982 Antisect just a little behind) and one of the first British bands to incorporate a US hardcore influence into their recipe while keeping a distinct UK touch at that point in time (they would little by little turn into a US-sounding crossover hardcore thrash act). Let's say that in 1983, the band sounded like a boisterous piss-up with early Antisect and Anti-System, Perdition's Disorder, Void and Neos as guests. Something like this. The demo was so good that Marcus from Pax Records included two songs lifted off Death Watch on the Bushell-bashing Bollocks to the Gonads 1983 compilation Lp that included bands from the anarchopunk world like Anti-System or Instigators, UK82 acts like Riot Squad and Xtract but also foreign hardcore punk bands like Crude SS or Subversion which, for the very insular Britain, was something of a novelty. 

The next logical step was of course for LOP to record a proper debut which materialized in February, 1984 in Rocksnake studios (fellow Bedford band Government Lies also recorded there). Undesirable Guests can be seen as a perfect record once you get used to the so-bad-that-it's-good artwork. Like the previous demo, LOP's 1984 12'' without a doubt delivered a severe blow of anarcho hardcore thrash and, as could be expected, the sound on the record is clearer and cleaner but still rooted in the raw punk tradition. In 1984, they were not the only band delivering goods of that sort in the world of hardcore, although you could claim that few others delivered goods of that caliber. But what made LOP stand out was how genuinely catchy and anthemic their songs sounded like. While most fast bands of the era were perfectly happy to inflict six equal slices of all out bollocking hardcore to the eager listener - and I for one am perfectly happy to be inflicted such an pleasurable hardcore punishment - LOP's songs offered some significant variations in terms of tunes and speed. In fact, on the record, LOP make me think of a hardcore thrash version of Subhumans. Of course, there is a vocal closeness but there are also a lot of clever guitar leads and inventive technical drum beats highly reminiscent, probably unintentionally, of the anarchopunk classic and it has to be said that, just like Subhumans, LOP were a tight and proficient lot by 1984. 

Keeping in mind that pervading Subhumans creativity, the first song "Promises" offers a solid rocking metallic blend of Broken Bones, Skeptix and Anti-System; the second one, "Savages" is a gloriously memorable almost oi-ish UK82 mid-paced anthem with a threatening singalong chorus that goes "We are savages"; "Party time" takes you back to a much faster intense thrash attack with highly snotty Disorder vocals and amazing drumming; on the other side, the catchiness continues with the speedy Neos-meet-Dirge "Eroded freedom" and its simple but effective chorus "No, no, no, no"; afterwards "Hypocrites" sounds like Sketpix on speed; and finally "Condemned to live in fear", arguably the best and most intense, relentless of the fast songs of the record and one of my favourite raw hardcore punk of all time, the prosody, accentuation and intonation on that song are pure magic, assuming that, like me, you see magic as something a spiky punk can actually pull out thanks to frustration, passion and a couple of cans. The energy permeating Undesirable Guests is incredible thanks to the very impressive and energetic drumming style and to the typically British defiant and juvenile vocal delivery that clearly marks LOP as a real PUNK band and, combined with the top notch hooks, singalongs and overall songwriting, makes Undesirable Guests one of the strongest UK hardcore punk record of the 80's that can easily please any punk subgroup, although for different reasons. This slice of greatness was released on Fight Back records, a sublabel of Mortarhate, that also released absolute anarchopunk classics by Exit-Stance and Vex, and it has become a very expensive item because of unscrupulous sellers and too many drunk people impulse buying on Discogs. What a shame that it has not been reissued yet.   


Undesirable Guests


EDIT: being a bit messy I originally inserted the wrong download link. In fact I inserted the link for the next post so that I have spoiled the surprise. Just don't open it right now, yeah? Here is the correct link to LOP's 12". Sorry for the mistake. 

Monday, 22 November 2021

UK84, the Noise Ain't Dead (part 2): Dead Meat "Demo 1984" Ep, 2011

To be perfectly honest with you, finding titles for the full series I have been inflicting on the punk scene for five years now is becoming harder and harder. When I initially started Terminal Sound Nuisance in 2012, the thought of undertaking proper series structured coherently around specific tropes and prism (subgenres, areas, eras or random personal fancies) had not struck me as being particularly relevant to a blog. Of course, I was wrong - I rarely am but I don't mind admitting shortcomings when I reluctantly have to - series are more relevant indeed and about five years ago I realized that, not only does the series format allows me to develop my analysis further and progressively, but it also provides a framework reflecting global collective dynamics in punk rock rather than isolated items just happening to gravitate together. Beside, everyone is pissing about watching actual series on Shitflix so that it made sense to jump on the bandwagon and write eight, ten or twelve part online conferences to reach out to the Gen Z. I haven't quite caught up to the famous platform and tragically had to let some of TSN staff go, some genuinely deserving loyal workers had to be put down in order to avoid dishonour, but I remain quite optimistic about the future. Netflix, if you're reading me, you know what to do.

There are significant drawbacks, of course, to series format. You actually have to make relevant selections that highlight both the binding similarities and the diversity of context and content (or on the contrary, the significance of non-diversity like in the case of "just-like Discharge" d-beat) and this process involves more thinking and reflection. A series literally has to make more sense. And you have to plan a precise writing schedule in advance so that you do not end up leaving long gaps between the entries which, because of our narrowing attention span, would lose my modern fellow sapients always eager for novelties. One of the drawbacks I had not predicted at all has to do with titles. I have often prided myself on my skill to easily find top punk puns that make me look both knowledgeable, witty and self-aware, which might be akin to being a punchable twat in some illiterate quarters but is a sensible stance given the polishedness of my readership. A series' title has to sound good, otherwise the modern sapient will not even bother to click on the link and hours of hard work will just be swiped away like the average selfie of a vaguely attractive and muscular wanker. We sadly live in a world where one has to bait innocent punks into reading, as opposed to heary a bloody podcast, what could be a revelation, a redemption, a way out of shoegaze or Casualties cosplay. I am like a missionary promoting Anarcho Crustianity. But for conversions to work, you need a good pun that grabs the readers' fragile attention and sometimes I feel I have run out of them. It's not like I am going to test my jokes on random passersby because I don't think they would quite understand why "let's not discard Discard" is side-splittinh. So if I don't at least giggle at my own jokes, it means they are rubbish and do not make the cut. Simple as that. For this series however I just chose the name of a Dead Meat song for the title. 


As I immersed myself into 1984/1985 British hardcore punk for the series, I listened to many raw recordings, drank a lot of white cider and sniffed some glue - an organic brand, I'm not an animal - to get myself in the right mood. When I finally got to Dead Meat and played the demo, I immediately knew upon hearing the first song that the title of this series would have to be "Noise ain't dead". Dead Meat was one of the bands I was almost certain to include in the series as they ideally reflected the core principle of the series: typically British mid-80's raw and noisy hardcore punk. Not necessarily the harshest or meanest bands, just recordings illustrating what was being done and created with the Discharge and Bristol sound - which I call early UK hardcore punk in the context of that series - at that time and place. And to me Dead Meat were a great example of that and because they do not get much attention nowadays - which I have always found odd especially since the UK82 resurgence in the past decade led everyone and their mum to be superficially conversant in obscure acts without even mentioning that No Dead Meat (the continuation of Dead Meat) were actually briefly tackled in Glasper's Burning Britain in the chapter about Septic Psychos - it felt like a noble task to write about them.


Let's have a bit of context first. Though it is not completely clear, this being a demo recorded in 1984 and given the rather rudimentary musicianship of the band - not a criticism, it is exactly how that style should sound like - I guess DM started out sometime in early 1984 in the Chesterfield area (Derbyshire). As it is pointed out in Burning Britain and alluded to on the insert coming with the Ep, the members of the band had already played in other punk bands prior to the noise not being dead. Vocalist Chiz used to sing in Septic Psychos, a band that also had his twin brother Mick who would eventually join the No Dead Meat version of the band. If you have never heard Septic Psychos and are able to go past or learn to appreciate the silly moniker, which you should, they were a primal and raw UK82 band with angry snotty vocals that had two songs (recorded at Stockport's legendary Hologram Studios) on Pax compilation Lp Punk Dead - Nah Mate the Smell is jus Summink in yer Underpants innit in 1983 (how did they tell their parents the name of that record they were included on remains a mystery) and will have you shout "No you're not wanted!" in no time. DM's guitar player John and original bass player Rich used to play in Society's Victims (hallowed be Discharge's name), a local band whose rough primitive punk sound was even cruder than Septic Psychos' (the dodgy, if not completely haphazard, tuning cannot have helped). Finally, the drummer played in a band called The Corpse, not to be confused with the anarchopunk band Corpse (I think?). One could think that the boys, upon the split of their respective bands, would have chosen to go for a more polished, refined, mature style, but did they fuck! Dead Meat is even rawer, snottier, angrier and blatantly PUNK. 


