Fuel my fire!

Jesli ktos zna moje gusta i czyta ten glog to wie doskonale, ze moja milosc do Zero Tolerance nie zna granic. Gdzies we wczesniejszych postach znajdziecie wiecej informacji na temat tej legendy z Buffalo. Polecam poczytac bo to kryminalnie niedoceniony zespol.
The Essence laczy tu sily z Reaper Records, ktory wydal ten 7" w 2010 zeby udostepnic oryginalnie wydana na kasecie sesje "Fuel The Fire" w absurdalnie limitowanym nakladzie 100 sztuk na przezroczystym waxie. Nowa okladka, dodatkowe flyery i wszystko podane w typowym dla nas wysokim poziomie. Data wydania do potwierdzenia. Pracujemy nad grafika i detalami.

ZT live ze spiewajacymi czlonkami Snapcase.

Empowerment

Jak Niemiec chce to potrafi. To zwykle dobrzy rzemieslnicy choc gorzej u nich z inwencja tworcza. Czasem az boli slyszec jak dokladnie mozna skalkowac u naszych sasiadow to co amerykanskie. Momentami dochodzi do absurdow gdzie kopiuja samych siebie. Mimo wszystko, robia to zwykle na poziomie.

Empowerment to wzglednie nowy zespol ale zasilany przez bylych czlonkow dla przykladu Sidekick czy True Blue czyli gowniarzerki nie ma. Wiedza co i jak zrobic zeby dawalo sie przelknac. W klimacie swoim nie odchodza daleko od tego co robili tez wczesniej i echa wspomnianych zespolow pobrzmiewaja na ich demo co moment. Przypomina mi to troche tez Subzero, szczegolnie to wczesne, gdzie kawalki maja mocno nowojorski styl i zagrane sa z fajnych charakterkiem. Empowerement ujmuje mnie tez faktem, ze spiewaja po swojemu i tym samym nie ma katastrofy z akcentami a dodaje to im rownoczenie lokalnego uroku.

Maja demo i vinyl, ktory z tego co rozumiem jest wyprzedany. Podoba mi sie ten twor. Ma potencje.

Moby nie zapomina

Prawdopodobnie wiekszosc z Was wie, ze Moby ma korzenie w hc/punk. Byl czescia sceny w Connecticut, lazil do Anthrax (klub, nie zespol) i pogrywal w roznych zespolikach. Jeden z nich, Vatican Commando, gral wlasnie kolejny reunion koncert w ubieglym tygodniu. Moby reprezentuje twardy styl w slniaco bialej koszulce wspanialego Void. Klawy gosc. Zdjecie: Dan Rawe.

[Krsna] Prema

Oto dzwieki, ktore moga zainteresowac tylko kilka osob na tym slowianskim padole. Dla tych kilku dla przypomnienia sklad dla mnie dosc wyjatkowy bo wyplywal w momencie kiedy ja sam przewartosciowywalem swoje wlasne zycie probujac szukac odpowiedzi na kilka pytan.

Jest 1991. Amerykanski hc zmienia swoje oblicze - nowe brzmienia, nowe kierunki, hardline, Hare Krsna i wszystko pomiedzy. Shelter przejezdza kontynent ze swoja pakieta bhaktow wywolujac panike w Maximum R'N'R, nerwy u innych i sporo entuzjazmu u nie malej czesci sceny. Raghunath aka Cappo Ray ma charyzme. Wie jak sprzedac co mu sie w glowie gromadzi. Lifestyle staje sie rownie wazny jak filozofia. Shelter gra koncerty a dzieciaki sie przylaczaja do tras. Mikey byl jednym z takich mlodych entuzjastow pochlonietych szukaniem odpowiedzi w naukach pogrzebanych w Wedach (czy moze po prostu nastolatkiem zafascynowanym czyms nowym).

O Concerned dowiedzialem sie z jakiegos zachodniego zina. Napisalem do nich swoim kalecznym angielskim probujac przekonac samego siebie, ze jego poziom w tamtym okresie mogl zmusic kogos chocby do ukonczenia czytania tego gwaltu na jezyku mi obcym nie mowiac juz o odpisywaniu. Umowmy sie - pewnie 7 na 10 moich listow ladowalo w smieciach. Nie dziwie sie zreszta wcale. Polska musiala brzmiec dla chamrykanow zbyt egzotycznie aby ich stan swiadomosci mogl ta egzotyke pojac a i forma mojej zaczepki listownej tez mogla dolewac oliwy do ognia.
Tym razem po kilku miesiacach dostalem jeden z najdluzszych listow, jakie listonosz dane mial mi doreczyc. Mikey byl tak wylewny, ze nie rozumialem 75% tego co tam napisal. Pobieglem wiec do kolezanki, zeby mi to przetlumaczyla wiezac gleboko, ze to poczatek wielkiej przyjazni. Okazalo sie, ze to cieply list przepelniony radocha przeplatana z historia jego mlodego zycia i Hare Krsna. Nie wiem ile on mogl miec lat. Na oko strzelam, ze cos jak ja.

