Fugazi是美国的一支著名的非主流朋克/硬核乐队，喜欢将演出场地设在滑板公园，并拒绝接受大公司的收编。
引人注目的朋克摇滚新的中心是华盛顿特区，而Fugazi则是Dischord Records / Positive Force运动的领袖。他们的音乐时而律动，时而响亮，时而舒张，时而喧闹，但一直不失政治性和攻击力，Ian Mckaye可能不常搞沉重快速的作品，但是Fugazi的音乐绝对不容忽视。
你可能并不完全赞同他们的观点和态度，但你不能否认他们做出了正直而不妥协的音乐。与众不同——这正是另类音乐的全部意义所在。另外，Fugazi的唱片价格便宜——那你还顾虑什么呢？
If history is kind to Fugazi, their records wont be overshadowed by their reputation and methods of operation. Instead of being known for their community activism, five-dollar shows, ten-dollar CDs, resistance to mainstream outlets, and the laughably fictitious folklore surrounding their lifestyle, they will instead be identified as setting a high bar for artistic excellence that is frequently aimed for but seldom achieved with great frequency. During their existence, the four-piece created some of the most intelligent, invigorating, and undeniably musical post-hardcore rock & roll. Along with their stridently underground ethics — which were more out of pragmatism and modesty than anything else — they gained an extremely loyal and numerous global following. To many, Fugazi meant as much to them as Bob Dylan did to their parents. Somewhat better to look at, perhaps, and certainly more accessible, but just as commanding of attention and adoration. More than anything, Fugazi inspired; they showed that art can prevail over commerce.
Drummer Brendan Canty, bassist Joe Lally, and guitarists/vocalists Ian MacKaye, and Guy Picciotto formed Fugazi in 1987. Initially a trio, Picciotto was added to the lineup after the bands first live shows. Prior to forming, the members already had deep pedigrees in the D.C. punk scene. Dischord labelhead MacKaye, who had previously been in the Teen Idles and Minor Threat, had just come from Embrace. For better or worse, Embrace, along with Picciotto and Cantys better Rites of Spring, kick-started the emocore sub-genre that would rise to prominence ten years later.
After further honing their cathartic live act and expanding their material, their first EP (Fugazi) was released in late 1988. More of an extension of Rites of Springs thick, dynamic, varied-tempo soul-bearing than anything else, the EP featured Suggestion, which would become the bands most well-known song. Though the course of rock history shows that loud music created by angry men tends to be of a predatory nature, Suggestion was an anomaly. MacKaye spoke from the female point of view, railing with frustration at how their sex is objectified. Not hampering the songs status as one of the most recognized chunks of late-80s post-hardcore was its catchy, vaguely reggae-influenced rhythms and searing guitars.
The similarly veined Margin Walker EP followed the next year and was later coupled with Fugazi on CD as 13 Songs. Though suffering slightly from lyrical shortcomings (MacKaye and Picciotto grandstand too much), 1990s full-length debut Repeater is generally regarded as a classic. Toughening and refining the bands shockingly propulsive lockstep dynamics (see Repeater and Styrofoam), it still left several critics and a few fans wondering if the band was becoming a one-trick pony. A year later, the cynics were proven wrong with Steady Diet of Nothing, clearly the bands most challenging material to date. Branching out lyrically and limiting the finger pointing, Steady Diet also varied from its predecessors with more imaginative arrangements and less visceral qualities. Two years passed until In on the Killtaker, the bands most abrasively black-and-white record. With scabous guitars and extended stretches of discordance, some of the songs were among the bands most aggressive and angular.
At this point, the bands reputation for political correctness got a little out of hand. Word of mouth and touring was providing more new fans than ever, which was good and bad. Fugazis energetic shows became the stuff of legend, known for the level of emotional release and Picciottos wild stage antics as much as the bands anti-moshing stance. With the rise of the bands popularity, the venues got bigger and the ignorant crowd behavior became harder to control. There were loads of irony in clusters of bare-chested young men throwing themselves around and injuring others while the band played their often anti-violent material. MacKaye would often stop the band mid-song to calm the crowd down, occasionally offering troublemakers their money back to leave the venue.
