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Released on November 18, 2014 via Dischord Records
Of all the reviews I have been tasked to write, the opportunity to write some words on Fugazi has brought the most excitement and anxiety about what to say. The fact that it’s First Demo, the band’s first release in 13 years containing recordings that are 26 years old is irrelevant. I still remember the first time I encountered them, a mate in school had been shouting “1-2-3eeee! REPEATER!” ad infinitum and a few questions later, a C90 cassette tape was handed over for a copy of some of this unknown band’s music. The first song I heard in full was ‘Waiting Room’ and to this day it’s my favourite Fugazi song and I get the same feeling in my guts as I did all those years ago. I can’t help myself sing/shout along and if I’m upright, there’s sporadic movement uncontrollably flowing through my (aging) limbs. This was the band who had such an inspiration on me that every one of my self-released tapes/CDs I recorded over a 20 plus year period was sold for no more than £5.
There’s one striking feature of First Demo, I’ll allude to it throughout my review, it’s only on reading the press release that I understand the reasoning for the apparent non-appearance of Guy Picciotto. These tunes were recorded in January 1988, the band were only about a year old and Picciotto had only joined, still not playing guitar. Recorded in the basement of engineer Don Zientara’s house, known as Inner Ear studios the tracks are much rawer in sound and execution but no less vital.
The aforementioned favourite ‘Waiting Room’ opens up the collection with a fumbled/fake start, the familiar menacing yet playful groove vibrant and engaging. As with most of these tracks, the unmistakeable yelps of Guy Picciotto are less noticeable. He’s there, but he sounds more aggressive and phlegmatic when he does those foil style vocals. (It never occurred much to me but he’s almost like a hardcore version of Flavor Flav to MacKaye’s Chuck D, minus the clowning.) This version has a swagger about it that belies the serious overtones of the band that would become more apparent.
Compared to the Repeater version, ‘Merchandise’ has a heavier, chunkier sound and begins with either a piano sounding bass, or, a piano. The guitars have a swirling flanged effect which enhances the overall sound as do the denser sounding drums. Oddly for an album of demos/outtakes, I think this version is stronger than the studio version. There’s all manner of percussive sounds in the loose intro to ‘Furniture’, for a band renowned for their tightness, this is the most flexible I’ve heard Fugazi. The dub echo effects on the vocals hinting at possible influence from fellow DC hardcore stalwarts Bad Brains.
The studio version of ‘Song#1’ is a funkier affair and more playful, this version is full blooded and aggressive, the guitars more acerbic. Picciotto’s vocals are low in the mix, it’s almost as if he has yet to find the confidence to engage his distinctive drawn out interjections. From the looseness of ‘Furniture’, there’s a stark contrast with the taut hardcore rattle of ‘The Word’. Super-fast riffs go by so quickly, leaving space for a slam-dunked snare drum, the guitars only raging, and fully engaging, in the chorus. Tempos shift as the unit of Brendan Canty and Joe Lally segue into a slow groove with some superb fluid guitar work from MacKaye. Relaxed and laid back, it’s completely at odds with the first half of the track, the track ends with one of those “that’s all folks!” rock n roll endings. Well, almost.
Generally, the sound of these demo recordings is of a high quality (I doubt they would have released it otherwise) although at times the crispness of the drums, in particular, is reduced. This is obvious on ‘Badmouth’, the original is punchy and hip shakingly groovy, this version the guitars are heavier in tone and the bass is booming. Vocally, Ian MacKaye sounds more pleasing in terms of melody and there’s actual harmonies to be heard. One of Fugazi’s shortest and punkiest tracks is ‘Break-in’, the demo version a whole six seconds shorter than the studio version. Picciotto spitting out a malevolent growl, the unique trailing off of words that give him a vulnerability still not discovered.
The only unreleased track comes in the form of the lock tight groove of ‘Turn Off Your Guns’, controlled bass and superb drumming that has the ability to start/stop with startling showmanship, between slippery beats and silence. The guitars on the studio version of ‘And The Same’ are like razors, the bass lively and in your face. Yes the bass is right up there in the demo version, but which much more determination, the guitars used even more sparingly, though strings receive some serious destruction along the way.
Another hint that the band had a sense of joy/humour comes with the introduction of “Mustang Sally Take One” to ‘In Defence of Humans’. The galloping groovy combination of bass and drums whipped along by some masterful guitar work, full sounding and relentless. The instrumental ‘Joe#1’ ends the album and is the most demo sounding track, although it was half baked on the studio version. If Fugazi did cop themes I think this is what it might sound like. Inexplicably, the track ends very abruptly as if someone has thrown the mains switch.
Such is the stance of the band, I don’t think this album is remotely approaching any form of barrel scraping. Fugazi fans are dedicated and First Demo will be eagerly accepted, I had to order the CD because I want the completion of all of the band’s superb music. Apparently, there’s internet downloads available of hundreds of live shows from the band’s career, ready and waiting. That might take a little more work, but you know it would be worth investigating. I missed the band when they played over here, that’s something I’ll never forgive myself for. One of the modern era’s truly legendary acts, uncompromising, undeniably inspirational and as relevant as ever.