What I particularly enjoy in that recording is how the songs instantly sound familiar. Take "Noise ain't dead" for instance. If you are keen on second wave UK punk-rock or any sort of 80's spiky and pogoable punk-rock really, you just know what the song is going to sound like upon hearing the first riff. Classic raucous singalong shouted chorus, fast pogopunk 1-2-1-2 beat, raw as fuck guitar sound with sloppy solos, pissed meancing vocals, this is exactly the sound of the Saturday nights of my teenage years where you get ready for a night out on the piss or for a squat gig (I used to listen to the Dutch Antidote on those occasions and the feel in DM is very similar). This shit could raise the dead. Is it really a wonder that the band also had a promotion agency called... Noiz Ain't Dead? I don't think I need to describe the band further but let's say that it sounds like a friendly but chaotic speed-fueled brawl between Instant Agony, Disorder, Last Rites and Ad'Nauseam. A lot of people today posit that the heritage of the Bristol sound of Chaos UK and Disorder is to be found in distorted, noise-drenched hardcore punk but I would argue that bands like DM, for their attitude and obnoxious primal approach to fast punk, can also be considered as belonging to that punk-as-fuck tradition. The six songs included on the Ep (there is a reworking of a Society's Victims' song, "Takin over") were originally released on an excellent tape compilation in 1985 entitled The Final Decay where you can find other UK82 pogopunk gems from the aforementioned Ad'Nauseam, the little-known but ace Reprisal or Death Zone. It is a solid tape that deserves to be revisited if you are interested in proper raw and primitive 1984 British punk-rock. Real deal here. The reissue of the 1984 recording was made possible thanks to Fear of War Records, an American label also responsible for reissue of The Mad Are Sane, Italy's Impact, Tom & the Boot Boys and, of course, Septic Psychos. It is a safe bet that the person behind Fear of War must be something of a pogo expert.

Shortly after this recording, the band changed its name to No Dead Meat (because two members went vegetarian) and Mick from Septic Psychos eventually joined them on the bass guitar and took part in their second offering, a 14-song demo in 1987 which saw them delivering the same exact blend of fast and loud direct UK pogopunk with "new" versions of old Dead Meat numbers. The sound might be a little better and the band tighter but it's pretty much similar and it is precisely why it is perfect. Noise ain't dead and noise will never die, innit?

Noise ain't dead!!! 

Sunday, 14 November 2021

UK84, the Noise ain't Dead (part 1): Potential Threat "Brainwashed" Ep, 1984

A close mate of mine, one of those wise punk elders whose foregone tales of mayhem and chaos we listen to around the bonfire while drinking half stale cans of lager, once detailed how he methodically organizes his record collection since he moved with his partner years ago. The setting of your record collection says a lot about you and one should be careful not to reveal it to malicious punks only out there to destroy your hard-earned reputation and mock your procedure of organization or point out any fashion faux pas publically. When a fellow punk confides in you about records' organization, you know you're officially family. Collecting hardcore records can be a cut-throat business which is often used as a way to assert one's superiority over the rest of the pack. Not unlike gorillas fighting each other for dominance, a stronger and larger record collection can ensure you the much coveted alpha male spot (only blokes engage in this kind of immature behaviours, let's be real). Losers have to bow their head in order to recognize alphas and compliment the winners, in a collective act of submission, on their perfect collection of 80's Japanese flexis, original pressings on Boston hardcore or, if you are really an elite level punk, the actual demo tapes of classic original hardcore bands. At least, inferior gorillas only have to roll over and pretend they did not just get the shit beaten out of them and alpha gorillas actually get sex out of this circus which is a major difference with hardcore record collectors who can only hoped to get a not-too-harsh bollocking from their partners from their ascendancy (not like the time they spent their monthly wage on a mint copy of a Tervet Kadet Ep, a bargain that oddly enough caused some tension at home). 

So yeah, my friend told me that he had a very simple method. The records were organized alphabetically but divided into two discrete categories: one was made up of the records that could be listened to with his wife and kids whereas the other one only had faster, meaner and rawer music. He called the latter category "the noise" which really cracked me up. He did not say "hardcore" or invoked any other genre, just "the noise". The coinage has a poetical, almost naive (in the artistic sense) quality to it. "Noise" and the level of noisiness can be said to be, after all, the unifying factor among all the hardcore churches. I remember once playing two very different songs to a mate who was absolutely not into punk music, as co-called normie not even into "rock music" for that matter, the man was a total virgin and therefore the ideal guinea pig for the experiment. So I played a Bad Religion number and then Discharge's "Fight back" to him. And he could not really tell the difference. To him, it was all noise and the variations were too minimal and insignificant to his untrained ears to be even considered as actual differences. It was only noise. Therefore my old-school punk friend's categorization makes sense only because it is aimed at his uninitiated family and not at him (though to be fair, his little one is not insensitive to Mob 47 as far as I can tell, but who isn't?). 

This fascinating digression leads me to the present series and how and why I selected the culprits. Nowadays, the term "noise" has grown to signify a very specific subgenre and sound textures in the punk scene, namely the Bristol school of cider-fueled distorted aural bollocking and its glorious Japanese heirs ("noise" can also be associated with Sonic Youth-type of American college rock noisiness but I always pretend it doesn't exist and I intend to keep doing so and die with my boots on, know what I mean?). Here the focus will not so much be on punk bristolness or crasherness but, from a very primary and primitive perspective, on British punk bands who could be characterized as post-UK82 "noise", fast and aggressive punk music representative of a national tradition (cough, like Discharge or Chaos UK, cough) in a time when many punk bands were either splitting up or betraying the cause and turning new-wave (what SxE people call "stabbing in the back"). So I picked six recordings from 1984 that exemplified what punk "noise" sounded like at that point in time in the UK so don't expect unlistenably glorious live performances from Scum Dribblers or Sons of Bad Breath. Because of the limited sample and because I am a hard-working bloke standing proud on working-class streets doing working-class things, I don't have the time and the energy to provide an exhaustive panorama of UK84 noise. Still, I think it will manage to provide a relevant picture and highlight some sort of genuine diversity. 


Let's start with Potential Threat, according to me one of the most underrated bands of the era. I already wrote about PT's Never Again Lp years ago so that I recommend you read the writeup if you want some background information about the band. It will save me some time and potentially allow me to get some fresh air and do working-class things in working-class streets such as looking hard, walking, standing proud in front of brickwalls or just being working-class (also known as Oi music reenactment, a bit like medieval cosplay but with boots, braces and dodgy band buttons). Whatever. PT were from Blackburn, a Lancashire town located between sunny Preston and Burnley primarily known for its football club who won the Premier League Title in 1995 because they had Alan Shearer in the team. As I said, PT should be considered as an 80's anarchopunk classic. They released two very strong Ep's in 1982 and 1984 displaying a ferocious Discharge-influenced sound, two albums in 1986 and 1989 with more of a anarcho crossover vibe and appeared on a number of compilations, which was more than many anarchopunk bands of the time could claim. And they had a genuinely great name too with positive yet antagonistic implications. Yet, the band was plagued with is known in punk medical circles as the "Oi Polloi Syndrome". Researches conducted by the Institute of Punk Lineups showed that bands affected by this syndrome experienced insane numbers of lineup changes which can hinder the band's potential. I don't know if that was the case for PT but their entry on Bored Teenagers indicates that, literally, dozens of drummers ans guitar players came and went through the band and they were too many to mention. This instability may have prevented the band from gaining momentum but those are only conjectures. 

