Origin of the species: One of the main attraction of the early 80s UK anarcho-punk movement, SUBHUMANS were out to make a statement both with their lyrics of protest and their daring musical compositions that helped redefine punk rock. Formed in 1980 in Wiltshire, the quartet of Dick Lucas (vocals), Bruce (guitar), Phil (bass) and Trotsky (drums) were united in one common cause: to awaken society from its indifference of a whole slew of political and socio-economic issues. Musically, the band would draw influence from not only punk icons such as SEX PISTOLS and THE DAMNED, but also some not-so-conventional sources such as KING CRIMSON and FRANK ZAPPA, as can be
heard on the band’s latter, more experimental material. After the band’s breakup in 1985 (just before the release of the “29-29 Split Vision” LP), Dick would dedicate himself to the ska genre both in the short-lived CULTURE SHOCK and the currently active CITIZEN FISH. The latter of these projects saw Dick reunite with former SUBHUMANS running buddies Bruce and Trotsky, foreshadowing a SUBHUMANS reunion which was finally realized with the release of 2007’s “Internal Riot.” Fast-forward to 2009, and the band’s own Bluurg Records has re-released the entire SUBHUMANS catalog complete with deluxe digipak packaging, remastered sound, all the original artwork and even a bonus fold-out poster. Seeing as the band’s lyrics never called out individuals by name, their music has already proven as relevant today as when it was recorded over 25 years ago, allowing a whole new generation to benefit from the band’s music and message.
SUBHUMANS - "EP-LP", 1981-83 - The four EPs that comprise this compilation of the earliest work of SUBHUMANS - "Demolition War," "Reason for Existence," "Religious Wars" and "Evolution" - may have been recorded individually within a three-year span, but are far stronger as one big, loud piece of punk rock protest. Each EP is equally as raw production-wise, and the way the tracks blend into each other helps create a sense of cohesion, but it's the way this album gets progressively more and more pissed off that will really keep listeners tuned in. On the first few tracks, which come from the "Demolition War" EP, rely heavily on witty sarcasm, Dick narrates from the point of view of those
he's mocking ("Our society, what a drag!") while simultaneously conveying some pretty valid points ("There ain't no patriots no more / Who's gonna fight in the Third World War?"). Things take a more personal tone with the "Reason for Existence" EP, as Dick questions his own beliefs and whether his struggles are worth it ("What's your reason for existence? / Do you believe in anything?") while still having a bit of fun with his anti-smoking PSA "Cancer" (for the record, Dick is a smoker and no, he didn't write that song). The "Religious Wars" EP gets rather interpersonal as Dick delves further into his problems, both financial ("Work Experience") and personal ("Love is…") before making perhaps the boldest statement on the album with "You don't like the way I'm singing / but all I got is my fucking voice!" Finally, the sarcasm of the first tracks is long gone by the time "Evolution," as Dick tackles all sorts of heavy topics ranging from animal testing (the title track) to health-related paranoia ("Germ") to the funding of war ("So Much Money"). As we'll see throughout the career of SUBHUMANS, these guys aren't in any shortage of reasons to call their audience into action.
SUBHUMANS - "The Day The Country Died", 1983: “The Day the Country Died” was just what the punk movement needed in 1982: abrasive and screaming straight from the gutter -- Dick Lucas and co. are bringing a public service announcement, yes with guitars, from those who felt that the class of ‘77 got rich and fat (just like the hippies before them). It’s clear that THE SUBHUMANS were never going to cower or falter with their ideals. If their US counterparts like THE DEAD KENNEDYS were delivering a horrific world-view through a dark, Cooper-esque humour then THE SUBHUMANS were telling it dry, and it was all the more horrifying for it. This band wasn’t warning against
1984 and Big Brother as they knew it was already here -- listen again and reaffirm your hatred of Margaret Thatcher… and lager and lime.
SUBHUMANS "From the Cradle to the Grave", 1984: On the SUBHUMANS second full-length, the band defied their audience's expectations by proving that a slow punk song can be listenable in "Waste of Breath" and writing songs lengthier than three minutes wasn't an improbability. These changes see the band reaching further musically. The short instrumental introduction on the second full album in no way indicates what is to follow. "Where's the Freedom" and "Reality is Waiting for a Bus"may be quick blasts but snippy straight to the point punk songs that appeared on the debut are near absent. Although lacking a brass section, ska upbeatness comes up for air in "Us Fish Must Swim".
