DESTROY ALL ART VOL.2
ROCK'N'ROLL PARASITE | LP | £16.99
The second (and final?) instalment of Andrew Winton’s DESTROY ALL ART compilations, plus very last copies of the now classic Vol.1. These amazing LPs do for raw 90s US murder-punk / lo-fi spazz what Killed By Death did for the ’70s/‘80s sub-underground, lining up 30-odd tracks of obscenely grotty, no-hope, no-legacy GENIUS from a time before the internet, nice coffee and COLOURFUL GRAPHIC DESIGN ruined punk forever.
I mean maybe the likes of The Conmen and Splayed Innards and The Ignatz WILL have some kind of a legacy now, the same way that the KBD sides taught suggestible late 90s weirdos to fuck their music (and themselves) up a little bit in pursuit of the scumbag sublime. AS IF. Still, what tunes. “These particular singles earned mostly ZERO distribution at the time thanks to the then-dominant ‘punk’ trends of pants-shitting emotional and prog-metal wankage,” ,” says Ryan Wells in his priceless sleevenotes. “Chances are if you were even alive and starving for the real deal in the 90s you never caught a whisper of any of these, but better late than never.” We’re talking properly, hilariously obscure - take Austin, TX’s The Nubees, who only issued 45 copies of their lone 7”, or Portland, OR’s Disasternauts, who apparently “grew so bored of the basic idea of their 1998 7” that it never got a pic sleeve, and [they] defaulted to ‘distributing’ their records by leaving them in random phone booths.”
The fruits of Winton’s late 90s / early 2000s committed rummaging through the used bins at Amoeba and Rasputin's in Oakland, walking away with armfuls of $1 blind-buys and then carefully dissecting them at home, Destroy All Art is everything you want from a compilation series: flashes of unfathomable oneaway brilliance from bands who were otherwise pretty pedestrian, brilliant bands lost on dreary labels, brilliant bands who broke up before anyone bought their first record, bands who definitely aren't in any way brilliant but are somehow inspirational nonetheless. Vol.1 is perhaps a little more out-there/art-damaged, Vol.2, is more straight-up death-stomp... both are essential.