Since the band didnt do interviews with major publications, some journalists were left to improvise and opted to take creative license. The rumor mill amongst the fan base was equally imaginative. In fact, some concertgoers might have been surprised to see the band pull up to venues in a van, not arriving by a convoy of camels. Those who spoke with bandmembers were surprised to hear that they lived in houses — not monasteries — with running furnaces and that their diets werent strictly rice-based. Worse yet, the band gained a reputation for not having a sense of humor. Their records never kicked out the yucks (they werent Ween, after all), but this was probably the most unwarranted myth of all. Those who were resourceful enough to find interviews with the band in small fanzines might have been shocked to read that MacKaye was influence by Ted Nugent as much as Jimi Hendrix. Now that takes a sense of humor.
As the increasing responsibilities of adulthood and outside musical involvements increased, Fugazis recordings and tours became more sporadic. Red Medicine was released another two years after In on the Killtaker, chipping away some of the latters abrasion in favor of more jam-oriented experiments. It certainly wasnt a wholesale junking of the bands early sound, but more a matter of wanting to do things differently. They still sounded like Fugazi, but they werent painting themselves into a corner, either. The even wilder End Hits came in 1998, amidst rumors of the band being put to rest. Eschewing the notion, more choppy touring in support of the record continued throughout the year. In 1999, the Instrument video and soundtrack hit the shelves. The result of several years spent working on a proper Fugazi documentary, friend Jem Cohen assembled a lengthy homage to the fab four, including live performances and interviews. The soundtrack featured demos, jams, and incidental cutting room scraps, still forming an enjoyable listen that focused on the bands instrumental talents. 2001 saw release of the bands sixth proper LP, The Argument, which was simultaneously issued with the three-song Furniture EP. Outside of Fugazi, both MacKaye and Picciotto helped other bands with production. MacKaye continued to operate Dischord, and Lally began his own label, Tolotta. Picciotto also ventured into filmmaking.
引人注目的朋克摇滚新的中心是华盛顿特区，而Fugazi则是Dischord Records / Positive Force运动的领袖。他们的音乐时而律动，时而响亮，时而舒张，时而喧闹，但一直不失政治性和攻击力，Ian Mckaye可能不常搞沉重快速的作品，但是Fugazi的音乐绝对不容忽视。
你可能并不完全赞同他们的观点和态度，但你不能否认他们做出了正直而不妥协的音乐。与众不同——这正是另类音乐的全部意义所在。另外，Fugazi的唱片价格便宜——那你还顾虑什么呢？
If history is kind to Fugazi, their records wont be overshadowed by their reputation and methods of operation. Instead of being known for their community activism, five-dollar shows, ten-dollar CDs, resistance to mainstream outlets, and the laughably fictitious folklore surrounding their lifestyle, they will instead be identified as setting a high bar for artistic excellence that is frequently aimed for but seldom achieved with great frequency. During their existence, the four-piece created some of the most intelligent, invigorating, and undeniably musical post-hardcore rock & roll. Along with their stridently underground ethics — which were more out of pragmatism and modesty than anything else — they gained an extremely loyal and numerous global following. To many, Fugazi meant as much to them as Bob Dylan did to their parents. Somewhat better to look at, perhaps, and certainly more accessible, but just as commanding of attention and adoration. More than anything, Fugazi inspired; they showed that art can prevail over commerce.
Drummer Brendan Canty, bassist Joe Lally, and guitarists/vocalists Ian MacKaye, and Guy Picciotto formed Fugazi in 1987. Initially a trio, Picciotto was added to the lineup after the bands first live shows. Prior to forming, the members already had deep pedigrees in the D.C. punk scene. Dischord labelhead MacKaye, who had previously been in the Teen Idles and Minor Threat, had just come from Embrace. For better or worse, Embrace, along with Picciotto and Cantys better Rites of Spring, kick-started the emocore sub-genre that would rise to prominence ten years later.
