FUCKED UP [i]HIDDEN WORLD[/i] REVIEW

By now, you’ve probably already heard Hidden World. It leaked months ago, and the band even posted a link to one of its downloading proxies on their blog. Before long the Internet was awash in reactions, most grouped along two polarities – while plenty of listeners thought they were hearing something important, just as many others lamented that “the drums are too slow, the bass is too fast, the chords are all wrong, they’re making the ending too long”, etc.[1]

If you’ve peeked ahead at the ending, you already know where I stand. Hidden World is a bona fide punk rock classic. It’s got all the strange, smoldering intensity of GI and the kind of epic scope that made Zen Arcade such a landmark. I saw one e-warrior complain that the band hadn’t made the kind of “quantum leap” that Hüsker Dü did with their beloved mid-’80s LPs, but such a complaint is poor historiography because it takes records as perfect documents without allowing for the complexity of how a band actually evolves. Hüsker Dü always had pop smarts and sensibilities even if they didn’t show on Land Speed Record, and Greg Ginn was at heart as much a sorcerer of six-string skronk and discordance on the Nervous Breakdown EP as he was on The Process of Weeding Out.

Such is the case with Fucked Up: a perfect example of this is the recent diss track “The Line”, which hilariously blasts Billy Talent over sloppy, collapsing hardcore. The song is about as far as you can possibly get from Hidden World’s ornate hardcore arabesques (or the shimmering near power-pop of “Teenage Problems” and “Neat Parts”), yet both are inescapably Fucked Up. What’s really worrisome is that, years down the road, some of Fucked Up’s sense of humor may be lost when only the records persist as documents of these heady days. Punk has always been fanatically concerned with identity and deeply uncomfortable with its instability and multiplicity; the truth is that “we’re not one, we’re two.”[2]

But this isn’t Postmodernism 101; what about the songs? “Crusades” kicks off with a quote from Corinthians and a gentle curtain of sighing melody before ripping into one of the most driving, punishing and arcane hardcore songs I’ve heard in years. The music actually lives up to the epic scope of its words, like a rampaging horde of bloodthirsty zealots screaming SSD lyrics and Nietzsche quotations while they burn your house to the ground. And “David Comes To Life” ups the ante, sounding like Integrity covering the Ramones, complete with Spectorian ooh-ing backing vocals.

In a record so overflowing with jaw-dropping moments, it’s hard to even single any out. There are the stunningly infectious, Easybeats-esque guitar riffs in “Carried Out to Sea”; the immediately memorable chant-along break in “Triumph of Life”; the killer guest vocals by Ben Cook and George Pettit on “Manqueller Man” and “Vivian Girls”; the way the rolling drums and ringing guitars of “Blaze of Glory” evoke vintage surf rock; the pure venom of Damian’s soliloquy during “Jacob’s Ladder”. And that’s not even counting the tasteful and bizarrely appropriate string codas to several of the songs (the quasi-orientalist outro to “Two Snakes” is my personal favorite).

Everyone turns in incredible performances. 10,000 Marbles and Concentration Camp transmute punk’s leaden three-chord arsenal into golden, baroque beauty that’s both ethereal and devastating. Mr. Jo provides the beating heart for these miniature epics, adding plenty of flourish and dynamism. Mustard Gas is the band’s secret weapon, and her punchy lines provide the rocket fuel for “Invisible Leader” and the new-and-improved second section of “Baiting the Public” (“dementia of a higher order”[3]), amongst others. And I really can’t say enough about Pink Eyes, who turns in one of the greatest vocal performances a hardcore band could ever hope for: commanding and vicious without ever losing track of the tune.

The artwork is flawless: Ryder Waite-esque black and white designs broken up by bursts of glorious Technicolor, with iconic but fragmented photos of the band themselves. I could write a whole second review about the lyrics. 10,000 Marbles and Pink Eyes spin an intricate rhetorical web that’s poetic, captivating, and incredibly deep. It’s also a bit overwhelming at times: there’s few bands in existence that can hope to compete with Fucked Up in the realm of conceptual sophistication, as they examine religious fanaticism, de-individuation, postmodern cultural malaise, death, lust, and beyond. As Pink Eyes noted in an interview, "you’re going to need an encyclopedia to get some of the references; I know I did." The album does have a very consistent theme: the organic breakdown of interdependent polar opposites, which are destabilized by a more potent and natural order (the eponymous realm suggested by the album’s Venn diagram insignia). There’s a powerful sense of the subject swallowed up by the sublime -Hidden World’s grand and eerie visions are unrepentantly romantic.

