The Insurgence – Self-Titled

The Insurgence isn’t what I typically expect from an independent punk group out of Seattle.  But then again, The Insurgence is far from typical.  Playing an aggressive blend of thrash, hardcore, and punked-up rock, the quintet practically assaults listeners through their speakers.  As evident in their album art and logo, they have a “with us or against us” mentality towards solidarity and revolution to which those within earshot cannot plead neutral.  This is an all out riot against the power of the almighty dollar – and a damn good one at that.

Combing through my library, the best comparison I can muster for their self-titled debut is some sort of combination of Panic Records and Bridge Nine Records hardcore.  The shrill cries of Jimbo’s vocals and the merciless lead of the band’s forceful guitars draw instant comparisons with Final Fight or The Golden Age.  But at the same time, the band’s draw to meaty tempo shifts and the Boston-like vocal contributions of an unspecified bandmate also reveals likeness with the shouty Death Before Dishonor – and lets not forget the Outbreak-like thrash elements keeping every note messy and erratic.

But The Insurgence’s rocking solos, thumping bass, and incessant tempos aren’t just there for show, but also serve as the backdrop to an aggressive attack on societal structure.  In “Honor Killing” Jimbo pleads that listeners “wipe the blood off [their] camera lens” and “open up [their] eyes” – a passage lamenting how gradual exposure to brutal life atrocities results in a society barely conscious of the injustices surrounding them.  As heard in “Images Of The Apocalypse,” the band focuses their efforts on internal American conflict, and how factions divide and destroy cities from within.  For “Hold Your Ground” the band steadily revs up their riffs to the breaking point, eventually calling out for aid: “we need your help… stand up, today, we’ve got to hold our ground!”  By the track’s end The Insurgenceachieves a powerful rallying cry, slamming listeners with a massive vocal and percussive charge.

My only gripe with the album is The Insurgence’s tendency to come across a little thuggish.  It comes out worst on “S*F*U*,” which  – despite tactfully focusing on society’s negligence through the lapse of time between a violent, fatal incident and discovery by the authorities – can’t really escape the one-dimentionality of lines like “so fucked up, there’s blood on the floor, wait for the cops to kick down the door.”  Coupled with the snake, knife and brass knuckles on the album cover, it would be easy to get the wrong impression after a casual listen.

But those willing to look below the surface will find a deep, raw passion rooted in collective change.  This is “with us or against us” punk born on the streets and belted from the rooftops.  Fans of thrash, hardcore, and vicious punk should take note.