The only two members who were in the band from the beginning to the end were Foz and Pauline (though at first PT actually had a male singer), whose distinct vocals undoubtedly remain the band's hallmark and trait. Oddly enough, in a scene obsessed with its own origination - the same could be applied to our epoch as a whole - and perpetually engaging in performative nostalgia, PT are seldom mentioned in the "who was first" challenge. And yet, PT were one tof he very first female-fronted Discharge-inspired punk band around. After much cogitation, in fact, I cannot really think of any other band toying with proto d-beat music with a lady behind the mike as early as 1982. Solvent Abuse did have a couple of rough Discharge-inspired female-fronted numbers on their 1982 demo but PT had an actual Ep to show the same year. Taking part in the rather meaningless "who was first" contest - just a variation on the "who's strongest between classic hardcore band A and classic hardcore band B", not to be confused with the "who do you like best" questionaire which I happen to enjoy - is not my purpose. Still, I do think that acknowledging PT's special place in the 40 year-old history of Discharge-loving punk music is relevant, especially, and sadly, given the rather small contingent of females in that style. Therefore, I shall posit in the present erudite article that 1982's What's so Great Britain? Ep was in fact the first Discharge-inspired female-fronted hardcore punk Ep in punkstory. Bring on the controversy of you're hard enough.

One might ponder over the relevance of such a statement when applied to the context of the early 80's, a time when the practice of Discharge worshiping was still very much in its infancy. Clearly, PT never sat down and decided to be "just like Discharge" - a conscious thought process born only in the early 90's - and we often tend in an anachronistic move to project our own vision of the Discharge influence onto a time period when Discharge were not yet myth and legend (by 1982 Hear Nothing See Nothing Say Nothing had only just come out). Beside, there was no such thing as a "hardcore scene" in Britain and even the consensual gap between the so-called UK82 bands of Riot City or No Future and the anarchopunk wave of Crass Records and Spiderleg was not always pronounced, if at all in smaller towns (I think there was a consensus among all punks that skinheads were wankers to be avoided though). The presence of a female singer in PT becomes anything but surprising if you see the band for what it primarily was: an anarchopunk band. As is commonly known among the learned punk circles, anti-sexism and feminism were important issues and many women were very active and involved in the anarchopunk, notably - but not only of course - in bands. There were dozens of female-fronted anarcho bands in the 80's and the band's birth and development must be seen in that light. In the end, PT were both just a young Blackburn-based anarchopunk band fond of Discharge (and who wasn't apart from Gary Bushell?) and retrospectively, at the same time, the first female-fronted Discharge-loving band.     

However, although undeniably influenced by the mighty D, this first Ep was much punkier sounding and not as mineral as Discharge's primal bursts of anger (bands like Blitz, The Insane, The Violators or The System were recorded at the same place, Hologram Studios in Stockport, which may account for the typical 1982 punk sound). The beat clearly points in the early Discharge direction ("Cheap labour" literally opens on a d-beat) as do most of the riffs, although the sound, if raw, is nowhere near as aggressive. And of course, Pauline vocals, half sung half spoken, were not the angry shouts commonly connected with Dischargy punk. I suppose What's so Great Britain could be compared to 1980's Discharge and Varukers' first Ep's infused with a punkier, more tuneful and dynamic vibe (early Conflict maybe? A-Heads?) and direct anarchist lyrics, a balance that is bound to please both Discore bouncers and spiky punks. This Ep is a brilliant artifact of early Discharge-influenced UK hardcore punk but the real kick up the arse would come two years later in the guise of the Brainwashed Ep.


Brainwashed probably stands as one of my favourite hardcore punk Ep's of the period, a statement that, I am well aware, is not a light one to make but that, as a free-thinker comfortably hidden behind a computer screen (an activity also known as "pissing about"), I am ready to make boldly. Stand strong, stand proud, right? This second Ep was recorded in November, 1984, with a different lineup (which can explain why it took the band two years to actually pull that one out). It was not the band's second recording however since PT had already worked in the studio the year prior but the five songs recorded then were sadly never released. I have bumped into a PT recording supposedly from 1983 but the five songs from this demo session clearly belong to the anarcho-crossover period of the band and different versions of them would all appear on Demand an Alternative, so my guess is that this "1983 demo" is plausibly a "1985 demo", unless PT switched genres every other year. Unlikely but punk-rock is like the World Wrestling Federation: anything can happen. 

To get back to Brainwashed, this Ep should be seen as one of the strongest proto d-beat records of the 80's. The drumming stands as one of the purest d-beat style of the era. It sounds highly energetic, pummeling and very prominent in the mix which I personally love. It reminds me of the drums on Anti-System Defense of the Realm, Varukers' Massacred Millions and even Iconoclast's demo. The guitar riffs are not as punk-rock oriented as on What's so Great Britain and there is an evident shift to a more primitive and aggressive form of Discharge-loving hardcore punk, which was not an isolated case in the UK (with the two above-mentioned bands as well as classics acts like Antisect and smaller noise units like Violent Uprising or Warwound). In instrumental terms, Brainwashed is a model d-beat raw punk record. The guitar sound is raw, distorted but still discernible and adequate in its vigorous delivery. What makes PT stood out was, of course, Pauline's warm, heartfelt and raucous voice and strong dynamic singing style. Where many similar bands of the era went for dark and angry shouts with varying amount of snottiness, the vocals in PT kept that half-spoken, half-sung punk touch reminiscent of a more classic anarchopunk sound that defined their sound on the previous Ep. The words are very distinct, you are not exactly yelled at relentlessly - though it does occur - and the lyrics are rather long, not unlike early Antisect and Anti-System again. I love how she can jump from d-beat driven speeches to a more classic in-your-face Dischargy prosody. Brainwashed, beside the three top notch raw Dis numbers, also included a melancholy song with only vocals and - gasp - non-distorted guitar dealing with vivisection from the animal's point of view (an issue that the band felt very strongly about), again in the 80's anarchopunk tradition which made PT's strongly and fundamentally embedded in that particular scene. The anti-Thatcher cut'n'paste cover is also perfectly coherent with the protest punk aesthetics as the massive circled A indicates. That should have made for a great shirt were it not for the additional inclusion of a swastika and the statement "a nazi with a social degree" which unfortunately makes the shirt unwearable in certain social gatherings and of course at work (speaking from experience here) as it could definitely send the wrong message. I therefore recommend placing a button over the swastika and carrying a spare one in case the first one falls (also speaking from experience here). 

This wonderful fast and loud Ep - it is only five-minute long - was released on the legendary Bristol-based label Children of the Revolution Records in 1984, which made Brainwashed one of its first releases. Following the Ep, PT experienced yet other lineup changes and managed to regroup to record two albums, Demand an Alternative in 1986 for Mortarhate and Never Again 1989 for Recordrom Records, which saw them go for a more crossover metallic punk sound while keeping the classic anarchopunk vibe and politics. Like Civilised Society? and The Sears meeting English Dogs and early Concrete Sox or something. The first album was recently reissued so there is hope that some kind soul will take care of the first two Ep's too at some point which would allow people to discover or re-explore those two gems of early Dischargy female-fronted anarchopunk. It would be well-deserved.




Wednesday, 27 October 2021

Booze, Life and MISERY: a Look at Three Ep's from One of Crust's Greatest

You all know Misery (and if you've ever been dumped during your secondary school years you've experienced misery too). If Prince was the prince of pop music then Misery are the princes of US crust music. Not that Minneapolis is an aristocratic hotspot but you get the idea. Although I am under the impression that they are semi-retired at the time of rambling - oh rage! oh despair! oh age, my enemy! - the band has been the real deal and delivered the crust for 25 years. By the early noughties, the majority of the 90's crust icons had but fallen with varying degrees of heroism on the battlefield of punk. Some, like Hiatus, died standing up still holding a half empty bottle of tripel (though they finally did come back from the grave recently), others like Warcollapse managed to soldier on but had to go on hiatuses on several occasions to survive. Disrupt and Destroy! did not get to live long enough to see 1995 and legendary Japanese pioneers SDS and Gloom barely made it to the next decade. The new millennia had arrived. Once healthy, flourishing sectors of the crust scene were engulfed in flames and overrun with epic emotional guitar leads, baseball hats and bands owning more pedals than own songs. The classic eurocrust style never really got up from this heavy blow, with still some exceptions, and the death certificate was on the table when it transpired that the new wave of 00's crust bands enjoyed wearing Vans and maintaining an acceptable level of cleanliness. Fucking posers. 