I’ve listened to this record literally dozens of times, and I contemplated the final score for a long time—trust me. In the end, I would find myself being dishonest if I gave it anything less. I can’t give it a 10 because perfection is illusory and besides, I think it’s careless to pronounce something still so new to be flawless. The album is also a bit willfully difficult at times and I have a couple tiny nitpicks (like the formatting of the lyrics in the liner notes; the empty space bugs me). But as much as anything else, Hidden World is a reminder of just how much is possible in punk rock and in music itself. This is important, because it’s easy for even the die-hard among us to lament that the punk present is eternally clotted with insipid revivalist hacks, bandwagon-jumping posers, and smug shoe collectors. Fucked Up offers a brilliant, iconoclastic reminder of how important all of this can be. It’s “something to dream on.”[4]

1. Jan Paul Beahm, 1977.
2. Darby Crash, 1979.
3. Crash, 1979.
4. Crash, 1979.

9.8/10

FUCKD UP [i]HIDDEN WORLD[/i] REVIEW

Toronto/Ontario-based melodic hardcore unit Fucked Up seems to inhabit an ocean of freewill and anarchy. For starters, their plain and explicit moniker kinda says it all, doesn’t it? And just to follow up the laissez faire theme, their music flails with open chords, rambunctious vocals, and a loose rhythmic base that sticks to you like a leech with a chip on its inexistent shoulder. It’s aggressive alright, especially the raspy vocals of burly man Father Damian aka Pink Eyes, who nicely balances melody with aggression and carries his band through the likes of “Crusades,” “David Comes to Life,” “Invisible Leader,” and “Baiting the Public”: all pretty average tracks that, in the manicured hands of a lesser band, would pass you by like they meant nothing.

Over the course of four years, Fucked Up have released no less than 10 7”s, three 12”s, and a compilation. Hidden World elevates itself beyond the average run-of-the-mill hardcore release by having each track come adorned with sticky melodies, solid upper cuts, and enough energy to power an Indian shanty town.

The band behind Pink Eyes works wonders with what they have. Their material is pretty centered around the meat and potatoes of rock (guitars, bass, drums), and the playing itself is by no means inflammatory, but each track – without ever breaking out of character – offers plenty of hooks, addictive speed, and a sense of melody that is nicely encased in the earthly production of Jon Drew (Brutal Knights, Career Suicide, Magneta Lane). Hidden World’s sound is airtight: the tone of the guitars retains its aggression without distorting too much, and it balances girth with length quite nicely. My guess is that at some point the band had to make a decision between punch and cleanliness, and judging Hidden World by its sheer force, I bet they chose punch because the tacit sound of it brings out the best of each player. Besides not being able to emphasize the “melodic” point enough, it is difficult to pinpoint a factor that makes this record such a solid affair. After all, it is based on an old and well-known formula that can only be tagged as successful when paired with quality songwriting. So that’s the key: engaging melodies and enough talent to craft good material. There is also an unorthodox undercurrent sipping through certain songs, like the psychedelic feedback that kicks off “Two Snakes” and the extended quasi-jams that are so not of the natural nature of bands of this ilk. It says a couple of things about Fucked Up: one, that they can extend their talent beyond the limits of their self-imposed borders and two, well?°¦ I can’t remember it, because Hidden World is kicking quite the big ass.

FUCKED UP "HIDDEN WORLD" (JT1122) CD OUT TODAY


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FUCKED UP‘s first release for Jade Tree is cloaked in shades of unconventional aesthetics, symbolic overtones and a self-proclaimed "culture of confusion." , the band’s first full length studio album, marks a turning point for the mysterious Toronto band, transcending the boundaries of punk with melody, aggression, expansive structures and enigmatic diatribes on what lies underneath the immediate, visualized world. FUCKED UP combine confrontational ideologies with deliberate misinformation to produce a brutal analysis on thought provocative punk. In a word, FUCKED UP and Hidden World is dangerous and unpredictable in a time when punk has become a manufactured commodity.

FUCKED UP will be curating a at the end of October. Fans can catch FUCKED UP on the weekend of October 27-28, hosting record release shows in the Toronto, Ontario area. The following week, the band will embark on US East Coast dates, including New York and Pennsylvania. Check the for full details.

Hidden World is out today and available in digital form from iTunes, eMusic, Urge, Yahoo, Virgin Digital, FYE, HMV, and Cdigix.

Hidden Wold is also now available for online .

Track Listing:

1. Crusades
2. David Comes to Life
3. Invisible Leader
4. Carried Out to the Sea
5.
6. Fate of Fates
7. The Two Snakes
8. Hidden World
9. Manqueller Man
10. Blaze of Glory
11. Triumph of Life
12. Jacobs Ladder
13. Vivian Girls

Vinyl is available through

FUCKED UP [I]HIDDEN WORLD[/I] REVIEW

In an amazingly refreshing yet classic take on 80s style punk, the Montreal based Fucked Up attacks each song on Hidden World with enough reckless abandon for an entire army of Hell’s Angels. “Nothing’s more pathetic than too much self restraint,” vocalist Pink Eyes taunts on “Jacob’s Ladder,” with a throaty howl reminiscent of Negative Approach/Easy Action’s John Brannon, Sick of It All’s Lou Koller, or even Electric Frankenstein’s Steve Miller. It’s the kind of voice that would make anyone want to come back as a barrel-chested man in a next life, if only to front a hardcore band. Fucked Up plays with an irreverent and nihilistic force that has made at least one jaded music critic’s heart grow three sizes today. Every kid in America under 18 who thinks he or she is “punk rock” should be forced to listen to Fucked Up and see how it’s really done. This could be a life changing record for a lot of young punks out there as well as a new staple for everyone else.

