Christopher Owens 🎵 Legacies are tough to build, but easy to piss away.
Iggy Pop once said that he always keeps a close eye on the quality of his new albums, as he doesn’t want his legacy destroyed by a string of mediocre late period albums. It’s an admirable approach. One tempered with the suspicion that he realises that the life changing period of his work is long gone but feels like he still has something to offer.
It’s a balancing act that most bands should take on board. Look at the likes of Jane’s Addiction, whose constant reformations/splits and various poor records have soiled their reputation as an inventive, eclectic band.
Discharge seemingly managed to do this within a four-year period, where they went from creating the greatest punk/hardcore album EVER, to making the disastrously received ‘Grave New World’ (truthfully, it’s nowhere near as bad as its reputation suggests. And don’t let anyone tell you it’s a glam album. They’re full of shit).
Albums in the 90’s (the mediocre outings ‘Massacre Divine’ and ‘Shootin’ Up the World’) did little to help change that perspective. But the legacies of those early releases were far too strong to ever fade into insignificance. They laid down a blueprint for thrash, grindcore, crust and powerviolence.
Simply put, they helped change the face of extreme music forever.
So no matter how low Cal sunk the band, they would still matter.
That’s impressive. And quite different from Iggy and Jane’s Addiction.
In 2014, Discharge were at a crossroads.
Having reformed in 2001 with the original line up (giving us the underrated s/t LP the next year), Cal was quickly replaced by Varukers frontman Anthony ‘Rat’ Martin which led to some derision as his vocals were different from Cal’s atonal howl. It took until 2009 for the ‘Disensitise’ LP to come out. Although a great album with Rat doing a fine job, it was barely discussed.
Some (including founding members Tezz and Bones) began to see the Rat period less favourably, believing that the band had become lazy and plodded along without any real purpose. While I would disagree to a certain extent with their assessment (Laverys 2006 was my introduction to the underground, and Rat’s last gig in Dublin 2014 certainly showed them on devastating form), it was a period where seemingly little was recorded.
However, having ex Wasted Life/Broken Bones singer JJ replace Rat worked wonders for them in terms of profile. Young, energetic, ferocious and vocally along the lines of Cal, there’s no doubt that he reinvigorated the band. Signing to a prominent metal label (Nuclear Blast) certainly helped. It was nice to see them being recognised as a current band with something to offer, as opposed to a nostalgia act for the mutually assured destruction generation.
With opener ‘New World Order’, the trademark Bones guitar tone is in place. It’s a sound that has been ripped off by thousands upon thousands of bands. But hearing it from the original source is still invigorating and euphoric. And with former drummer (and brother) Tezz now on second guitar, they just upped the ante.
It’s Discharge, so you know fully well what to expect: a tornado of a song that sucks you in, throws you about and then chucks you to the side when the fun’s over. The main question people will be asking is: does JJ do the job? And I can safely state that JJ finally delivers the vocals the way they should: atonal, guttural, righteous and without any trace of an English accent (which was a bit of a weakness when it came to Rat). It’s exhilarating.
‘Raped and Pillaged’ is thunderous (with a little hint of Southern rock/blues in the little slide before the main riff. The ringing before the solo is mesmerising, sounding like the four-minute warning. Appropriately enough, ‘End of Days’ starts with a sample of Patrick Allen from the “Protect and Survive” instructional video before giving way to a killer bass riff from Rainey. It feels like a rewrite of ‘They Lie, You Die’, but the added melodic lines and solo make it a stunning song in its own right. ‘The Broken Law’ starts off with a nod to doom metal, before beating the listener into submission.
So you’ve undoubtedly got the gist of how it sounds by reading the above. But I’m sure the question you’re asking yourself is: ten years on, where does it stand in the Discharge catalogue?
It feels like the album that should have come out in between ‘Hear Nothing…’ and ‘Grave New World’: it has a bit of metal in there but still retains the trademark Discharge onslaught. The production is clear and concise, everything and everyone is on fire and JJ’s vocals cut through the attack with the atonal, deranged and passionate howl of protest that is needed for this band. If Bones hadn’t left in 1982 and used some of the ideas that wound up on the first few Broken Bones album in the context of Discharge, I think it would have sounded like what we have now.
The next question you’re probably asking is: does it top ‘Hear Nothing…’? Not a hope in hell of that happening. That album was a moment in time: where the cultural climate, songwriting and production combined to make something that still resonates today due to the musical influence the album has had and the cultural climate being as bad as 1982. It’s a shame, but ‘End of Days’ did feature on a few year-end polls so its impact was felt.
Admittedly, there can be a tendency to look at everything else as insignificant because, once you’ve peaked that highly, where else can you go? An utterly unfair way of looking at things, as the band has turned in some fine work since reforming with the original line-up in 2002. And ‘End of Days’ continues this fine run. Ignore it at your peril.
Discharge: an inspiration to us all.