W niedlugim czasie pozniej okazalo sie, ze Concerned zmienil nazwe na Prema i nagrwaja EP dla Equal Vision. Na wspomniany list nigdy nie odpisalem. Pewnie nie czulem sie na silach sprostowac przyjazni, ktora sie wlasnie rodzila (czytaj - nie potrafilem sklecic wiecej 5 zdan w zenujacej formie).

Prema nagrala "Pebble", ktore sluchalem regularnie i czesto w pewnym czasie. Kilka kawalkow, ktore wpadaly w ucho bedac przy tym troche inne niz reszta kapel na poczatku lat 90tych. Kilka lat pozniej dotarlo do mnie, ze te dzieciaki po prostu mialy talent.

Te video wyplynelo niedawno. Interesujace jest zobaczyc w jakim stanie znajduje sie hc w 92 roku w amerykanskich przedmiesciach. Wyglada to troche jak spotkanie po lekcjach, ktore przerodzilo sie w koncert. Mikey okazuje sie szalonym frontmanem a gitarzysta wlascicielem garderoby z odwazna zawartoscia (niech nawet nikt przekonuje, ze te pasiaste galoty mowia cos innego).

Wracam do Premy co jakis czas. Dalej lubie. Lacznie z ich awangardowa plyta, ktora wyszla kilka lat po singlu.

Govinda. Sri Radha Govinda Preme Sada Jena Bhasi. Krishna Prema.

Never ending game

Oczywiscie nie wszystko jest doskonale. Sa rzeczy, ktorych mi w hc dzisiaj brakuje. Dla przykladu oryginalnosci i tym samym odwagi w maczaniu swoich lap w czyms nowym czy po prostu odrobine innym. Pewnie, ze dobrze widziec i slyszec jest powielanie czy inspirowanie sie klasykiem ale jeszcze lepiej wiedziec, ze stac nas na choc odrobine wlasnej inwencji. Czy to w brzemiach, czy pomyslach czy moze samej ekspresji.
O Absolution juz tutaj bylo. Zbyt malo zeby zaznaczyc jak wyjatkowy zespol to byl. Szalenstwo, ktorym targaja te dzwieki ma odzwierciedlenie i riffach Gavina jak i w opentanym glosie Djinji. Okazja do tego posta jest tez taka, ze obaj panowie lacza sily zeby ponownie wejsc do studia oraz zagrac pare koncertow. Na scenie spotkali sie ostatnio pare razy w kondycji nader dobrej czego dowod mozecie znalezc tutaj. Zacieram rece i czekam na informacje.
Ten artykul ponizej byl napisany przez Brian's Bystander Fanzine...
Does this ever happen to you? You go to a hardcore show and you know exactly what to expect. You know what the bands will sound like and you know what their lyrics will be about, even though you've never even heard the bands before. Does this really bother you? It should...because if hardcore is predictable and there are no surprises, then how is it different than mainstream rock?

The hardcore scene has always been this way to a certain extent. There are always a small percentage of bands that are doing something interesting, and the vast majority are just followers with no real ideas. The same can be said for any genre of music, whether it's rock, jazz, metal, hip hop, or any other style. Often, the innovators never get the attention they deserve and frequently end up being forgotten by most people. ABSOLUTION is a perfect example of this kind of band.

Formed in early 1987 in New York City, ABSOLUTION was made up of a diverse group of individuals. Guitarist Gavin Van Vlack had previously played in SIDE BY SIDE, although he left before they recorded their 7?. Bassist Alan Peters had played on AGNOSTIC FRONT's "Liberty and Justice For..." LP. Bronx-born vocalist Djinji Brown was the son of respected jazz alto saxophonist Marion Brown. Drummer Greg Johnston was originally from the midwest.

ABSOLUTION began playing shows and recorded some demos at Don Fury's studio. They immediately attracted attention with their unique sound. While nearly every other NYHC band at that time was playing "youth crew" style hardcore (ex. YOUTH OF TODAY, BOLD) or was adding lots of metal to their sound and going "crossover" (ex. CRO-MAGS, AGNOSTIC FRONT), ABSOLUTION was unique. Anchored by the strong rhythm section of Alan and Greg, Gavin had plenty of room to develop an original style of guitar playing. Adding a higher level of technicality than most hardcore bands, without being too "metal," Gavin's style included unusual chords and arpeggiations, adding a different twist to the usual NYHC sound.

But ABSOLUTION's most unique quality was Djinji's voice. While other African-American's had provided vocals for hardcore bands such as YDI, WHIPPING BOY, and others, few of the vocalists sounded "black." Even the better vocalists, such as H.R. of BAD BRAINS and Sean Brown (SWIZ and early DAG NASTY), rarely sounded "black." Djinji's more soulful singing and hip hop influenced delivery were much "blacker" sounding than any other hardcore vocalists, and were a huge contrast to the often sound-alike vocal style heard in hardcore. Lyrically, ABSOLUTION's lyrics were more thought provoking than the typical "stabbed in the back" or "tough guy" lyrics so prevalent at that time, hitting on topics as diverse as self awareness, urban squalor, and the hardcore scene itself.