FUCKED UP [I]HIDDEN WORLD[/I] REVIEW

Ratings:
Overall Score: 95/100
Technicality: 90/100
Originality: 100/100
Vocals: 95/100

Similar Bands:
Who knows

Review:
75 minutes. Usually, albums that are this long don’t work. They get boring, are too drawn out, and usually would be more enjoyable if they were cut in half. With Hidden World, however, Fucked Up have discarded any rules about what a “normal” hardcore album “should” be and have created what could go down as one of the greatest punk albums of our time.

Hailing from Toronto, Fucked Up has always had a bit of mysteriousness about them. Using fake names on their albums (vocals are done by Pink Eyes, guitars by 10,000 Marbles and Concentration Camp, bass by Mustard Gas and drums by Mr. Jo), only putting out their releases on vinyl (Hidden World is their first official cd/lp), their very public and very recent feud with popular Canadian band Billy Talent, and the different references to fascism, mind control, and Nazism have all made Fucked Up a very intriguing and, at the same time, a very alienating and pretentious band. Hidden World only fuels that notion.

While most of their older material was short, fast hardcore songs, there is only one song on Hidden World less than 2 minutes long and only 4 less than 5 minutes, which is absolutely absurd for a punk album. Somehow, it works. Although it is hard to take Hidden World as a whole, it is also hard to stop listening to it. Most of the songs still follow Fucked Up’s simple formula, but at the same time elements never before seen on their previous works appear. Violins, organs, whistles, and mandolins are a few of the instruments incorporated onto the record. Also, some sung, choir-like vocal harmonies are added to the background, adding what amounts to another instrument.

2 older songs, Baiting the Public and Fate of Fates, are re-recorded on this, making both sound more polished and clean. The grittiness of their old sound is still included on this album, but the production is much cleaner. The lyrics are also very intriguing, adding a whole new element with a lot of imagery and a few Biblical references. The artwork, often overlooked and added last minute to most albums, is amazing and needs to be seen.

Overall, Hidden World has the possibility to change a scene that has begun to grow a bit scale. Some parts of this album remind me of old classic rock acts like Creedence Clearwater Revival, and I think that this band has the possibility to affect people like that band did. I know it seems a bit arrogant and far fetched, but Fucked Up have created a masterpiece that is a bit hard to swallow but needs to be heard.

FUCKED UP [I]BAITING THE PUBLIC[/I] REVIEW

If there’s one hardcore band always up for pissing in the face of punk expectations, it’s Toronto’s Fucked Up. They’ve ditched the classic blueprint (short, fast, direct, abrasive) found on their earlier EPs in favor of a debut full-length that is genuinely fucked up: an epic (because “proggy” is way too Dungeons & Dragons for what these guys are doing), metal-free hardcore punk album that simultaneously recalls Negative Approach’s beatdown anthem “Ready To Fight” and the Subhumans’ ambitious “From The Cradle To The Grave” (as well as the triumphant-pop leanings of, say, U2 and Echo And The Bunnymen). Expansive song structures, many reaching past six minutes, boast very un-hardcore instrumentation such as piano, marimba and violin, the latter provided by the also-very-un-hardcore Arcade Fire’s Owen Pallet. “Baiting The Public” is probably the album’s most lyrically straightforward. When Pink Eyes, a.k.a. Father Damian, shouts “I want to smash your house/I want to scratch your car/I want to fuck your wife/I want to break your life,” it’s one of few moments where you know exactly what he’s talking about. The rest of the lyrics come off like the cryptic metaphysical meditations of a sleep-deprived philosophy student—the kind of thing spawned from too many late nights, too much espresso and too many History Channel docs on the ancient world. Clocking in at a little over an hour, it may take a while to get used to hearing a punk record this long. Just don’t write it off as the snooze-fest you’d expect to get from listening to the Circle Jerks’ Group Sex three times in a row or from Minor Threat covering Rush. Hidden World hits fast and hard, albeit a lot longer and a lot weirder.

FUCKED UP [I]TRIUMPH OF LIFE[/I] REVIEW

I’ll tell you stage dives make me feel more alive than coded messages in slowed down songs.
When seeing Gorilla Biscuits recently and hearing this line in “New Direction,” it seemed kind of strange for that particular show. This was because Fucked Up opened up, a band which funny enough has been accused of brainwashing, amongst other outlandish things. While their lyrics are a tad cryptic at times (no pseudo poetry, thanks), the music however is still a great backdrop for stage dives. I suppose this rare dichotomy is one reason the band is so polarizing.

On the A-side, this 7" contains the first single off the band’s full-length debut. If you are somewhat familiar with Fucked Up’s output to this point, you might be taken a back by the length of the song (if you don’t count/know their Looking for Gold 12" material). Clocking in at 6:02, for an average hardcore punk band this may seem like an eternity. Thankfully, these guys and girl aren’t your average breakdown-heavy moshcore band. The rhythm section helps move the song along at a medium fast pace throughout the whole six minutes that will have you wanting to slam, pogo and act a fool. Vocalist Pink Eyes barks out the lyrics like a drill sergeant, but you can actually understand him; he isn’t just an indiscernible bridge troll like some hardcore vocalists. While what the song actually means is a little hazy, the line "the war is like a symphony that rings through our lives / we dance together in a violence for a chance to survive" leads me to believe, in a way, this is telling of the strange sense of humour the band possesses. It was designed to be a kind of hardcore epic. When the song breaks down into the fist-pumping monotone chants of "triumph of life" and combines with the simple, instantly memorable guitar lines it reveals, perhaps, the true nature of the song: the monotonous cycle of life, violence and death set to a slam pit. While it took a bit to get into this song, it became very rewarding after repeated listens.