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Iggy Pop once said that he always keeps a close eye on the quality of his new albums, as he doesn’t want his legacy destroyed by a string of mediocre late period albums. It’s an admirable approach. One tempered with the suspicion that he realises that the life changing period of his work is long gone but feels like he still has something to offer.
It’s a balancing act that most bands should take on board. Look at the likes of Jane’s Addiction, whose constant reformations/splits and various poor records have soiled their reputation as an inventive, eclectic band.
Discharge seemingly managed to do this within a four-year period, where they went from creating the greatest punk/hardcore album EVER, to making the disastrously received ‘Grave New World’ (truthfully, it’s nowhere near as bad as its reputation suggests. And don’t let anyone tell you it’s a glam album. They’re full of shit).
Albums in the 90’s (the mediocre outings ‘Massacre Divine’ and ‘Shootin’ Up the World’) did little to help change that perspective. But the legacies of those early releases were far too strong to ever fade into insignificance. They laid down a blueprint for thrash, grindcore, crust and powerviolence.
Simply put, they helped change the face of extreme music forever.
So no matter how low Cal sunk the band, they would still matter.
That’s impressive. And quite different from Iggy and Jane’s Addiction.
In 2014, Discharge were at a crossroads.
Having reformed in 2001 with the original line up (giving us the underrated s/t LP the next year), Cal was quickly replaced by Varukers frontman Anthony ‘Rat’ Martin which led to some derision as his vocals were different from Cal’s atonal howl. It took until 2009 for the ‘Disensitise’ LP to come out. Although a great album with Rat doing a fine job, it was barely discussed.
Some (including founding members Tezz and Bones) began to see the Rat period less favourably, believing that the band had become lazy and plodded along without any real purpose. While I would disagree to a certain extent with their assessment (Laverys 2006 was my introduction to the underground, and Rat’s last gig in Dublin 2014 certainly showed them on devastating form), it was a period where seemingly little was recorded.
However, having ex Wasted Life/Broken Bones singer JJ replace Rat worked wonders for them in terms of profile. Young, energetic, ferocious and vocally along the lines of Cal, there’s no doubt that he reinvigorated the band. Signing to a prominent metal label (Nuclear Blast) certainly helped. It was nice to see them being recognised as a current band with something to offer, as opposed to a nostalgia act for the mutually assured destruction generation.
With opener ‘New World Order’, the trademark Bones guitar tone is in place. It’s a sound that has been ripped off by thousands upon thousands of bands. But hearing it from the original source is still invigorating and euphoric. And with former drummer (and brother) Tezz now on second guitar, they just upped the ante.
It’s Discharge, so you know fully well what to expect: a tornado of a song that sucks you in, throws you about and then chucks you to the side when the fun’s over. The main question people will be asking is: does JJ do the job? And I can safely state that JJ finally delivers the vocals the way they should: atonal, guttural, righteous and without any trace of an English accent (which was a bit of a weakness when it came to Rat). It’s exhilarating.
‘Raped and Pillaged’ is thunderous (with a little hint of Southern rock/blues in the little slide before the main riff. The ringing before the solo is mesmerising, sounding like the four-minute warning. Appropriately enough, ‘End of Days’ starts with a sample of Patrick Allen from the “Protect and Survive” instructional video before giving way to a killer bass riff from Rainey. It feels like a rewrite of ‘They Lie, You Die’, but the added melodic lines and solo make it a stunning song in its own right. ‘The Broken Law’ starts off with a nod to doom metal, before beating the listener into submission.
So you’ve undoubtedly got the gist of how it sounds by reading the above. But I’m sure the question you’re asking yourself is: ten years on, where does it stand in the Discharge catalogue?
It feels like the album that should have come out in between ‘Hear Nothing…’ and ‘Grave New World’: it has a bit of metal in there but still retains the trademark Discharge onslaught. The production is clear and concise, everything and everyone is on fire and JJ’s vocals cut through the attack with the atonal, deranged and passionate howl of protest that is needed for this band. If Bones hadn’t left in 1982 and used some of the ideas that wound up on the first few Broken Bones album in the context of Discharge, I think it would have sounded like what we have now.
The next question you’re probably asking is: does it top ‘Hear Nothing…’? Not a hope in hell of that happening. That album was a moment in time: where the cultural climate, songwriting and production combined to make something that still resonates today due to the musical influence the album has had and the cultural climate being as bad as 1982. It’s a shame, but ‘End of Days’ did feature on a few year-end polls so its impact was felt.
Admittedly, there can be a tendency to look at everything else as insignificant because, once you’ve peaked that highly, where else can you go? An utterly unfair way of looking at things, as the band has turned in some fine work since reforming with the original line-up in 2002. And ‘End of Days’ continues this fine run. Ignore it at your peril.
Discharge: an inspiration to us all.
⏩ Christopher Owens was a reviewer for Metal Ireland and finds time to study the history and inherent contradictions of Ireland. He is currently the TPQ Friday columnist and is the author of A Vortex of Securocrats and “dethrone god”.



