The yelping guitar and Dick's change of vocals ending "Wake Up Screaming'" are the sound of a man who can't take the injustices in the world anymore and is contemplating ending them by slitting his wrists. Dick's vocals blare out loud and clear over a number of tempo changes in the sixteen-minute title track as he spits out an anarcho-punk submission for a political science dissertation. A punk concept album about life may have been attempted five years previously by SHAM69 but the musicianship and lyrical content on "From the Cradle to The Grave" are more complex however unlike the SUBHUMANS debut, many of the songs aren't instantly appealing. The remastered package comes complete with a stunning lyric booklet and a fold out poster.
SUBHUMANS - "Time Flies...But Aeroplanes Crash", 1983 and "Rats", 1984:
Re-mastered supposedly the way it was originally meant to be heard, this
particular disc is the combination of two extended player's first done
in the mid-80's. The nicely printed digipack (with poster and lyrics booklet)
is definitely better to glare at here with a clean, stark, black and white
clarity not seen before this digital age, but unfortunately for the Anarchic
charged music inside, the artwork is the star. That is not to say the
songs aren't doing their job, it's just that the compact disc version
lacks punch. The trademark buzzing guitars and ultra Brit pronunciation
is all here alternating with some weaker, but okay, ska and reggae banter.
While the latter two styles are
well done, it needs a lot more guts. My
favorite of the EPs here is the "Time Flies..." portion for sure but the
live tunes included are so low down in the speakers, they're buried like
half the punks that were at the gig in question that night. You have got
to boost that knob all the way up to get a slight reading of maximum reality.
One track 'Susan' is a mellow, piano dominated melody that is strictly
for big fans only. The band have always had their followers, most even
sticking it out through later incarnation CITIZEN FISH, so this will find
it's way into the right hands positively. I recommend the very earliest
stuff they did like the "Demolition War" 7" and "The Day the Country Died"
LP, that's the records I like best, if you even care...
SUBHUMANS - "Worlds Apart", 1985: This album sees SUBHUMANS (again) expanding their style into a more accessible pop ditty (yet at the same time more technical, how's that for a paradox?) influenced collection of anarchist propaganda tunes. The biting lyrical approach attacking the oppressive society with hate is still luckily the same (as is Dick Lucas' thick-as-a-brick working class accent) but what most surprises the casual listener here is how progressive some of the guitar playing has become, like they have decided to change overnight to VOIVOD of anarchist punk, for details see for example the jagged, fulminous intro "33322", a desolate atmosphere speckled with the fires of
burning rebellion. Bouncy, quirky, catchy and rebellious, what more could you wish from rock music? This is true anarchy and revolution: you can't guess what the next riff is until it comes across. The unexpected tempo changes everywhere keep the music fresh. There are lots of details in these songs to figure out under multiple listens, guitar effects, agile bass, weird chords, what have you. Luckily, they haven't gone so convoluted on us that there would be more than two songs over four minutes in length. Overall it's a winner - punk with attitude yet lots of strange, obscure hooks. It's not the best SUBHUMANS disc, as it's so mellow after all, but it's the one of the top three or so.
SUBHUMANS - "29-29 Split Vision", 1986 Astonishing, isn't it? Five years into their career and SUBHUMANS have actually become a fully functional rock band as opposed to a bunch of protestors with musical instruments. However, don't be fooled. Even though the band's guitar work now exceeds mere power chords and Dick has learned to harmonize vocals (not to mention, you know, actually sing), their call to action still rings loud and clear. It's just the medium by which they convey it that's changed. At this point, Dick has mastered the arts of narration and metaphor for expressing himself clearly without beating his message over listeners' heads. The appropriately named
"Somebody's Mother" paints a personal image of indifference that everyone can relate to, and "Heroes" tells a story about the dangers of getting too comfortable. Even still, it's in the music where these guys really stretch their creative muscles. "Dehumanization" has all the aggression of their earlier work, but they now allow themselves room to be more playful ("Walls of Silence"), more earnest ("Think For Yourself") and more experimental (the 7+ minute "Worlds Apart," which finds the band dabbling into jazz). Put these together and you have what's arguably the album's crown jewel "New Boy," a rather disturbing number that's largely acoustic and pulls listeners into the mind of a lonely individual in a dystopian future… or is it the present? All in all, "29-29 Split Vision" is the sound of a band that's clearly on a creative high, and listeners would be left wondering what could have been had the band not broken up shortly before this album's release.
The entire SUBHUMANS discography has been reissued through Bluurg Records in cooperation with the Southern Records music label. Find out more about these fine reissues at www.subhumans.co.uk
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