If the title song is a bit much for some, the non-album B-side throws older fans a bone. While “Neat Parts” doesn’t stick out as much to me individually, it keeps things to a brief two-minute length. This effectively contrasts “Triumph of Life” as well as cements the style the band is best known for. While the band draws influence from late `70s punk and early `80s hardcore, forget about 7 Seconds and Bad Brains — they prefer to exploit the dark nature and wit from bands like MDC and Black Flag. The opening lines paint a dreary picture of society: "Empty words backed by empty symbols cover up empty promises obscure the whole truth, so I’ve tried I’ve tried to listen to empty slogans / they just fall on my left and deaf ear." Unlike “Triumph of Life,” they opt to use more of a real chorus on this song to add to the short catchy blast.

As a teaser 7-inch, Triumph of Life is a pretty successful piece. It acts as a bridge between, with something new leaning perhaps to the direction of the new full-length while providing something in an older style. If you are already a fan of the band this is worth picking up for the B-side. If you haven’t heard the band this will be a good intro to what the band is currently doing and what they have done in the past.

FUCKED UP "HIDDEN WORLD" RECORD RELEASE WEEKEND PLANNED


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FUCKED UP has planned an amazing weekend of shows to celebrate the release of . This one is not to be missed. Here’s the word from the band:

Ok we finally we have the full info to annouce regarding the record release. First a few pointers:

*These are the record release shows for , our first full-length.

*This is also the release show for Year of the Dog our first in a series of "Year" 12"’s

*It is also the release for the Dolly Mixture and Shop Assistants cover 7"’s You will ONLY be able to get these records at these shows.

*There will be FREE after parties every night. These will be CRAZY. Please behave, though.

*These shows will be limited capacity, and if you are interested in coming, you need to buy advance tickets. We’re going to reserve some tickets for door purchase for the locals, but unless you are a lunatic, you should reserve/purchase your tickets in advance. Send an email to [EMAIL]epicsinminutes@gmail.com[/EMAIL] and provide a) your full name b) you date of birth c) and what shows you are buying tickets for. You will receive a response in 2-7 days. There will be a 4.5% service fee that paypal charges us for every transaction on there, so that number will be added to whatever your total is. Also, you don’t need to have PayPal to pay this way; all you need is a credit card. For press passes please email David at [EMAIL]vibrationandhum@hotmail.com[/EMAIL], and no jokers please.

http://www.jadetree.com/images/photos/fucked_up/0070_0010.jpg

FRIDAY OCTOBER 27TH
@ THE EL MOCAMBO 464 SPADINA AVE
8PM $12 19+
FUCKED UP
RIGHTEOUS JAMS
BORN DEAD ICONS
PISSED JEANS
MIND ERASER
BRAIN HANDLE

FRIDAY AFTERPARTY
@ THE WHITE ORCHID 812 DUNDAS ST. WEST
MIDNIGHT FREE ALL AGES
THE REGULATIONS
BRUTAL KNIGHTS
THE BAYONETTES

SATURDAY OCTOBER 28TH
@ THE KATHEDRAL 651 QUEEN WEST
6PM $15 ALL AGES
9 SHOCKS TERROR
FUCKED UP
DROPDEAD
THE REGULATIONS
CRIMINAL DAMAGE
THE DARVOCETS
FORMELDAHYDE JUNKIES

SATURDAY AFTERPARTY
@ THE WHITE ORCHID 812 DUNDAS ST. WEST
MIDNIGHT FREE ALL AGES
CAREER SUICIDE
THE INMATES
URBAN BLIGHT

SUNDAY OCT 29th:
@ The White Orchid 812 Dundas St West
All ages 2PM $5
THE REGULATIONS
SAILBOATS ARE WHITE
ATTACK IN BLACK
NINJA HIGHSCHOOL
DIRTY BS

SUNDAY OCTOBER 29TH
@ THE EL MOCAMBO 464 SPADINA AVE
8PM $10 19+
*3rd Annual FUCKED UP Hallowe’en Party*
FUCKED UP
COLD WORLD
C’MON
ANAGRAM
CREEPING NOBODIES
WYRD VISIONS

Up to date show info can be found at and by email from [EMAIL]seekriver@gmail.com[/EMAIL]

Hidden World will be released on October 10th and is now availble for .

