IN-DEPTH LOOK AT AN 80′S PEACE PUNK LOST TREASURE: TRIALS “S/t” Ep, 1983
CVLT Nation is beyond stoked that the unreal site Terminal Sound Nuisance has allowed us to share some of their very thought-provoking features. What makes this so special level is that he is writing about a history that I was a part of and that changed my life. SoCal played an important part in what we know as hardcore punk, but NorCal (somewhat SoCal) played a major role in Peace Punk stateside. Read part one of Terminal Sound Nuisance’s California Screamin’ (part 1): Trial “S/t” Ep, 1983.
This awesome feature comes via: Terminal Sound Nuisance
Fuck me, it is 2018 already and, after dealing with the traditional bad news and exchanging the usual phony wishes that the new year invariably brings, it is high time I get to work again with a brand new series about a genre that is particularly dear to my soft heart: peacepunk.
My faithful readers know full well that I have already raved about peacepunk bands or about their legatees on several occasions in the past (The Iconoclast, Another Destructive System, Glycine Max or Diatribe have already been invited on Terminal Sound Nuisance among others) but I have never done an actual series on the subject. To be honest, the enterprise is tricky for several reasons. First, 80’s bands associated to peacepunk are not very well documented, if at all in some cases, so that writing about them proves difficult and potentially foolhardy. Second, the very concept of “peacepunk” can seem problematic in itself and must be imperatively read and understood in the specific context of its birth, namely California and its different punk creative centers. As I touched upon in the post about Iconoclast, to be a “peacepunk” band or to identify as one was apparently a matter of some importance or even a bone of contention in the 80’s. This probably had a lot to do with the nature of the Californian punk scenes that had so many punk tribes, and sometimes antagonistic ones too, that you could basically choose your own punk subscene inside the larger punk scene. It could also be argued that the highly political nature of peacepunk bands, their vocal dedication to serious causes and their overt pacifism was not to everyone’s taste and that tribal rivalries must have occurred (maybe not unlike the tensions that emerged in the UK with the rise of anarchopunk), hence the “peacepunk question” sounding somewhat crucial.