The metallic brand of apocalyptic crust did survive thanks, notably, to a major revival in the mid-00's and although there is no denying that the popularity of crust music has been declining steadily, dauntless groups of valiant crust survivors managed to carry the original old-school sound and spirit on their shoulders through more than two decades and no one has stood for this admirable resilience better than Minneapolis' finest, Misery. Misery is what can be called a "name band". If you have been into hardcore punk for a decent number of years, you've either at least heard of them at some point or used to have a dodgy roommate who wore a patch of them, often the same fellow who favoured records over rents. There is no exception. Misery is a prerequisite for any entry-level crusty (you can get extra crust points if you identify the reference in the article's title by the way). What is even more remarkable in their case is that they formed as early as 1987 which makes them a first generation US crust band, like Disrupt or their Minneapolis comrades Destroy!, and on the other side of the country Apocalypse, A//Solution and Glycine Max. New York City's Nausea are also often considered as one of the very first crust bands nationally because they were around since 1985 but they only really started to sound like crust - as commonly defined by the British Mermaid crust wave of Hellbastard, Deviated Instinct et al. - when Al, actually Misery's first singer, joined sometime in 1988. Interestingly, Misery would release two full Ep's in 1989 before Nausea got to release their own crust masterpiece Extinction in 1990. But let's stop arsing about, it's all good shit. Misery were among the first on the starting line, even though in 1987 they were probably just scruffy kids messing about in a studio getting pissed and making a lot of noise (in that order). Like any other tribe, the North-American Crusties, in order to thrive and eventually reproduce, need strong origin stories. These allow them to find their place and some balance in the sometimes ruthless wider punk world, one that have seen rival tribes prosper in later years. Tales of glorious late 80's crust bands reinforce a sense of belonging to a strong American tradition of soap-dodging Amebix-worshipping individuals and validate a tradition spawning over three decades so that it matters to underline Misery's place in the early crust pantheon. 

We are, as a social species, a bit odd and inhabited with rather morbid fascinations. People never like you more than when you are dead. Absence makes one great or, at least, greater, as if death somehow casts a glow of grandeur and produces a feeling of admiration and instant nostalgia. A statement that is as true for bands as it is for people. It sometimes looks like in order to become a "punk legend", you first have to die. Just think about the deificiation and hero worship of short-lived 80's bands while long-running bands are taken for granted and don't get the credit they deserve. I am personally always favourably impressed with bands who keep flying the flag undeterred, which does not mean I like all of them - some should objectively have been stopped a long time ago - but I like the quixotic romanticism and determination of playing in a punk band for decades. As a wise man might have said once - probably my role model Fat Bob but I could totally be making that up - "we're still bollocks but we're still here". Misery kept going through many trends, seemingly undisturbed, just being Misery. Of course, their sound changed a lot and the opposite would be almost worrying. Born, Fed... Slaughtered sounds very different to From the Seeds that we have Sown, but, in spite of the significant changes, the band's music has remained meaningfully recognizable because of the strong identity they managed to build throughout the years. You cannot really mistake Misery for any other crust band, an impressive feat considering the influence they have had on the global crust universe. One thing that characterizes the Misery sound is how punky it actually sounds and feels like. They have always been, first and foremost, a punk-rock band with several proper punk-rock-tinged songs in their repertoire (granted, these are much heavier than your ordinary punk-rock numbers) which, given the emphatic Bolt-Throwerization of the metallic crust sound from the 00's on, is quite remarkable and something that I, coming from a UK punk background and not a metal one, enjoy thoroughly. And of course, Misery's artwork and lyrics are punk-as-fuck, just taking a look at the drawings on Blindead - which includes drunk zombie punx with spiky hair, barely readable handwriting, a method for a beer bong game and a massive gratuitous "FUCK OFF" - has even the most unperceptive punk notice that the lads were listening to Disorder and charged punk just as much as Axegrinder, all in a boozy fashion.


But enough arse-licking, let's get to the core of the write-up. I chose to address three Misery records, all recorded in the crusty decade of the 1990's: Children of War because it unarguably stands as one of Misery's strongest records, Your Leaders were Lying because it showcases a live performance from a band that, according to reliable and sober enough witnesses, was brilliant on stage and the split with Assrash because it highlights the band's punkier worldview (a bit of an understatement in this case as we will see in due time). Let's start with the Children of War Ep, released in 1991 on Grind 'Til Total Perfection Records, an albatross of a name for what was a one-off sublabel of the then young Relapse Records (the record was also distributed as indicated by MCR Records from Kyoto). This was Misery's third Ep, after their deliciously raw debut Born Fed Slaughtered released in April, 1989 (a second version with a new mix and an additional song saw the light of the day the year after) and Blindead released in July, 1989 but recorded during the same session as the first Ep. Busy bees indeed since they also found the time to record a full Lp during the summer of 1990, Production Thru Destruction, released the following year on the French label (yes!) Intellectual Convulsion. They kept this rather incredible productivity (born out of destruction?) with their third Ep Children of War, recorded only five months after the Lp and eight months before their side of the split Lp with SDS a legendary 90's record and one of the most potent collisions in the memory of crustkind, possibly the best crust split record ever that can also be used as a spell to get your ex back and find the perfect job or as a talisman that can repel malevolent beings (like your neighbours, but play it really loud). 


But let's get back to Children of War. If you happen to have a friend who is unfamiliar with the work of Misery or if you just happen to have a friend at all, this Ep is an ideal introduction. The first two might be a little too raw and grinding for the uninitiated and a full Lp could be hard to stomach on a first date. My own initial introduction to Misery was through the Who's the Fool Lp, a recording which saw the band at its apex so that diving into it proved to be easy enough, although grasping properly what they were intending to create sonically can be said to be a more arduous task. Forget all the slandering and libeling about 90's crust punk and how all of it is supposedly generic, bland and redundant, Misery have always been the real deal, an innovative and creative band. Uneducated judgements such as these are always uttered by people wearing non-black shirts from trendy and "edgy" or "freaky" hardcore bands and secretly dreaming of drinking IPA on a Brooklyn rooftop instead of special brew in a rat-infested Leipzig Wagenplatz on a rainy October night. Beside, at least 10% of the 90's crust production was a bit original. At least. On Children of War, Misery's music was really falling into place and you could hear the different elements blending seamlessly together to shape the sound the band was known for in that decade. The Ep kicks off with the eponymous anthem "Children of war", one of their most famous and strongest early number. Mid- paced, anthemic and organically heavy Amebixian song with a strong '88-Axegrinder-meets-'87-Deviated-Instinct vibe. What made this song a proper "Misery song" was, first, the interaction between the two guitars, and, second, the bulldozing sound of the bass guitar. Not many, old-school metallic crust band played with two guitars as having two geezers rocking the same heavy apocalyptic riff all the time is a bit pointless. One of the guitars in Misery's music often concentrates on leads, eerie or epic tunes that help create a foreboding soundscape and draw the song to a particular mood that will define or herald what follows. The introduction of "Children of war" perfectly exemplifies this: miserable and atmospheric at first and then apocalyptic and seemingly unstoppable but interdependent. The bass sound also plays a crucial part in this shift. Misery were always very bass-driven, probably more so than any crust band of that era. During the introduction of the song, the bass is rather clear, very Monolith-like and then, when the guitars kick in, it turns into a lava-like, distorted monster with a terrific steamrolling groove. Undisputedly this bass sound is one of the band's clear trademarks which is unusual for a crust band.