All will ship with a free Hidden World poster and will ship on September 22nd. Vinyl will be available through

Track Listing:

1. Crusades
2. David Comes to Life
3. Invisible Leader
4. Carried Out to the Sea
5.
6. Fate of Fates
7. The Two Snakes
8. Hidden World
9. Manqueller Man
10. Blaze of Glory
11. Triumph of Life
12. Jacobs Ladder
13. Vivian Girls

FUCKED UP [I] TRIUMPH OF LIFE [/I] REVIEW

Fucked Up – “Triumph of Life” b/w “Neat Parts” 7”
(Jade Tree)
“Triumph of Life” appears here in a zippier, possibly higher-pitched version that which appears on their forthcoming Hidden World album. That record’s ability to turn hardcore’s rusty gears by a tiny yet significant amount remains to be seen, but if there’s any band/songs that could do it, it’s Fucked Up, teaching the kids to hold onto a riff and explore its undertones with strident urgency ?°¦ at least we can hope. At the very least, it’ll remind ?°»em of Lifetime, maybe. But it’s fun, and a headbangingly good time, to hear them bash through all six roaring minutes of “Triumph of Life” and never once slowing down or slipping up. The fist-pumping, one-awesome-riff-after-another school of rockin’ is in full swing here, leaking from broken blisters and bleeding all over the place. And for them, it works – little else could. “Neat Parts” isn’t even half the song, and knows it, content to bash away at three or four chords with gleeful abandon all the same. Inspiring, that punk can go this far. Mine’s on pink vinyl.
(www.jadetree.com

FUCKED UP [I]HIDDEN WORLD[/I] REVIEW

If this was Pitchfork Media or Stylus Magazine, I would be telling you about potentially the most important album you could hear all year. Fucked Up’s Hidden World is 72 minutes of meticulously composed and sumptuously layered melodic punk rock. The performances are exciting, the guitars are overdriven and blissfully married to a warm, encompassing production. And, despite operating within the context of an anachronistic style, these songs are adventurous and challenging. In short, this is a dynamic guitar rock machine with a punk engine. Unfortunately, I cannot predict what all that means to you, the readers of Metal Review. On the off chance that you are in the market for something like this, I’ll do my job and tell you what it sounds like.

Hidden World, while possessing a contemporary production, almost sounds like it was dug up from punk’s bygone heyday. The riffs are usually economical and modest, but they’re played so passionately and with such conviction that the listener is reminded why bands first decided to first boil Rock n’ Roll down to it’s sparest and most honest proportions. Complimenting the primordial riffing are bright, concise counter melodies that account for the brunt of Hidden World’s appeal. Now, this isn’t Mastodon or Ion Dissonance, so you’ll hardly be challenged from a technical standpoint. But, like The Refused or more recently, Bear V. Shark, Fucked Up have done an excellent job at testing what can be done within the context of guitar driven punk rock, and in the process have churned out an album full of memorable guitar licks, runs, and progressions and weaved them into expansive compositions in a way that actually jives. Vocals are a standard, venomous hardcore punk scream which conjures up memories of … essentially anyone to ever front a local punk band. The bass is present in the mix, and adds much to the album’s texture but takes little technical risks. That’s not important, it’s keeping the time and I can hear it, much more than I can say for 95 percent of the albums I review.

In addition to being well conceived and executed, Hidden World is also uncommonly long. Keeping a rock n’ roll audience’s attention for well over an hour is nearly impossible, but Fucked Up’s riff vocabulary is so vast that they manage the task proficiently.

What does this album lack? For the average metal fan, it’s probably not heavy enough, not tech enough, and ultimately has just a little to much open strumming and plucking, and not enough muted galloping and shredding. I’m a little confused as to why Jade Tree even sent us this album, and that’s O.K. For what this is, and that’s driving punk rock, this is damned good and damned essential for fans of the style.

FUCKED UP "TRIUMPH OF LIFE" 7" (JT1116) OUT TODAY


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Long known for favoring the EP format over the full-length, Toronto’s FUCKED UP makes its Jade Tree debut with the two-song seven inch. Although the six-minute title track appears on the group’s forthcoming long-player, Hidden World, this highly anticipated EP offers a completely different studio version. Decidedly more raw than its full-length counterpart, the version found here crackles, hisses, thunders and booms with all the chaos of the band’s legendary live shows-only listening to the seven inch, there’s no ink-stamp smear left on your hand later. With only two songs, FUCKED UP solidifies its reputation as "the second coming of punk" (thank you Maximum Rock ‘n Roll): a band very much doing its own thing, in spite of the underground’s many trends and pigeonholes. The comparatively shorter “Neat Parts” makes sure not to skimp, getting the job done quickly, and leaving listeners winded. Breaking the usual punk-song-time-limit barrier, Triumph of Life is an epic, multifarious track that roars through every expectation. Melodic, anthemic guitar lines and a driving rhythm section batter listeners alongside some of hardcore’s most ferocious and truly jarring vocals.

Triumph of Life is now available.

Track listing:
1. Triumph of Life
2. Neat Parts

Please consult the FUCKED UP for current dates.

Billy Talent gets Fucked Up

Local Popsters Billy Talent and Toronto Hardcore kids Fucked Up have finally tossed the gloves in their long-standing feud by both releasing tracks "disrespecting" one another. The conflict dates back to last fall went Fucked Up were playing a packed show at the Bovine Sex Club, Queen Street’s punk-rock Mecca. While a long line of Fucked Up fans were stuck waiting outside, a member of Billy Talent (who was well known to the Bovine’s doorman) was waved in to the at-capacity club. Upon learning of this incident, Fucked Up guitarist 1000 Marbles promptly banned any member of Billy Talent from ever attending his shows, noting in a Eye Weekly interview that "they take up room from people who aren’t slick douche-bag poseurs."

