The underground rock scene of the 1980s has been given due spotlight and celebration since its unruly heyday, but one of the more undersung (if not necessarily criminally overlooked) bands of the era is Savage Republic of Los Angeles, one of the few US outfits that can legitimately be described as post-punk in orientation. Released in 1982, Tragic Figures is their debut full length, freshly reissued and expanded on 2LP/2CD by Real Gone Music and available now. And on May 20, Meteora, a brand spanking new Savage Republic album emerges on LP/ CD through the Mobilization label. If Tragic Figures has held up spectacularly well, Meteora thrillingly exceeds expectations.
Hearing Tragic Figures back in the 1980s was a striking experience, and I venture ‘twas the case even for those deeply immersed in the period’s u-ground happenings. In short, they could hit the ear like a cross between Keith Levene-era Public Image Ltd and early Sonic Youth at their most strung out and textural, but with a substantial influx of industrial whack-clatter-general abrasion, and on top of that, a whole lot of tribal drumming.
Theirs was a potent sound intensified by a sparse attention to lyrics; that is, some songs have words and some don’t. But as track titles “Attempted Coup : Madagascar” and “Kill the Fascists!” should make clear, Savage Republic weren’t disdaining the ideological. Rather, when they had something to say, they made it count. And it’s not like they could just be conveniently tucked under the blanket of “political band,” as “Next to Nothing” is textbook post-punk alienation and “Perfect Day” is prime rainy day old school punk rock ranting.
Vocals are more prominent on side two of Tragic Figures, with the music attaining an apex of political theorizing in its closing track “Procession.” However, the stylistic spectrum is wide throughout (and especially so in “Procession,” which is quite multifaceted). If the record is audibly a byproduct of its time, that’s not a limiting factor, as the band’s restlessness, ambition and disdain of commercial sheen are a welcome combination. When combined with such a high degree of musical curiosity, the record hasn’t lost a thing.
Originally named Africa Corps, Savage Republic was founded in the early ’80s by guitarist Bruce Licher (owner-operator of Independent Project Records) and drummer Mark Erskine. Tragic Figures was their debut, followed by the “Film Noir” 7-inch (featuring a version of Mikis Theodorakis’ “O Adonis” from Costa-Gravas’ classic political thriller Z on the flip) and then a break up by 1983; another 7-inch of material from 1981, “Tragic Figure” was issued in ’84. Both 45s and a compilation track were added to Tragic Figures’ eventual release on CD.
In adding an extra disc, Real Gone hasn’t merely regurgitated the contents of that CD (repressed numerous times since the late ’80s) but instead unveiled largely unheard rehearsal tapes. And it’s not just different versions of songs from Tragic Figures, as five selections don’t appear to have studio equivalents.
Those cuts alone elevate this edition (reportedly recorded in the basement of an LA parking garage for that extra reverb) to the level of essential (and note there are only 2000 vinyl copies pressed), but the versions of the album cuts are undeniably major, in particular “Exodus,” which wraps up the set on side four (the studio version ends side one). And while Savage Republic’s breakup didn’t last, Licher and Erskine were the only two to carry over to the next lineup, so that the intensity of Real Gone’s spotlight on this band’s vibrant initial stretch becomes even more vital.
After splitting again in 1990, Savage Republic reformed in 2002, though Licher exited after one tour. The remaining members, including Thom Furhmann and Ethan Port (both having joined for second album Ceremonial in 1985) elected to remain extant. Meteora is their fourth full-length since. It’s understandable that some might be suspicious of a reunion lacking any original member, but please note that Meteora features Savage Republic’s longest stable lineup, as Kerry Dowling and Alan Waddington complete the band.
The record ultimately succeeds by retaining key aspects of Savage Republic’s collective thrust, namely the tribal rhythms (“Boca del Vaca”), the aspects of post-punk (notably, standout “Unprecedented” was written by Graham Lewis of Wire), the social commentary (“God and Guns”) and the continued focus on instrumental material (numerous cuts, including “Stingray”). All this plus a surf rock number injected with a little Modernist piano (“Bizerte Rolls”), and moments that recall Sonic Youth’s latter period stuff (the title track and elsewhere).
In terms of heaviness, opener “Nothing at All” is even a little reminiscent of Mission of Burma’s post-reunion material, although the industrial racket is still tangible. Really, listening with fresh ears in 2022, the main difference between Tragic Figures and Meteora is that the former, all these decades hence, still sounds threatening and the latter is a handiwork of a precise, well-oiled, but not too slick unit. Highly worthwhile, in both instances.
GRADED ON A CURVE:
Tragic Figures
A
Meteora
A-
