In conversations about Fugazi (and the evolution of hardcore and emo in general), most of the talk focuses on two bands: Minor Threat and Rites of Spring. And while the importance of those projects cannot be ignored, there is one project that is tragically overlooked.
That project is Embrace. While Ian MacKaye’s road from Minor Threat to Fugazi had a few detours along the way, none of them foreshadowed what was to come more clearly than Embrace.
Few bands are as monolithic as Washington DC post-hardcore demigods Fugazi. For decades, they have been celebrated for their ethical convictions as well as the severity of their output. So it comes as “No Surprise” that the documentary about one of the best bands in the world would be one of the greatest music films ever made.
The documentary Instrument is a massive work, following Fugazi from their early days in the DC hardcore scene to the recording of End Hits, and it captures a side of Fugazi that runs counter to their reputation as self-serious punk monks—most notably that they lived in a house together with no heat, surviving on a Steady Diet of Nothing but rice. The film instead shows a group of guys who love making music and have a lot of fun doing it.
Likewise, the soundtrack to that film captures the same playful attitude—which isn’t a word typically used to describe Fugazi.
Public opinion is a fickle thing.
Once you catch the public’s attention, it can be difficult to keep it. A hit single is no guarantee that you’ll maintain relevance. Just ask any of the hundreds of artists deemed “one-hit wonders.”
But a number of these alleged one-hit wonders actually have long and storied careers that the general public has largely ignored.
And by God, it makes me so irritated.
Today, I’m counting down my favorite bands whose best work went mostly unnoticed.
On their second full length, Fugazi decided to keep control of the boards to themselves. The way they tell the story, none of them wanted to offend any of their bandmates by turning their parts down or suggesting second takes, resulting in a very democratic mix and a very safe album.
And the gaps in my Fugazi collection continue to grow smaller (one remains, if you’re not counting Instrument Soundtrack as a true album, which I don’t). Margin Walker, their second EP, sees the fearless foursome showing a drastic leap forward in composition that makes Repeater look like a step back.
Even with as long as I’ve listened to Fugazi, I am almost completely unfamiliar with Red Medicine. In fact, the only thing I hear when I think of the album is the super-gained choppy intro and the chorus of opener Do You Like Me? Purchasing the vinyl (and cassette! Gotta love overstock on record companies’ websites) was an act intended to force me to spend time with the record. Well, that and to fill in the two gaps in my collection (Steady Diet of Nothing, I’m coming for you).
For most of my life, The Argument has been my favorite Fugazi album. And while that position has been threatened as I trudge deeper into their catalogue (I’m looking at you, Kill Taker), The Argument remains their most singular and refined statement.
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Across six albums and two EPs, Fugazi created some of the most fearlessly adventurous, boundless experimental post-hardcore ever released.
And even in the context of their full discography, End Hits is a strange beast. Continue reading
From what I understand, anytime Steve Albini records something, the band is unhappy with the result and decides to change it (see: In Utero). In on the Kill Taker went through this process, and I’m glad they did, because this entire record is unmistakably Fugazi, and I would’ve hated for it to have sounded like someone besides Fugazi playing the songs. Continue reading
