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Fugazi "End Hits"
Dischord, released: 1998
I think I've said it before, but I'll say it again: each album by these guys has new challenges to long-time listeners of Fugazi like myself. It always takes me a few times through the record to find the particular kind of feeling, kind of groove, that they're working with. End Hits continues with explorations into the realm of quiet/LOUD clean/dirty juxtapositions. This time, though, there are more complex melodies and song structures, and also a lot more studio effects. Echoes, reverb, and what seems to be more complex mixes than on previous Fugazi records. The opening track, "Break" has a great groove, and there's the surprising (comedic?) addition of tamborine and maracas to "Five Corporations", which otherwise is a hardcore mosh pit rocker. No one can say that these guys haven't become better musicians -- Joe Lally blasts out some fantastic bass playing, and nobody can put the funk and syncopation into hardcore drumming like Brendan Canty can (keep hittin' that bell, too!). Ian's guitar playing has gotten much more intricate, and continues to get better with each record. Fugazi has definitely grown up over the years, and while this album gets further and further away from the simple grooves of "Waiting Room" and "Bulldog Front", End Hits is still great listening.
[CCL 08/06/98]
 

songs: Break Place Position Recap Modotti No Surprise Five Corporations Caustic Acrostic Closed Captioned Floating Boy Foreman's Dog Arpeggiator Guilford Fall Pink Frosty F/D

 
  Fugazi "Fugazi", "Margin Walker"
Dischord, released: 1988, EP/1989, EP
[compiled on "13 Songs" CD, 1989]
This CD marks the first phase of development for the DC-post punk not-just-hardcore-anymore band that changed my life in 1988-89. I first heard "Margin Walker" when I was in high school and it was my introduction to "punk" and I loved it. Angry with a purpose. "Promises are shit/we speak the way we breathe/Present air will have to do/rearrange and see it through". . . These two ep's feature a somewhat more "palletable" sound, more riff-driven and harkening back to previous Ian MacKaye projects like Egg Hunt and Embrace.

  Fugazi "Repeater"
Dischord, released: 1990
[+3 Songs single included on CD Release]
I played my Repeater+3 CD so much that I wore a hole through it. Just kidding. But when this record came out in 1990, I thought it was the greatest thing since Straight Edge. This album was "harder" to listen to at first, a little more dissonance introduced into the songwriting. The Guy Piciotto songs take on a stronger character here. But there are definite Fugazi classics -- "Merchandise," "Shut the Door," "Blueprint," "Repeater," and of course, "Song #1" with its great lyric "Fighting for a haircut/I say grow your hair/Looking for an answer/You can find it anywhere/It's nothing." Tell 'em, Ian.

  Fugazi " Steady Diet of Nothing "
Dischord, released: 1991
Watch out. This album starts out with some funky noise and with Guy screaming "Exeunt" for thirty seconds. Not for the mild of heart. Sometimes I hate that track, but this album has some fine, fine tunes. Fugazi's albums get progressively more "art-noise-rock" in classification, as this album testifies. But songs like "Nice New Outfit," "Stacks," "KYEO," and my favorite, "Long Division," show that these boys can still kick out the jams.

  Fugazi " In on the Killtaker"
Dischord, released: 1993
I listened to this album about 12 times consecutively when I bought it, tried to like it, did for about five days, and then soon thereafter forgot all about it. Still, there are moments of better days in the recording studio on songs like "Returning the Screw," "Great Cop," and "Instrument." Sorry to say it, but this is the worst Fugazi album.

  Fugazi " Red Medicine"
Dischord, released: 1995
It's amazing when you think of the fact that Ian MacKaye has been angry since he was about nine, and now he's (I think) in his early thirties and still as pissed off as ever. This one came out in 1995 and, though I like it better than In on the Killtaker, I can't for the life of me place the sounds of the record to the titles of the songs. There are several good songs here, and a bolder, more in your face art-rock sound. Lots of quiets and surges of noise, and the begininng of this record makes you think your stereo is busted the first time you listen to it. Cool.
[CCL 5/13/96]