The second song, "Thanksgiving day", illustrated another, punkier side of Misery. Typical old-school UK anarchopunk riffs played with the doomsday Misery vibe. Like a crustier version of '84 Antisect and Icons of Filth. On that level, the band has often reminded me of their London contemporaries Coitus who also added a dirty and groovy punky vibe to the classic heavy Antisect sound and one could advance that Misery did the same with the Amebix/Axegrinder sound. Does that make sense? The Minneapolis bunch love classic punk music and it shows, the last song of the Ep, the faster "Dragged off to war" is reminiscent of GBH and Broken Bones drinking malt liquor around a bonfire in a scrapyard. I always tend to associate Misery's vibe with an urban and desolate industrial atmosphere, atavistic anger or derelict factories while a band like Amebix evokes in me a bleak moor, a strong land connection and the potentiality of praying to pagan gods in the nude, probably not something you can do in Minneapolis, although I could be wrong. The third song of Children of War, "Morbid reality", is not dissimilar to "Children of war" in terms of songwriting, classic old-school metallic crust with death-metal-ish vocals, a shitload of mosh power and something of a Prophecy of Doom touch. The lads in Misery liberally shared vocal duties which brought some variety to their already diverse bag of crust tricks and offered different possibilities in terms of vocal textures. The singers complement each other perfectly and have recognizable voices and prosody - gruff, hoarse and pissed lower-pitched shouts answering to snottier, punker in-your-face vocals, not unlike GBH and Concrete Sox at times. This element, I think, has significantly contributed to the identity of the band throughout time and along with the distinctive guitar plays and massive bass sound. As for the cover, it is an iconic piece of crust history, a little confusing at first but I like the many details and the profusion. 

Misery is possibly the one crust band I wish I saw live but never did. Don't get me wrong, I wish I had been at the Mermaid in the mid/late 80's obviously, but Misery were still very much active when I first fell for them in the early 00's so the prospect of seeing them one day was not completely unreasonable and even plausible (I was blissfully unaware of the logistics of touring at the time so that, in my youthful mind, any active band was likely to play in Paris at some point. Little did I know that most bands actually avoided playing in my hometown but that is a whining session I shall develop another time). Of course, Misery never toured Europe in my punktime and  never will, something I have done my best to be as placid as possible about for a decade. So posting a live Ep sounded like the thing to do to exorcize some of the pain, especially since Misery, I have been told, were a live powerhouse. Not exactly surprising given the unique sound they managed to create in the studio but it is still comforting, and in this case also painful, to know that a favourite band of yours which you never got to sing along to while properly wankered in a live environment was a great live band. Your Leaders were Lying was recorded during a gig in New York City in 1993 and released the same year on Squat or Rot, a label close to the local squatters' movement run by Ralphie Boy from Jesus Chrust and Disassociate. 

There are three songs on this wonderful Ep, two classic Misery numbers on the first side, "Filth of mankind" and "Fear to change", that appear respectively on the 1992 split Lp with SDS and the 1994 Who's the Fool Lp. Brilliant songs epitomizing the sheer power of Misery. The band is tight, the sound is surprisingly good and balanced for a live recording. Heavy, rocking, dark polyphonic metallic crust and the perfect soundtrack to the apocalypse. At the time of this recording Misery were possibly the best band around doing this type of crust so that there is little point using points of comparison. Misery just sounded like Misery and sounding like oneself is quite an achievement (metaphysical shit for you). These two songs are energetic and rather fast ones with "Fear to change" showing that the band could pull the fast and furious brand of crust, with ease. The other side includes an Amebix cover, "Nobody's driving", which they pull brilliantly, with the skillful drummer even bringing some variations of his own. Needless to say that, Amebix being the band's primary influence, covering an anthem from Monolith must have been an easy enough decision to make. Misery seemed to have been a band that loved playing covers as, beside "Nobody's driving", they did Sacrilege's "Life line", Icons of Filth's "Fucked up state" (the best one of the lot according to me), New Model Army's "The hunt" and Amebix again with "ICBM". The band was apparently made up of cheeky bastards prone to terrorize innocent law-abiding citizens. There is a copy of a letter from angry neighbours living close to what I assume is "the Misery house" complaining about the noise, the raucous partying, the obscene behaviours and language although they claimed to have nothing against people "generally maintaining an appearance and lifestyle different from others". Punx will be punx. Misery was not insensitive to childish, puerile, scatological jokes either as the cover is basically a picture from the loos' venue while the backcover of the Ep shows a bare arse with the caption "Nobody's wiping". I did find it funny which says a lot I suppose.


The third Ep we are going to talk about today is the split with Assrash, another Minneapolis band with a common fondness for arse-related topics. This Ep was a picture disc, a format I have never cared for and I don't think I own more than ten records of this kind (I am similarly completely indifferent to coloured vinyl, my Discharge vision only seeing things in black and white). However, this one is pretty funny. This Ep might be one of the punkest-looking records I own - and I still have my old Casualties collection so that's saying something. A picture of the lads getting heavily pissed on one side, and one with them standing in line back to the camera with their hands against a brickwall as if about to being searched by the police. Typical punk posing I have to say but the so-called US streetpunk wave was emerging back then so perhaps the "pissed, punk and proud on the street" was in the air. In any case, while I would not listen to a band whose sole quality is their fashion statement, Misery waving the punker-than-you flag is fine with me. And well, in the light of the current alienating fashion worship and popularity contest on Instagram, the pictures on the split look almost tame in 2021. I am not sure when the songs were recorded exactly but the split was released in 1996 so I am guessing in 1995, perhaps during the same recording session as the Next Time Ep. "Bitter end" and "12 years of hell" see the band still in their unabated old-school crust mode, with maybe a less prevalent Amebix/Axegrinder influence. "Bitter end" has that classic guitar play and bass groove as usual and the songwriting reminds me of a crustier Celtic Frost, not unlike Coitus again (now that I think of it a Misery/Coitus split would have been magnificent and an endless source of top puns, just think about it) while "12 years of hell" is a quality fast and thrashing crust punk numbers. Both songs have that "90's Misery sound" but it was to be the last record to really display Misery at their crustiest. The following record, the split Lp with Extinction of Mankind from 2001, saw the band incorporating other, new influences into their crust recipe to great effect (their songs on this Lp are among the very best they ever wrote). On the other side of this 1996 split, Assrash delivered their typical brand of raucous, obnoxious, two fingers in the air punk-rock with singalongs, not unlike late 80's Chaos UK, The Restarts or Suicidal Supermarket Trolleys. Energetic and snotty, the three songs work pretty well on the Ep and should get you properly prepared for a pogo session or a night out on the piss. The Ep was released on Clean Plate Records, the label run by Will from Orchid, and it is without a doubt the punkest record he ever put out. 


That's enough Misery for today. This band deserve all the praises in the world for keeping the old-school crust sound alive and making it evolve for such a long time. Our shorter attention span, the availability of everything everywhere and our modern consumption of punk music makes us addicted to a constant flow of new bands and records often using marketing techniques and vocabulary to sell their product and turn a six-month old band into hardcore pioneers so that bands like Misery are less likely to keep running and flourish in our current context. Love and support your older crust bands.


 Booze Life and MISERY


Monday, 11 October 2021

Free Speech for the Dumb: a Luc at Tomorrow

Alright then, this is the first attempt at an interview for Terminal Sound Nuisance. The idea is to have a friendly talk with people from "da scene" who, I feel, have insightful things to say about punk-related topics I have been interested in since I the dawn of time, more or less around the year 2012. I have been toying with the idea for quite some time in order to Discussions about the ramifications and evolution of hardcore punk, about how we collectively relate to music, how the internet has affected how we related to and write music, how we connect with the story of punk as a subculture, the importance of context in the process of creating music and so on. I guess this is a pompous way to say that we are going to get shamelessly nerdy and feel good about ourselves. Ideally, the interviews will prove to be thought-provoking or even, though I cannot stand the word, "inspiring", but more realistically and at the very least, they will incite you to blast some Discharge in order to piss off the Man and that is good enough for me. 

Today, we are sitting down with Luc from Bordeaux, rebaptized A Luc at Tomorrow for this occasion. If you have never heard of him, Luc is our renowned Discharge and käng expert on the national level. His resume speaks for itself: he is a two-time recipient of the D-beat Without Borders award, has coauthored the very successful self-help guide book Where there is a will, there is a waaaayyy and his former band Gasmask Terror represented France for the 2012 Eurovision Song Contest making it to the 37th position (the country's highest ranking to this date) and is currently the Head of the Department of Käng Studies at the Sorbonne. We will be talking about Discharge's Why, the 90's d-beat wave, Discharge worship, käng hardcore, the evolution of Discharge worship, Disclose and even more serious stuff like the impact of streaming on our perception of classic hardcore music or alarming concerns like the recent popularity of Grave New World.



