Joe Sib might b
e on to something with this “Complete Control Sessions” idea. The collection kicked off earlier this year with a solid live disc from OG Jersey punks The Bouncing Souls (read our review here). Next up comes an equally solid release from the even more OG DC hardcore/punk band Scream.
A brief history lesson: Scream grew out of the Washington DC punk/hardcore scene, the same scene that launched the likes of Minor Threat/Fugazi, Bad Brains, Government Issue and most of the Dischord Records roster. Scream went on hiatus before members of some of the bands we cover were born. Primarily active from 1981 to 1990, the band released their last album, “Fumble,” in 1993 on the legendary Dischord Records, but was actually recorded in 1990.
“Complete Control Sessions” marks the first time the original lineup of Pete Stahl (vocals), Franz Stahl (guitar), Skeeter Thompson (bass) and Kent Stax (drums) have recorded together since the mid 1980s. They’ve also added Clint Walsh (who I think is the same Clint Walsh from Tweaker and Jack Off Jill) on second guitar to beef up the sound. Stax’s replacement on drums, Dave Grohl, doesn’t play on “Complete Control Sessions,” but the album was recorded in his very own Studio 606, so that counts. The band’s trademark sound was rooted in ‘DC hardcore,’ with hints of post-hardcore, roots reggae and classic gutter rock and roll.
The album kicks off with the track “Stopwatch.” It is album review cliche to point out that a new song “picks up where the band left off,” but it really is true in this case. “Stopwatch” centers around a melodic post-hardcore riff that instantly harkens back to late 1980s Fugazi. “Get Free” follows, and features a gutter rock sound. There is no real lead guitar riff, just power chords. It also draws from 60’s rhythm and blues style rock and roll. Even the punks get old…
“Jamin @ 606” is the album’s third track, and is the most straight-up, old school hardcore sounding song of the bunch. “Elevate” is more of a mid-tempo rock song, and finds Pete’s voice at its rhythm-and-bluesiest. “The Year Bald Headed Singers Were In” centers around a heavy, Queens-of-the-Stone-Age style guitar riff and solo and a melodic chorus. It also features a line about punk rock being dead again in 2011. Seriously guys, we’re trying!
The album closes with “Move (All Alone)” and “Demolition Dancing.” Both instantly harken back to the traditional DC hardcore sound. “Move (All Alone)” carries a big, urgent, frenetic guitar sound, while “Demolition Dancing” is raw (the live, false start was included in the final cut) and has some interesting time signature things going on in the main riff, but has a guitar sound that could easily fill an arena.
Scream’s “Complete Control Sessions” is a great sounding album. Produced by John Lousteau (Foo Fighters, Me First and the Gimme Gimmes, Jackson) and Scream, the band sounds very much like it was recorded with the whole band playing live simultaneously and with very little in the way of over dubbing. “Jamin @ 606,” for example, sounds not only like it was written in studio, but perhaps like it was written while they were recording it. The band took full advantage of the bells-and-whistles offered at Grohl’s studio, but it isn’t overly polished or overproduced so it sounds raw, like a hardcore album should.
“Complete Control Sessions” is a great return to the game from an influential yet sometimes overlooked member of the old school, and hits stores August 16th on SideOneDummy.