GBH
No Survivors

Does it make sense to talk about GHB at the end of 2015? In my opinion, I would say yes, given that they are still touring around the world with their concerts where physicality and rage are basic elements. Born in the early eighties in Thatcherite England's industrial and smoky Birmingham, they represent the last wave of the Punk movement in Albion. Grievous Bodily Harm is the chosen name, soon shortened to the brief and more direct acronym GBH; among the very first, along with Discharge, to understand and propose the possibility of a crossover between Punk-Hardcore and Metal. In practice, the forerunners of the subsequent Grindcore (I mention Napalm Death and their very early works heavily influenced by the raw sound of the two bands I just mentioned above).

"No Survivors" is a live album, recorded during the 1983 tour; it retraces the band's first belligerent period, the most extreme and pressing one. In the notes on the back cover of the vinyl, the band explains, without too many words, that this is a record made without any studio "adjustments". And they lash out against bands of the period, "poor bastards" is the phrase they use, who instead used to modify and somehow correct the recordings of their concerts.

A cover that couldn't be more Punk: the four ugly mugs photographed in front of a dilapidated structure, it could be a highway cement pillar. You can feel the air of filth, garbage, dirt: an image that well accompanies the subsequent listening of the fourteen grooves that make up the equally filthy sound.

It begins with Colin's voice announcing the first track; "Sick Boy" one of their immortal anthems. After what I've written, it's easy to guess that the sound quality is terrifying. Jock's guitar is practically inaudible, overwhelmed and suffocated by bass and drums played at a disturbing volume: Punk through and through. Things don't improve with the subsequent lashes: "Maniac", "Time Bomb", "Generals" short direct attacks played with that vehemence that knows no obstacles.

And in this sick way, we arrive at the most famous and violent track of GBH: "City Baby Attacked By Rats" taken from their eponymous long-distance debut of 1982. Yet another "lively" example of what the four horsemen of evil managed to bring out of their instruments: lightning-fast rhythms, guitar solos where non-technique reigns supreme, "crazy" vocals shouting rather eloquent invectives. I can imagine the wild pogo this track calls for below, but also above, the stage.

Played very badly and produced worse. Rotten, raw, and ignorant...NECROPHILIA...