Terminal Sound Nuisance: Alright then, let’s get right into the heart of the matter and start with the prehistoric period of hardcore punk: Discharge. Common punk sense has long established that there are three main ways to discover Discharge. a. The metal way through the band’s influence on famous 80’s metal acts like Metallica; b. The UK punk way through famous bands like The Exploited or GBH who borrowed from Discharge; c. The hardcore way through the revered 80’s hardcore scene in the U$A where the name Discharge kinda floated around. What and when was yours?

A Luc At Tomorrow: Mine was a mix of A and B. I started to show interest in both punk and metal simultaneously, circa 1986 – possibly even 1985 (I was 12). I first had a very short Pistols / Clash phase but it didn't last long as I was soon introduced to louder sounds by a couple of school mates: GBH, Metallica, Slayer, Exodus, Chaos UK, Dead Kennedys… but also Eskorbuto and Kortatu since I grew up in Iparralde (the North/French side of the Basque Country) where "rock radical vasco" was all the rage. Anyway, 1986 was the year crossover and thrash metal hit big time and there was no way escaping it – with grindcore soon to follow. I immersed into both punk and metal at the same time, and have loved both "genres" ever since. Discharge came to my attention really quickly, they were an established household name by then and you'd see pictures of Metallica or Slayer members wearing their shirts. It was a name that popped up all the time as they were obviously very influential, but it took a little longer before I first heard them.

TSN: A first encounter with Discharge through "Massacre Divine" could be enough to deter the listener from the band for at least a decade. What was the first Discharge record or song you came across? What did you spontaneously think about it? Did you charge your hair?

ALAT: My initial interest in hardcore and punk started around the time Grave New World came out. Haha, bad timing, right? That was my first exposure even though I hadn't listened to it yet. I remember seeing the cover art in a metal magazine, reading a couple of really bad reviews, so for a while I didn't pay much attention. But in the corner of my mind I knew Discharge was more than that, since the name was mentioned pretty much everywhere, their shirts were worn by all the cool bands, etc. But information was hard to come by. No internet of course, I yet had to discover the world of fanzines and tape trading, I was super young, lived in a small town in rural Southwest France, had no connections in "the scene", so I had no idea what was up, how to acquire cool tapes and records. First I'd swap tapes with the other two guys in my school that liked louder music, but everyone had very small collections and limited knowledge at that point. Strangely enough, this older guy who lived in my street, literally one block away, was ALWAYS wearing a Discharge shirt. He probably only owned one band shirt because he had it on his back every time I'd cross his path. I never talked to him because I was this super shy skinny little boy and he was a couple years older (a huge gap when you're 13!) and looked intimidating. One day I walked past his apartment building and this super loud, super aggressive punk music was blaring out of the window. I KNEW it was Discharge, and it sounded fantastic. It reminded me of a more chaotic, noisier GBH, because that was my only point of comparison back then. Haha. Fast forward a few months, I'm not sure why but I remember getting tapes of Discharge-influenced Swedish bands (Anti-Cimex…) BEFORE I even heard a full Discharge record. The first Discharge record I heard was Why. It's still my favorite to this day.

TSN: It could be argued that "Why", released 40 years ago, is one of the most influential punk records of all time and the impact it had is overwhelming. Why do you think it still is the object of such fascination and how much of a game-changer do you think it was at the time of release? Many people don’t consider Discharge as a real « hardcore band ». Do you?

ALAT: I've come to realize over time that most people consider Hear Nothing See Nothing Say Nothing as the quintessential Discharge record and I understand WHY. It's cleaner, tighter, has a huge guitar wall of sound that appeals to both punks and metalheads. But for me Why is their cornerstone. It takes the intensity of the early EPs to a next level, it's savage as hell, and the production is stellar! Every instrument sounds amazing and well-balanced on Why, the guitar and bass tones are perfect. A few years back I even played the drums in a one-off Discharge cover band named No Feeble Bastards with some friends, we only covered the Why record – all songs played in order. It was so much fun. Anyway, I understand why some people won't consider Discharge a real "hardcore band", especially since the term hardcore is a very American thing. But they totally are first wave hardcore pioneers, just like Black Flag were in the US. Rooted in early punk, but taking things to a whole new level sonically.

TSN: For a long time, post-1984 Discharge was something of a joke, banter and a subject loyal fans did not really want to get into (like the early Blitz fans actually). However, once deemed terrible albums like Grave New World seem to have taken a cult status recently and some people even claim to love the thing. What is your take on the taboo era of Discharge? Do you think that it is so bad that is ironically good? Did you enjoy it when your first heard it?

ALAT: Like you pointed it out, it's so bad it becomes ironically good. It is such an anomaly it becomes fascinating. But let's be honest, it's pretty unlistenable. I do own a copy but have never managed to listen to the full album in one sitting. Those vocals are insufferable. The music I can stomach though, and Dissober proved it wasn't THAT terrible by speeding up their cover of "Grave New World" and playing it in the 1982 style. That cover is actually pretty raging!

TSN: The Discharge influence in the 80’s quickly spread, notably in Sweden where armies of young punks embraced the band (and still do) creating a Discharge-inspired genre of their own. As a world-renowned expert in Swedish hardcore and head of the Department of Käng Studies at the Sorbonne, could you give us some sort of chronology and defining moments of the Discharge invasion of Sweden in the 80’s? How and when did you get drawn to the Swedish hardcore scene? And why are they so good at it? Is it because they are taller and better-looking than us?

ALAT: You'd better off ask a Swede about the chronology, I'm nowhere near the expert you assume I am, haha. I'd say a bunch of dorks in bands like Skitslickers and Anti-Cimex probably started it. My introduction to Scandinavian hardcore was the "1984 The Second" compilation on the French label New Wave Records (featuring tracks by Sound Of Disaster, Krunch, as well as Finland's own Mellakka), and I remember vividly getting a mixtape in the mail from Rak (of Sodan Tragedia band and zine) featuring full EPs by Anti-Cimex and Mob 47 amidst a few other international bands. They all left a lasting impression right away, the extra pinch of rawness and brutality appealed to me in a big way. In the late 80s I totally immersed myself in the up and coming death metal underground, trading tapes like a maniac, and the Swedish scene was fascinating… Unsurprisingly, the punk and death metal scenes in Sweden had strong ties – a lot of original dödsmetallers had a punk background. I have no idea why it caught on and spread like that in that particular neck of the woods though. Fuck the spoiled Swedish master race though, you bunch of handsome, tall, smart humanoids. Haha.

TSN: On the contrary, the massive U$ hardcore scene of the 80’s - which most would call the cradle of hardcore - did not seem to be that much into Discharge in the early 80’s, with some exceptions, although the Stoke-on-Trent lot could be said to have been « the hardest core » then as early as 1980. Do you have any theory as to why that is? Where, apart from Sweden, do you think were located the best early Discharge-loving bands in the 80’s?

ALAT: I find it intriguing how some bands had a huge impact on local scenes far away from their home turf. Discharge in Sweden, Disorder in Finland, Finnish hardcore in Brazil, Chaos UK in Japan, bad oi! in France… Sometimes it's due to bands touring and leaving an impression, but not always. Sometimes you can blame it on a handful of influential local scenesters pushing/promoting certain bands. Still happens these days, I guess. Discharge's imagery and obsession with war was prompted by the geopolitical context of the time – Thatcher had just been elected, the Falklands war was soon to follow, the Cold War was in full swing and the threat of nuclear annihilation was real, with the UK at the forefront: the US maintained a stockpile of nuclear weapons in the country throughout the cold war. US punks had other concerns, and wrote lyrics and music from a different point of view. But I'm just scratching the surface here, we could make a deeper analysis. Every country seemed to have at least one Discharge-like band in the 80s: MG-15 in Spain, Eu's Arse in Italy, Subversion in Belgium, The Iconoclast in the US, Crow in Japan, etc. But truth is nobody did it like the Swedes.

TSN: The worship continues. Sometimes I am under the impression that Discharge have never been as popular and cult as they are today. Do you share that opinion? Do you see any meaningful differences with 90’s Discharge worship for example?