The next move was BT’s, and they responded with the stinging cut "Where is the Line?" (off their new album, II) which features the lyrics "Urban Hipster, the new gangster, frontin’ by the club / When did they assume, putting on a costume / Gave them a right to ostracize? Answer one question / Where is the line? Where is the line? / Between your fashion and your mind?" With that question posed, Fucked Up wasted no time entering the studio to quickly produce their comeback track simply titled "The Line".

Book-ended by two spoken word rants "The Line" is a minute-and-a-half of hardcore, punk-rock revenge. "Hey, high-hair", singer Father Damian barks at the pompadoured Ian D’Sa, "gimme my fucking ketchup, with your fucking swoop haircuts." He then continues to answer the question posed by Billy Talent, screaming, "The line is the bullshit that you put out, only your date-rapist fans would believe". The song also makes reference to Billy Talent’s breakthrough hit, when a voice in the background quips, "Try Honesty? Try licking my balls!" Fucked Up conclude the song by flat out denying that this feud is any attempt to win over Billy Talent’s fans, or capitalize on their fame, "I wouldn’t want people that buy your fucking records to buy our records, people that buy your records are deaf, and fucking deaf and idiots… people who like you are worse than fucking Nazis… they’re shit eaters, they can eat my shit."

Well known for their insane, and violent live shows (one Halloween, at Sneaky Dee’s they played their whole set with carved-out jack-o-lanters on their heads, like helmets) Fucked Up have just recently inked a deal with New York emo label Jade Tree (Cap’n Jazz, Jets to Brazil) who will release their double album Hidden World this fall. Billy Talent, the ball’s in your court now.

FUCKED UP "HIDDEN WORLD" CD (JT1122) PRE-ORDER INFO AND MP3


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FUCKED UP‘s first release for Jade Tree is cloaked in shades of unconventional aesthetics, symbolic overtones and a self-proclaimed "culture of confusion." , the band’s first full length studio album, marks a turning point for the mysterious Toronto band, transcending the boundaries of punk with melody, aggression, expansive structures and enigmatic diatribes on what lies underneath the immediate, visualized world. FUCKED UP combine confrontational ideologies with deliberate misinformation to produce a brutal analysis on thought provocative punk. In a word, FUCKED UP and Hidden World is dangerous and unpredictable in a time when punk has become a manufactured commodity.

Hidden World will be released on October 10th and is now availble for .

All will ship with a free Hidden World poster and will ship on September 22nd. Vinyl will be available through

Track Listing:

1. Crusades
2. David Comes to Life
3. Invisible Leader
4. Carried Out to the Sea
5.
6. Fate of Fates
7. The Two Snakes
8. Hidden World
9. Manqueller Man
10. Blaze of Glory
11. Triumph of Life
12. Jacobs Ladder
13. Vivian Girls

FUCKED UP will be gracing the West Coast with their presence in August. Keep abreast of the current dates on the .

FUCKED UP "TRIUMPH OF LIFE" 7" PRE-ORDER INFO


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Long known for favoring the EP format over the full-length, Toronto’s FUCKED UP makes its Jade Tree debut with the two-song seven inch. Although the six-minute title track appears on the group’s forthcoming long-player, Hidden World, this highly anticipated EP offers a completely different studio version. Decidedly more raw than its full-length counterpart, the version found here crackles, hisses, thunders and booms with all the chaos of the band’s legendary live shows-only listening to the seven inch, there’s no ink-stamp smear left on your hand later. With only two songs, FUCKED UP solidifies its reputation as "the second coming of punk" (thank you Maximum Rock ‘n Roll): a band very much doing its own thing, in spite of the underground’s many trends and pigeonholes. The comparatively shorter “Neat Parts” makes sure not to skimp, getting the job done quickly, and leaving listeners winded. Breaking the usual punk-song-time-limit barrier, Triumph of Life is an epic, multifarious track that roars through every expectation. Melodic, anthemic guitar lines and a driving rhythm section batter listeners alongside some of hardcore’s most ferocious and truly jarring vocals.

Track listing:
1. Triumph of Life
2. Neat Parts

Triumph of Life will be released on August 22nd, 2006. now for a chance to win a Triumph of Life test pressing. Pre-orders will ship on August 4th.

FUCKED UP IN THE UK

Toronto’s FUCKED UP is in the UK to create quite a stir in support of their new single on Vice Records. The band started recording their Jade Tree debut album before they left, so folks across the pond may get a sneak peek of what’s in store. The live shows are legendary and not to be missed.

Dates:
04/14/2006 Leeds England @ The Fenton
04/15/2006 Bradford, West Yorkshire England @ 1 in 12
04/15/2006 Boston, Lincolnshire England @ Indian Queen
04/16/2006 Nottingham England @ The Old Angel
04/16/2006 Sheffield, South Yorkshire England @ Cricketers Arms
04/17/2006 Harrogate, North Yorkshire England @ Little Wonder
04/17/2006 Newcastle England @ The Stout Fiddler
04/18/2006 London England @ The Old Blue Last
04/19/2006 Brighton England @ Free Butt
04/20/2006 Southampton, Hampshire England @ King Alfred
04/22/2006 Bristol, Avon England @ The Junction
04/22/2006 Cardiff Wales @ Clwb Ifor Bach

In the meantime, check out the FUCKED UP interview in .

