Album Review

Spazz – “La Revancha” – [625 Thrashcore]

mann   7/16/2013   12-inch, A Library

The guitarist says, “It’s the best record.” 26 brutal soundtracks about west bay drug cartels, drinking crews, dank devils, dick riders, dusthead rebellions, respect for the old school, hip-hop, pro wrestling, Shoalin Monks, hippie extermination, Hirax fascination, graffiti, record collecting wit, and the demise of emo and backpack rap. For most of the crust-spawns, Spazz from Redwood City was undoubtedly the most lethal gateway drug for a life-long addiction to brutal music, and they led by example, redefining and criticizing the style they were exploring as they went along. Spazz always seemed very aware and confident about their place in history, in regards to where they got it from (name-dropping Neos) and where they were going with it (625 Thrash/Slap-A-Ham). And what it wasn’t: the typical pose that was passing for hardcore at the time. And they spelled it out [if you can decode the lyric sheet] for all to adhere to or “buy the next ticket out of our town, when you are chased – out of Redwood City. Musical felony – won’t be forgiven.” All this from a grind record with sax and banjo on it; the Spazz smirk forever present. Here’s the common reaction by a young gremlin from the 90’s when you mention Spazz: “I didn’t know what I was listening to. Death punk was my first guess. I was listening to a lot of death and black metal at the time along with some hardcore. This was back in the mid-90’s. Powerviolence was huge in the underground but I had not given it a chance till I heard Spazz. I bought La Revancha just to hear more of them. I gave them a chance and man was I blown away! I got into the scene and was hooked.” Great vocal sound-bites, beats and loops between songs, one which features the legendary voice of Kool Keith of Ultramagnetic MCs, the Spazz of rap one could argue. If you like your music short, fast, heavy, bass-y, crazy, ugly, fed up, noisy, loud, groovy and yes, clowning the herbs…. you must blast Spazz, the conduit against what conforms. Plays at 33. Mann the G.

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