ALAT: I think Discharge has always been popular, since day one. What may have changed over time is the target audience. But I feel there's always been a solid core of Discharge lovers. It's more spread out today though. US hardcore kids are way more into Discharge than they were in the 90s, that's for damn sure.

TSN: Although there were certainly genuine Discharge-loving and mimicking in the 80’s (Discard being possibly the first?), the 90’s marked and codified the creation of Discharge love as a style and took it to its extreme and logical conclusion with the birth of the d-beat genre (with Sweden being unsurprisingly at the forefront of the movement). When did you become really aware of d-beat as a proper genre? How did you relate to the 90’s wave? Did you feel it was a natural evolution or a silly-but-enjoyable trend?

ALAT: It's hard to tell exactly when the "d-beat" thing really took off and became a "genre" per se. I remember the terms "Discore" or "Scandicore" being used loosely as early as the late 80s or very early 90s, then when the Swedes started coming up with the first Dis- bands, we used to call that "Dis-beat". The term "D-beat" (or D-Takt in Swedish) started sometime in the 90s and I suspect people like Jan Jutila in Sweden and Kawakami in Japan may have coined it, or at least helped make it popular. I'm just speculating here. When the 90s Dis-tsunami hit the shores, I ate it all up… It just popped up at the right time: I was growing out of my death metal phase at the time as the scene was oversaturating. Black metal was taking over and I couldn't relate to it politically and musically, so the whole Swedish / Distortion d-takt explosion provided a perfect alternative. It had a slightly similar vibe, a very dark/desperate imagery, and in hindsight I realize a lot of former dödsmetall kids were also involved (some members of Dischange, Skitsystem, Disfear, etc were in death metal bands prior.) It was like a gateway back into punk.

TSN: I remember reading in one of your old zines a rather nasty review of a Disfornicate Ep. Did you get bored of Dis-bands at some point? Almost 30 years after the first d-beat wave, how does it hold up according to you? How outdated is the Distortion empire?

ALAT: Haha yeah, Distortion releasing the Disfornicate / Disregard split 7" was a turning point for me, the Active Minds phrase "Dis is getting pathetic" really made sense at that point. That's when my interest in all things "Dis-" started fading a little bit.

TSN: Where and when do you locate the first proper, just-like Discharge hardcore punk bands (pre d-beat wave so to speak)?

ALAT: I believe there were a handful of bands in the UK trying to sound like Discharge very early on, but none of them actually achieved it. You can tell GBH or The Varukers were possibly heavily influenced by them. I'd say Discard in Sweden and Disattack in the UK were probably the first ones to actually mimick Discharge by ripping off the name, logo, layouts, and lyrics.

TSN: Were you aware of Disaster? And more largely, were many people familiar with Disaster at the time of "War Cry"? They are seen as a classic band today but what about then? Also, do you remember the first time you came across the phrase « d-beat »? Did the genre have other names before it settled on « d-beat »?

ALAT: Funnily I was aware of Disaster early on for the sole reason my friend Alexis, whom I used to skate with all the time back in the Basque country, started his own punk zine circa 1990 or 91 and he conducted an interview with Disaster by mail! I didn't get the 12" until a few years later though. Like I told you above, terms like "Discore", "Scandicore", and "Dis-beat" were all used randomly prior to "D-beat" taking over.

TSN: Alright, let’s tackle the most famous d-beat band ever: Disclose. You are also something of a Japanese hardcore punk nerd so I’m guessing you followed the band early. What was the first Disclose record you bought? What did you think then? Just another 90’s dis-band? Did you notice that there was something special about them? Today, they are seen as this legendary iconic band but was is always the case? I remember people being much less enthusiastic about them in the 00’s. And in the 90’s? And what is your favorite Disclose record?

ALAT: I was heavily into Disfear et al when I came across a review of the first Disclose 7" (Once The War Started) in a great Swiss zine named No Sanctuary. Sounded right up my alley, so my friend and I stuffed a few dollars in an envelope and sent it to Overthrow Records. We were blown away by it. It was everything we loved about the Swedish bands, but I thought they were even better. That 7" actually didn't sound THAT distorted compared to a lot of their subsequent releases, and to this day it remains one of my favorite Disclose records. They were pretty popular in Europe, but I guess at some point they were so prolific that people paid less attention? But their popularity still grew and by the early '00s the US started paying attention and they suddenly got huge. Other than the first EP, some of my personal favorites include "A Mass Of Raw Sound Assault" 7", "Nightmare or Reality" 12", and "Apocalypse Continues" 7".


TSN: Looking on YouTube or bandcamp gives the impression that there never have been as many bands from all over the place flying the d-beat flag through the #d-beat. Do you share that impression? Why does the dis phenomenon never ends? What is its essential appeal? Could you define what is a good d-beat band and a bad d-beat band in terms of music and visuals? Do you have to actually play a Discharge beat on the drums to be a Discharge-loving band?

ALAT: I dunno, I guess d-beat punk can be related to some sort of primal trance. I'm sure theorists like Jan Jutila would possibly draw a parallel with ancient traditional African beats or something. There is something inherently primitive, organic, and driving about it. There's a bazillion bands flying the d-beat banner these days, and the good bands tend to be lost in a sea of mediocrity. The absolute worst d-beat move is obviously double bass drumming! Also I can't fucking stand all the generic artwork featuring bullet belts, winged skulls, or the Discharge typeface, it's all been played out to death… Worst of all is words like "D-BEAT", "RAW", "NOISE", etc. in record/song titles. This is a no-no! As for your last question, look at bands like Final Bombs (Japan) or Price Of Silence (Sweden), they don't necessarily do the d-beat thing yet they're some of the best Discharge impersonators around!

TSN: You played in an openly käng-inspired band and your current band Bombardement is even more Dischargish. Why do you think the Discharge wave never really took in France, be it in the 80’s or the 90’s (with some rare exceptions)? Did you see Gasmask Terror as a way to even the score with this sad cultural fact? What was your own first attempt at playing d-beat?

ALAT: The first true Dis- band in France was actually a -charge band, haha. It was a short-lived early 90s (or late 80s?) Parisian band known as Surcharge who didn't do much. Which is unfortunate because they were pretty awesome, and I know you can back my words. In the 90s, the South West seemed to be the hotspot for crust and d-beat sounds, with Enola Gay paving the way in the small rural town of Auch, followed by Disbeer and Sickness. Another highly overlooked band from the same region was Four Monstrous Nuclear Stockpiles, who started as a straight up HNSNSN cover band, but ended up writing original material by popular demand. Even though it has a few goofy lyrics, I consider their 10" as the best French d-beat record ever released. It sounds just as good as any of the Swedish bands that were coming out on Distortion at the time. But this was still pretty marginal. I didn't start playing music until my mid 20's. Gasmask Terrör initially started more or less as a joke (hence the stupid name, which was just generic punk words put together randomly), we were really into Totalitär at the time and wanted to start something along those lines since there were hardly any bands in France playing that style in 2003. We approached Shiran to play guitar because we knew he loved Discharge and Disgust even though he was primarily a doom metal musician, but I don't think we had actually planned to record more than a tongue-in-cheek, cliché Dis- demo or something at the time. The band ended up lasting 14 years, releasing many records, playing hundreds of shows on 3 different continents… definitely far beyond our initial plan, haha.

TSN: Let’s tackle some broader issues. The internet revolution has drastically changed our ways to relate to and listen to punk music. Once extremely obscure, mysterious and rather small local bands are now instantly accessible and hailed as 80's classics. On the one hand it is can be said to be the greatest democratic revolution making punk available to all, on the other many now take the free and instant access to every band ever for granted. What’s your take on this? Do you think the internet age has changed the way we relate to bands, even our own, and even how we write music?

ALAT: Yeah, a lot of bands that once only had local exposure, sometimes only playing a handful of poorly attended local gigs, have blown out of proportion thanks to the internet. And I'm sure this is also partly why so many bands are getting back together after years/decades: a mix of midlife crisis, nostalgia, and old retired punks Googling the name of their old band only to find out a bunch of nerds across the planet consider them legends, when hardly anybody gave a fuck back then. It can be pretty deceiving, but the web pretty much rendered the notion of "underground" obsolete. Everybody has access to everything without much effort or time now. On the other hand, it's kinda cool that people pay attention to what happens beyond their home turf.