MP3:

Please see the for all show details.

FUCKED UP NEWS FROM JADE TREE


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Jade Tree is pleased to announce yet another addition to its ever growing roster; Toronto, Ontario’s very own FUCKED UP. FUCKED UP will release its first full-length for Jade Tree, entitled Hidden World, in early Fall, with a preemptive single arriving in mid-Summer.

FUCKED UP have been honing their brand of vicious hardcore for roughly five years. Hailed as the "Second coming of hardcore" by Maximum Rock and Roll, not much is known about the origin of FUCKED UP, but their reputation as a stalwart outfit in the hardcore/punk community has transformed FUCKED UP into an enigmatic and essentially unconventional institution.

The band is responsible for a prolific discography which includes 10 7"s, along with 3 12"s and a CD compilation of their many singles on Deranged Records. FUCKED UP have also been praised in print by the likes of Punk Planet, Maximum Rock and Roll, Vice, Eye/Canada, Now/Canada, Razorcake, Chart, Under The Volcano and Thrasher.

The band has shunned full-length releases in favor of two-song singles, championed anarchism and far-left art movements within their music, and even been accused of mind control and fascism by some of their detractors. Illegible liner notes, being attacked onstage during live performances, self-releasing records with 17 minute long title tracks; it’s all in a day’s work for the convoluted world of FUCKED UP.

FUCKED UP’s abrupt, confrontational brand of hardcore has been compared to the likes of Poison Idea, Negative Approach, The Cro-Mags and even Black Flag. FUCKED UP’s live element points all signs clearly in the same direction, with lead singer Damian often beating himself to a bloody pulp during the band’s set. The band has shared the stage with The Gossip, Dillinger Four, Hardskin, Terror, Bane and Comeback Kid, has completed two East Coast tours, one West Coast tour, and one European tour. (Though lead singer Damian chose to stay at home during the European tour, stating, "The prospect of sitting in a van with those dudes driving through some breakaway former Soviet republic made me sick to my stomach.") FUCKED UP (complete with their lead singer) will also convene on a UK tour in mid-April, to promote the release of their latest single, Triumph of Life, on Vice Records UK.

Hidden World, FUCKED UP‘s first full-length release for Jade Tree, will be recorded at Signal to Noise Studios with Jon Drew (Brutal Knights, Career Suicide, Magneta Lane). The album marks a turning point for FUCKED UP, transcending the boundaries of traditional hardcore with melody, aggression and expansive songwriting structures. FUCKED UP taps into its collective influences, but in a hallenging way that’s off the beaten path of current hardcore traditions. In a word, FUCKED UP and Hidden World are dangerous in a time when hardcore has become predictable, stale and manufactured.

MP3:

Career Fuck Ups – Toronto Hardcore Isn’t Scared

The problem with most bands that try and play hardcore is that they listen to hardcore. Think about it: in the Reagan years, punk kids appeared out of nowhere and essentially made something out of nothing. With no hardcore bands to influence them, what were they listening to? Music, duh!

Career Suicide and Fucked Up are two bands from Toronto that were born a few decades late and got stuck in today’s scene. Ironically, their fast and sloppy early-80s-styled hardcore is a million times more musical and ferocious than 99 percent of professional MySpace-era mosh bands, and their fans’ postshow cuts and bruises remind us that this shit just might have the potential to still be dangerous.

Vice: Can punk be scary anymore?
Martin (singer of Career Suicide): Hell, the greatest danger these days at a show seems to be cutting your skull open on the sea of cameras in the front row. When did every punk kid become a fucking photographer? At least shows are getting lively again these days. Someone sent me a video of one of our shows a few weeks ago, and it was funny watching some of our friends wobbling around after totally landing wrong on stage dives.
Damian (singer of Fucked Up): The band Haymaker was always scary. They seemed to be able to release the repressed violence in the people who watched them. Fire, broken glass, chairs… it was always a nightmare. A few members of their crew I would describe as being legitimately frightening dudes.

What about, I don’t know?°¦ the Misfits?
Martin: Are you serious? What reason does anyone have to see the Misfits? They’d have to send a time machine to 1980 and pay me to even consider watching that joke of a band. Honestly, as much as I love the music of the real Misfits, I just can’t take that band seriously. Fuck gimmicks.
Damian: Last time I saw the Misfits was about four years ago. Some guy came onstage wearing a hockey mask and a plaid jacket and proceeded to sing for them; turns out it was the singer of Ignite. The show was a disaster. I can’t imagine how bad they must be now.

Ever get stage fright?
Martin: Of course, but it’s nothing that massive intoxication doesn’t usually solve. When we first started playing I’d get so nervous I’d have to do something stomach-turning to distract myself from the fear of performing half-rehearsed songs in some rat hole to an audience of five people. At one of our first shows, I soaked my own hand with piss and rubbed it all over my face. That did the trick for turning my stomach, but I decided I’d rather just get drunk and live with the stage fright for future performances.
Damian: I used to cut myself onstage and fuck myself up as a sort of violence lubricant. I still get nervous when we play a show and the cops show up, which has happened at the last five shows. I don’t hate cops; I’m just cop-a-phobic. I get the shakes and my vision blurs.

