It is often said that subcultural dynamics are cyclical in nature. I guess bitter bastards would say that is just a fancy term for going around in circles but you get the idea. This is just as valid applied to high street fashion (you know, that thing that will be burning during the coming anarchist revolution and shit) as the recent dramatic increase in twats wearing Fila trainers attests as it is for punk-rock (still pretty much a Fila-free haven). Once new and exciting punk innovations - amazing and inspiring music like käng or crust and other much more distressing ones that are better left unmentioned - have turned into proper subgenres. This process implies that, through their sphere of influence and because of the strong desire to emulate, they become solidified and codified, the initial newness generally giving way for replications and adjustments. Or even blatant resurrections, out of nowhere, so to speak, wherever nowhere is located at a given time, as the French oi revival proves. Fuck me. Who could have predicted that one?
The issue of cyclical trends (or "cyclicality of subcultural dynamics" if you studied sociology in college and need to feel smart) has been a major one in the punk scene. Many people, once very active, moved on and left the scene because of punk's creative stagnation and craving to emulate past trends. And fair enough. On the one hand, it can be disheartening to see punks still doing Discharge cosplay in 2022. On the other, it can signify a genuine subcultural practice and identity. On a meta level, trend revivals could be approached through the prism of survivance and liveliness. Retelling the same stories has a certain consolidating quality. It is a cultural validation. Whether it is a validation of punk's fear to innovate and thus of its imminent irrelevance or a validation of its undying pride in and renewal of its fundamentals is a matter of perspective and of how much a bitter bastard you really are. It's probably both, really. It can give birth to sterile bands just as much as class acts. Whether Yuppie Gore Filth belongs to the first or the second category is up to you. But if there is one thing everyone can agree on it is that YGF are fun.
YGF are extremely unoriginal. YGF are also very original. They are to Electro Hippies what Disturd are to Antisect. And how many hyperbolic Electro Hippies-loving bands can you name? Exactly. And I love EH. I remember getting the Peaceville digipack reissue in the early noughties because I loved the Spanish Revolution reference on the cover - and therefore thought the band would probably sound like Sin Dios - and because it was called The Only Good Punk, which proved to be quite the premonition in my case. What's not to love in EH? They play blinding fast mid-80's anarcho hardcore punk with a distinct UK vibe and a metallic influence, not to mention that their lyrics are both political and sarcastic. They were never technically a crust band - although later versions of songs like "Acid rain", "Terror eyes" or "Unity" did have that UK stenchcore vibe - but the crossover tag is somehow pertinent. I have to admit that I have always disliked the term "crossover" primarily because of its heavy American hardcore origin (it was coined by DRI after all and as everyone knows "DIY not DRI") but EH can be part of a reasonable conversation about DRI, Siege or Septic Death, in spite of their distinct British sound, as well as one about Deviated Instinct or Hellbastard, in spite of a significant US influence.
But let's get back to the pith of the business and to Yuppie Gore Filth (a name that sounds like a Sore Throat song). As a band emulating EH, can they be said to belong to the recent crossover trend? Bands connected to in vogue labels like Quality Control or Sorry State, acts like Scalple, Tempter, Tower 7 (those two are really good) or Mere Mortal have been resurrecting that crossover sound that was rather unfashionable not so long ago judging by the low amount of Suicidal Tendencies and Corrosion of Conformity shirts and bandanas at gigs. Those bands do not sound alike, truth be told, and the degree of speed, metallic crunch and constipated tough guy impersonations does vary. Because of the insularity, Japanese punks tend to have their own trends and dynamics so I would argue that, if YGF's music could sonically fit with a contemporary "crossover trend" - the term "revival" would be too much of a stretch given the marginal, if significant, number of bands involved - it is more by chance than by design. Something in the water maybe.
YGF started around 2020 in Osaka, a town renowned for its many quality punk noise units. As you would expect from punk's incestuousness, members of YGF are not young'uns - the live videos suggest they are not part of Osaka's old guard either - as they play or played in bands like the top notch all-female gruff crust band Defuse (for drummer Hisako), the ferocious anarchocrusters Avvikelsse, one of the bands I was too hungover to properly pay attention to but sort of sounded like traditional Japanese hardcore Rigid, a band I have never heard of Trans and even Osaka's undisputed noise crust champions Zyanose. However, YGF do not try to sound like any of those as they firmly intend to build on raw UK-styled 80's fast crossover stench hardcore which, as an elite-level nerd obsessed with 80's UK punk, speaks to me on a pretty profound level. As mentioned, Electro Hippies are at the head of the table but they also gladly invited Notts heroes Heresy and Concrete Sox as well as Ripcord and Scum-era Napalm Death (the cavemen voice of the second vocalist does convey a grinding crust feel). I was never scholarly trained in crossover hardcore and apart from the crustier-sounding British bands that stemmed from the buoyant DIY hardcore and anarcho punk scene but were equally influenced with the fastest US hardcore bands and thrash metal, I don't know that much about worldwide 80's crossoverness so that there could be more adequate comparisons (SOB? DRI? COF? other acronyms?). Feel free to pontificate.
Apparently, YGF claim to play "filthy crusty stench speedcore" which sums it all appropriately and with all the class one would expect from an Osaka crust punk band. The tape has six songs, two of which are merely 5 seconds-long short blasts of hardcore noise - like Electro Hippies, Napalm Death or Sore Throat used to do. The first five tracks were recorded in late January and early February 2020 while the final song "The end" was recorded in November of the same year along with three other songs, each of them appearing separately on the three other versions of the demo tape. My copy is the white version released on the Dis-obsessed Deleted Records from Malaysia has "The end" (like the red version) while the UK version on PMT (a good London-based tape label) has "Anihilation" and the brown Japanese version on Armed With a Mind has "Life". Cheeky bastards.
This is not the best demo tape of the year but it is certainly one of the "freshest" in my book. Some crusty crossover anyone?
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