Of course, pre-internet, information and access to music wasn't as convenient as it is now, it required a lot more work and involvement. Another huge difference is that a young punk today has well over 4 decades of stuff to dig through. Punk had only be a thing for a decade when I got into it, so obviously there was much less material out there. But yeah, having access to much less music, you'd play what you had on a far more regular basis.

So yeah, of course it all has an impact on the way we write music. When hardcore started, there wasn't any hardcore to mimic. Members of early hardcore bands grew up on Led Zeppelin, or Stooges, or Cheap Trick or Kiss or whatever their older siblings were listening to at the time, and that probably had an influence on the way they played their instruments. Nowadays a hardcore band has over 40 years of hardcore music to digest so chances are they may play it by the numbers. Hardcore bands are influenced by… hardcore bands. Guess that's the fate of pretty much any aging musical subgenre, like a serpent biting its own tail.

TSN: The amount of information about new punk bands and new records feels overwhelming at times. Do we produce too much? Are you still as enthusiastic about new bands? Have social media exacerbated the impact of trendiness, fashion and ultimately equalized our culture? How do you personally proceed in order to get to the really good stuff?

ALAT: At 48 it's obviously hard to be as enthusiastic about new bands as when I was 15. I'm much pickier now. As much as I'm trying hard NOT to be this jaded old fuck who thinks "things used to be better", I know I am in a way, but I'm trying to keep an eye open on what's happening. Sometimes you get good surprises. But I feel like in the past 20 or so years, nostalgia and rehash have been a mainstay in the punk scene.

TSN: Let’s have fun now and rank some favourite of yours. Let’s say that you are talking to a beginner to the hardcore punk scene. What 5 records or tapes would you recommend if he or she would like to get into the following :

- Five 80’s Swedish hardcore bands that loved Discharge very much:

Anti-Cimex - Raped Ass 7"
Anti-Cimex - Wictims of a Bomb Raid 7"
Skitslickers - GBG 1982 a.k.a Cracked Cop Skulls 7"
Discard - Death From Above 7"
Avskum - Crucified by the System 7"

- 80’s non-Swedish hardcore bands that loved Discharge very much:

Diatribe (US) - Aftermath demo/7"
Eu's Arse (Italy) - split 7" w/ Impact
The Varukers (UK) - Another Religion Another War 12"
The Iconoclast (US) - Demo/comp tracks
Doom (UK) - the early stuff. Basically a UK band paying tribute to Scandinavian bands that were paying homage to Discharge in the first place, haha.

- Five 90’s d-beat bands:

Meanwhile - any
Disclose - any
Disfear - s/t 7"
Totalitär - they started in the 80s but reached their peak in the mid 90s in my opinion
Times Square Preachers - Don't Be Numb! 7". The whole Uppsala crust scene was pretty amazing (Harass, Cumbrage, etc.)

- Five 00’s d-beat bands:

Warcry - Demo, Deprogram LP, Nausea 7", Savage Machinery LP.
Bomberegn- s/t 7". Had to be seen live to fully appreciate.
Framtid - Under the Ashes LP
Kvoteringen - first couple of 7"s
Contrast Attitude - any record, but LIVE is where they really shine!

- 10’s d-beat bands:

Kylmä Sota - 10 Tracks 12"
Herätys - s/t LP
Bloodkrow Butcher - Anti War 7"
Rat Cage - Caged Like Rats 7"
Final Bombs - There is no Turning Back LP

- Five ace Discharge covers:

Dissober - Grave New World is #1 of course. Genius move.
Times Square Preachers - Maimed & Slaughtered, partly because the drumming is the closest you'll ever hear to Bambi's drumming.
Totalitär - Born to Die in the Gutter
Siege - It's no TV Sketch. I doubt there's a recorded version of it, but it was pretty awesome to witness live as they had this amazing guitar/saxophone trade-off solo going.
Soulfly - The Possibility of Life's Destruction. Laugh all you want but I'd rather hear a shitty mainstream band cover Discharge than an umpteenth generic d-beat band these days. I had never listened to Soulfly before my work mate played this for me a few years back. It's a pretty raging cover, gotta love the bouncy drumming on it.

The full live set of Bordeaux's one and only "Why" cover band, No Feeble Bastards. You know you want it

TSN: To wrap it up and I want honest answers.

What is your favorite dis-name?

Recharge was a good move when all the bands were going Dis-, but I can't think of any really good Dis-name to be honest. Disclose was probably the best, in retrospect. Four Monstrous Nuclear Stockpiles was a pretty nice one too.

What is your least favorite dis-name?

There's so many bad ones. Disfornicate was mentioned earlier and it's hard to find worse. Disfear and Dissober were bad enough monickers, Disbeer too obviously but they were friends and didn't take themselves too seriously so they get a pass. In recent times, Disturd is a pretty embarrassing monicker, but we all know we can blame it on poor English skills from this otherwise excellent and friendly Japanese crust band.

What is your favourite Discharge song and why, why, why, why, why?

There's no way I can pick a single favorite song, but I have a soft spot for "Ain't no Feeble Bastard", which ironically doesn't even have a d-beat. Haha. (Side note: it's "Why why why BUT why", not "Why why why why why", no idea WHY so many people hear it wrong.) (TSN edit: very true that, shame on me, I'll NEVER AGAIN make the mistake).

What is your favourite, most precious piece of Discharge paraphernalia?

I don't really own crazy paraphernalia. But I do cherish some of my rare vinyl bootlegs, like the "Live in Philadelphia" LP (raging set!) or the "Live in Preston" 7" (mostly for the artwork/packaging… and unreleased track of course!) Oh, and does my retarded Discharge tattoo count? I designed it myself so it's pretty unique, haha.

"Troops of Tomorrow" or "Leather, Bristles, Studs and Acne"?

GBH hands down because the band had such a strong impact in my teen years, but I gotta admit Troops of Tomorrow is an excellent record – Exploited's best by a long shot, if you ask me, even though I hate Wattie's racist ass.

"Wind of Pain" or "Wasted Dream"?

Wind Of Pain, no question. I remember exactly the day when I first heard it, back in 1994 or something. Chris of Urban Alert Records played it for me and I became obsessed instantly and ordered it straight from the Finn Records mailorder list in Sweden. When my band toured Japan in 2011, we covered "Misery" (we had been covering it on and off since the band inception) and at a gig in Yokohama – coincidentally booked by Koba-san who used to drum in Bastard – we were approached by a very drunk Tokurow-san (former Bastard singer) who asked if he could join us on stage to sing "Misery" with us. How could we turn down such an offer? It was a beautiful moment, I felt like a spoiled kid on Christmas day! PS: Wasted Dream isn't even my favorite Death Side record by the way.

Bombanfall or Svart Parad?

Fuck you and your impossible to answer questions, Romain! I'll say Bombanfall because they almost sound like proto death metal, and I LOVE death metal!

And the winner is!

Meanwhile or Disclose?

What the hell (on earth)? Come on, they're the best 2 Discharge worship bands ever. Maybe Disclose by a small margin?

Eskorbuto or RIP?

I was into Eskorbuto long before I heard RIP, actually they were one of the very first punk bands I heard, so they have a very special place in my heart. But they got a bit derivative as years went on. RIP had a smaller but better discography. I'll still pick Eskorbuto because they were a formative band for me.

Kaaos or Riistetyt?

Love both, but once again I heard Riistetyt first so they resonate with me more, especially the Valtion Vankina LP.

EU’s Arse or Underage?

Eu's Arse. Those unhinged vocals are the best.

"Massacre Divine" or "Shootin’ up the World"?

Neither, but Massacre Divine has better artwork… as well as "Sexplosion", featuring slap bass.

PS: Wait, no Broken Bones vs English Dogs? Ripcord vs Heresy? Priest vs Maiden? ZZ Top vs Thin Lizzy?

This is THE END of the interview. Massive thank to (A) Luc (At Tomorrow) for taking the time and playing the game. Hopefully it was a pleasant read for men, women and children too. Cheers mate and see you after the gigs!