What else scares you?
Damian: As clichéd as it sounds, I am terrified of the future. I’m also really afraid of car accidents.
Martin: Getting a blowjob from my father.
Damian: I have a friend who cleans up the bodies of people who jump in front of the subway. He’s a really nice family man that can completely compartmentalize things. The fact that he said he jerked off to that scene in Irreversible when the guy gets his head beaten in makes him a very scary person to me.

Damian, what’s up with your band going to Europe with a fill-in singer?
I hate touring even at the best of times, and as a band we don’t really get along. The prospect of sitting in a van with those dudes driving through some breakaway former Soviet republic made me sick to my stomach. But I’m going on the next tour. Plus I’m fucked for money right now and some other bullshit. All in all it was the best choice not to go and it may end up saving the band.

What kinds of sketchy places have you played?
Damian: I just finished reading an interview with some indie-rock band that made it out like playing in Polish community centers is badass, so by that standard every show we play is sketchy.
Martin: On our first European tour we had a show put on by a gang of gypsies that lived on the outskirts of a city. Our van was led in a convoy along the autobahn to some wooded area a few miles outside of town, and the gypsy commune was nestled in a clearing with their caravans arranged in a circle. There was garbage everywhere, bonfires were the only source of light, and dogs were running wild and barking at our van. It was a scene from some cheap horror movie, full moon and all. We were on the verge of turning right around when the promoter took us to the “venue,” which was just a massive tent made of nets and blankets with an old diesel generator. The show turned out amazing.

Were the gypsies all thrashing and going off and shit?
Martin: Nah, they just sat around outside the tent screaming and smashing bottles—not to the music or anything, but because they are fucking lunatics that live in the woods and are basically despised by the rest of the population. There were actual punk kids that found their way to this commune and were singing along and everything, despite the fact that they don’t speak English and we don’t publish our lyrics. I wish the gypsies had gotten in on it though. I imagine they would have laid the hardcore kids to waste.

What does a gypsy even look like?
Martin: Cross an Indian with an Italian, make sure he has a mustache and tall leather boots.

How do you want to die?
Martin: It doesn’t really matter to me as I likely won’t remember much of it. I just hope it doesn’t happen for a long time. I actually am really looking forward to getting old since I think it’s going to be awesome to look old and frail. Also, I can get a kick out of faking my own death. I have all sorts of plans to do it, like I’ll be riding on the bus and start to breathe really loudly, then all of a sudden just hunch forward and fall into someone’s lap and pretend to die. With enough practice I might be able to contain my laughter long enough for paramedics to arrive.
Damian: I want to be crushed to death by my record collection.

But how do you think you’ll die, really?
Martin: Cancer seems fairly popular with one side of my family, but I’d rather spare myself that. Really, as long as it doesn’t happen too soon and especially not in a fiery car wreck when we are on tour somewhere, I won’t have many complaints about it when it does come.
Damian: Heart attack. Or get hit by a car.

FUCKIN’ A

A visit to the Bovine Sex Club is an experience particular to Toronto: the pseudo-unpretentious interior, a glam legionnaire’s club feel (only compounded by the recent addition of a smoking room) and Studio 54 treatment on the way in, where leather jacketed, cowboy-hatted bouncers decide whether or not you’re enough of a Bovine regular to enter the often close-to-capacity club.

Throw 416-based punk-rock purveyors Fucked Up and their strident fanbase into the mix and it’s a water and oil situation, best illustrated when a Billy Talent dude was waved into the club while fervent FU appreciators waited impatiently in an unmoving lineup. After the Aug. 3 show, Fucked Up guitarist 10,000 Marbles declared that he will officially exile members of Billy Talent from ever coming to their shows because, as he puts it, "They take up room from people who aren’t slick douche-bag poseurs."

Fucked Up took the stage after a brief and chaotic wait, and, with their first note, elicited complete bedlam from the first eight feet of people in front of the stage — a bedlam that did not let up until the set was interrupted midway through, a situation seemingly related to exasperated line-uppers trying to bum-rush their way in.

This is evidence of fans’ sheer enthusiasm toward Fucked Up. Their simple yet calculatedly progressive songs — exemplary in their ability to evoke punk’s classic sound while still sounding fresh — throw many of their fans into a palsy-like frenzy that feels so intensely personal, it almost seems removed from the band itself. Their hoarsely shouted repertoire serves as a mere diving board for fans to exorcise their psyches. Both Marbles and bassist Randy Sandy attribute this frenzy to "sigils and spells" present in their early singles. It probably has a lot more to do with their musical ambition becoming clearer, and their live show becoming less like their name (although it’s still only one random stroke of bad luck away from catastrophe).

Upon resuming, Fucked Up didn’t even get to play their entire set, as things had become too chaotic for the club itself, and the cops had arrived — not the first such instance in Fucked Up’s career, and judging by the increased police presence at their shows, not the last. The band is laying locally low for awhile, as they are set to embark on their first European tour, to be followed by a studio visit in order to record their upcoming Crusades double LP. This Bovine gig was a fittingly fucked-up send-off.