Dead Kennedys
Plastic Surgery Disaster

THE REVIEW

Incredible: ten thousand reviews on Dream Theater, Metallica, Iron Maiden, and only four on the Dead Kennedys. And on top of that, none on that masterpiece of "Plastic Surgery Disaster"! Are we kidding?? We're not talking about a valid but unknown band here; we're talking about the damn best punk band ever! Now, surely many will disagree, but as far as I'm concerned, that's how it is, and Ramones, Clash, Dead Boys, Germs, and the others, as great as they are, stand a notch below.

So, as we were saying about "Plastic Surgery Disaster." Released in '82, it's the Kennedys' second album, following the legendary "Fresh Fruit for Rotting Vegetables." Between the two albums, there was a change of drummer (D.H. Peligro replacing Ted) and a mini, "In God We Trust, Inc.," which redefined the sound of the Californian quartet by shifting it towards a less epic and more exasperated, fast, and frenetic hardcore punk. "Plastic" picks up exactly the discourse the mini, in its brevity, could not delve into: and so here we go, after the intro "Advice From Christmas Past", into overdrive with "Government Flu", which well synthesizes the new concept our heroes have of punk. "Terminal Preppie," "Forest Fire," "Buzzbomb," "Halloween," "Bleed For Me" are all frenzied shards unleashed at full force, supported by the mighty bass of Klaus Flouride (which often introduces the tracks) and enriched by the nimble guitar of East Bay Ray and the ranting voice of Jello Biafra.

However, beyond hardcore, it is evident that the Kennedys are exploring new horizons: "Forest Fire," before derailing into punk, reminds of certain '67/'68 pop psychedelia; "Trust You Mechanic" alternates furious bursts with almost noise-like moments; "Winnebago Warrior" even revives certain Morricone-like atmospheres; finally, "Moon Over Marin" embraces new-wave and pop rock, giving us a song certainly unusual for the Dead Kennedys, but which turns out to be a true gem. Just to reiterate that they have always known what melody is, not just what fury is. Besides the already mentioned songs, it is also important to remember two of the album's peaks: the wonderful "Riot," a faithful chronicle of a city riot gone wrong, and "I Am The Owl", slower and steadier, with a splendid bass line taking the lead.

A word should be said, of course, for Biafra's sarcastic lyrics, a real punch in the face of Reagan-era society. Nothing is spared from the Dead Kennedys' condemnation: careerism ("Terminal Preppie"), overpowering of government and law enforcement ("Riot," "Government Flu," "I Am the Owl," "Bleed for Me"), addiction to drugs and TV ("Well Paid Scientists," "Trust Your Mechanic"). Each song would deserve its own review for its meaning, they are all used to spread the social message of the Dead Kennedys.

A message, still worryingly relevant thirty years later.