DYS: Please break up!

My instincts are telling me that this is a little harsh, but even Smalley signed the damn thing, so let's take him out of his misery. Maybe with some historical manipulations we can convince our children's children that the only record they ever released was Brotherhood.

Sign the petition here. Let's pull the plug.

 

In Effect Fanzine

Bonkers for Yonkers. Whut?

Life of Dreams

 

Cold Cave - "The Laurels of Erotomania" (Dylan's Dumb iPod #16)

Erotomania is a mental condition in which the affected person believes that another person (a stranger or a celebrity) is in love with him or her. Telepathy and stuff.

Love Comes Close

"I'm going to hold you in the hospital" repeated in a staccato by a guy who sounds like he's ingested a whole lotta keyboard duster. New wave bent. Duh duh duh. People are still into this band.

Don't ask me why I've got club-dork music on my pod. I just do.

Wolf-Hybrid Men #1

"Besides dogs and gorillas, they are the ultimate hardcore creatures. It's like hardcore without the music." Klas from Shipwrecked on the subject of werewolves. (Chunks #6)

The Faith - "Limitations" (Dylan's Dumb iPod #15)

Alec Mackaye is probably most famous for being Ian Mackaye's little brother and for being the actual figure on the cover of the Minor Threat album, but he should get a little more credit for being a part of one of Dischord's lesser praised releases, the Faith/Void split.

Brotherly Love

"Limitations" comes from the Subject to Change EP though, a record which experimented with a little more melody, and basically provided the farm roster for what would mutate into that "Revolution Summer" / Emocore thing that would become Dischord's new signature.

"Limitations" is a simple punk song, about not being good at things (something I relate to), made all the more potent by the fact that The Faith were fairly critical of the scene that spawned them ("You're X'd" was a critique of straight edge).

The song has a piercing vocal presence, and kind of gets off kilter at the 0:35 mark, as Alec haplessly tries to keep up with the band, endearing it more than hampering it.

Whether they were one of the last bands of Dischord's "first wave" or the flagship of the second, The Faith acted as a sort of "transitory" period for a new style and a new crop and an essential band for those interested in one of hardcore's most vital periods.

(Copyright Dischord records, 1980-something, ya ya ya)