Live, ABSOLUTION was at their best. Djinji's athletic stage presence was reminiscent of a young H.R. Gavin's intimidating presence was suitably threatening, and the memorably tattooed Alan also provided a striking stage presence. Musically they created an energetic, powerful sound, led by Djinji's soaring vocals, free of hardcore's clichés.

Playing CBGB's, as well as the other NY venues of that time (The Pyramid, Rapp Arts Center, Lismar Lounge), and the Tompkins Square Bandshell (scene of the Tompkins Square Park riot), and occasional out of town shows in Boston and Washington D.C., ABSOLUTION became one of the most highly regarded NYHC bands in 1988. By the end of that year, ABSOLUTION seemed to be on their way to becoming one of the biggest bands in the hardcore scene.

Their song "Never Ending Game" led off the "New Breed" cassette compilation (which included many of the best newer NYHC bands of that time, such as RAW DEAL and BREAKDOWN) that was released by Freddy Alva (who later had the short-lived, but important, Wardance Records) and Chaka Malik Harris. They also recorded tracks for a 7" on Dave Stein's Combined Effort Records and for a compilation on Vermiform/Combined Effort Records. With Jerry Williams (best known for his work with BAD BRAINS and for running legendary NYC studio/practice space/hangout spot 171 A) as engineer, things looked good for ABSOLUTION. They even played a huge "Rock Against Racism" show in Central Park, headlined by the then-huge LIVING COLOUR.

But then everything went wrong. The 7inch was disappointing. While not actually "bad," it didn't live up to ABSOLUTION's potential. The recording was bottom heavy and robbed the band of it's subtle nuances, in some ways similar to how UNDERDOG's "The Vanishing Point" was sonically disappointing. Even worse, Djinji's vocals sounded terrible, coming off as far too "metal," somewhat annoying, and lacking the unique sound that was ABSOLUTION's best quality.
Shortly afterward, Alan quit and later joined CRAWLPAPPY. He was replaced on bass by Sergio Vega (formerly of COLLAPSE). Johnston also left, and was replaced by another ex-member of COLLAPSE, John Kricksiun (who had also drummed for LIFE'S BLOOD). The new lineup played two shows before a major disagreement between past and present band members caused Gavin to break up the band. The Vermiform/Combined Effort 7? compilation (which also included NAUSEA, LIFE'S BLOOD, and BORN AGAINST) came out after their breakup, and included what is generally considered ABSOLUTION's best song, the unforgettable "Dead and Gone".

After the breakup, Sergio joined QUICKSAND. Djinji went on to a solo career recording several albums of world music influenced hip hop. Gavin and John formed BURN with ex-PRESSURE RELEASE bassist Alex Napack and their old friend Chaka Malik Harris. John left after a few shows and was replaced by ex-BEYOND drummer Alan Cage. With Gavin's signature guitar style and Chaka's vocals (which were reminiscent at times of Djinji's), BURN built on the framework that ABSOLUTION began and became one of the best early 90?s hardcore bands before breaking up in the mid-90?s. Gavin played in DIE 116 (with ex-members of RORSCHACH) and PRY, Chaka formed ORANGE 9mm, and Alan joined QUICKSAND, before reunited as BURN with new members Manny Carrero and Vic DiCara (ex-INSIDE OUT, 108, etc.).

Since they had only recorded demos, a 7inch, and appeared on compilations, all of which went out of print in a short time, ABSOLUTION was only heard by a few thousand people. After their breakup a whole new generation of hardcore kids came along, none of whom had even heard of ABSOLUTION. But ABSOLUTION's influence was huge. The numerous ?post-hardcore? bands of the 90?s all owed a huge debt to ABSOLUTION, who were one of the main inspirations for that entire subgenre. Bands like QUICKSAND, STILLSUIT, GLASSJAW, and countless others were playing a style pioneered by ABSOLUTION, although few of these bands were able to come even close to reaching ABSOLUTION's level of inventiveness and creativity.

Finally, in 1997, Temperance Records released the entire ABSOLUTION discography on CD. Including all demo tracks and compilation tracks and the 7inch, the discography also included many live tracks, even a cover of the ANTIDOTE classic, "Something Must Be Done." Finally, long lost songs like "Blessed with Awareness," "Take Control," and the great "I Am" could be heard again.

During their short, turbulent two year history, ABSOLUTION created some of the best and most innovative hardcore ever written. Besides their natural talent and creativity, they did this by doing exactly what they wanted to do, and ignoring all trends, expectations, and clichés. By doing this, they created something unique, that sounds just as good as it did fifteen years ago when ABSOLUTION was still together. Unlike many of their peers, who sound hopelessly generic to modern listeners, ABSOLUTION's music still stands out as something special.

ABSOLUTION were individuals; following no one and refusing to be just another face in the crowd. Isn't that what hardcore is supposed to be all about?