After further honing their cathartic live act and expanding their material, their first EP (Fugazi) was released in late 1988. More of an extension of Rites of Springs thick, dynamic, varied-tempo soul-bearing than anything else, the EP featured Suggestion, which would become the bands most well-known song. Though the course of rock history shows that loud music created by angry men tends to be of a predatory nature, Suggestion was an anomaly. MacKaye spoke from the female point of view, railing with frustration at how their sex is objectified. Not hampering the songs status as one of the most recognized chunks of late-80s post-hardcore was its catchy, vaguely reggae-influenced rhythms and searing guitars.
The similarly veined Margin Walker EP followed the next year and was later coupled with Fugazi on CD as 13 Songs. Though suffering slightly from lyrical shortcomings (MacKaye and Picciotto grandstand too much), 1990s full-length debut Repeater is generally regarded as a classic. Toughening and refining the bands shockingly propulsive lockstep dynamics (see Repeater and Styrofoam), it still left several critics and a few fans wondering if the band was becoming a one-trick pony. A year later, the cynics were proven wrong with Steady Diet of Nothing, clearly the bands most challenging material to date. Branching out lyrically and limiting the finger pointing, Steady Diet also varied from its predecessors with more imaginative arrangements and less visceral qualities. Two years passed until In on the Killtaker, the bands most abrasively black-and-white record. With scabous guitars and extended stretches of discordance, some of the songs were among the bands most aggressive and angular.
At this point, the bands reputation for political correctness got a little out of hand. Word of mouth and touring was providing more new fans than ever, which was good and bad. Fugazis energetic shows became the stuff of legend, known for the level of emotional release and Picciottos wild stage antics as much as the bands anti-moshing stance. With the rise of the bands popularity, the venues got bigger and the ignorant crowd behavior became harder to control. There were loads of irony in clusters of bare-chested young men throwing themselves around and injuring others while the band played their often anti-violent material. MacKaye would often stop the band mid-song to calm the crowd down, occasionally offering troublemakers their money back to leave the venue.
Since the band didnt do interviews with major publications, some journalists were left to improvise and opted to take creative license. The rumor mill amongst the fan base was equally imaginative. In fact, some concertgoers might have been surprised to see the band pull up to venues in a van, not arriving by a convoy of camels. Those who spoke with bandmembers were surprised to hear that they lived in houses — not monasteries — with running furnaces and that their diets werent strictly rice-based. Worse yet, the band gained a reputation for not having a sense of humor. Their records never kicked out the yucks (they werent Ween, after all), but this was probably the most unwarranted myth of all. Those who were resourceful enough to find interviews with the band in small fanzines might have been shocked to read that MacKaye was influence by Ted Nugent as much as Jimi Hendrix. Now that takes a sense of humor.
As the increasing responsibilities of adulthood and outside musical involvements increased, Fugazis recordings and tours became more sporadic. Red Medicine was released another two years after In on the Killtaker, chipping away some of the latters abrasion in favor of more jam-oriented experiments. It certainly wasnt a wholesale junking of the bands early sound, but more a matter of wanting to do things differently. They still sounded like Fugazi, but they werent painting themselves into a corner, either. The even wilder End Hits came in 1998, amidst rumors of the band being put to rest. Eschewing the notion, more choppy touring in support of the record continued throughout the year. In 1999, the Instrument video and soundtrack hit the shelves. The result of several years spent working on a proper Fugazi documentary, friend Jem Cohen assembled a lengthy homage to the fab four, including live performances and interviews. The soundtrack featured demos, jams, and incidental cutting room scraps, still forming an enjoyable listen that focused on the bands instrumental talents. 2001 saw release of the bands sixth proper LP, The Argument, which was simultaneously issued with the three-song Furniture EP. Outside of Fugazi, both MacKaye and Picciotto helped other bands with production. MacKaye continued to operate Dischord, and Lally began his own label, Tolotta. Picciotto also ventured into filmmaking.
