1) Anasarca is a emotiona… Read Full Bio ↴There are mutliple artists with this name:
1) Anasarca is a emotional hardcore band from Washington D.C,USA.
Though their recorded output was a bit on the skimpy side, Anasarca definitely had it’s place in the rise of mathematical emotional hardcore. Blending a complex mix of DC post-punk and hardcore, the seven tracks on ‘Discography’ will appease many a fan of the current crop of “screamo” aficionados, as well as those interested in the progression of the genre of mathematically-diverse hardcore. And while Anasarca may seem to be another in the crop of “new school” core, remembering that the band was doing this some 7 years ago opens ones eyes to the undeniable impact they must have had on those who witnessed their emotional outpouring.
Based in DC, it is only fitting that Anasarca would incorporate the off-kilter song structures of Fugazi and combine it with the fury of metal and hardcore. Relying on complexities, tracks like “Eugene Debs” continue to evolve with each listen; the work and passion that went into these tracks is one of uncompromising dedication. There are few 4/4 time structures, but rather a diverse mix of subtle palmed treble charged guitar atmospherics that give way to thick chords (and accented with high string plucks at each swelling bridge). Strongest track for me was most definitely “Everything Was Beautiful and Nothing Hurt”; beginning with straight ahead hardcore and delving into emo and mathematical territories without losing focus amid the clatter. Bands such as this are tough to call for those unfamiliar. Anasarca are not immediately pleasing or catchy. Given that we have since been exposed to the likes of Dillinger Escape Plan, Drowningman and bands of that nature, it is difficult to be immediately be blown away by diverse outings such as this. But when listened to intently, there is much to be savored, and only then does the depth of Anasarca’s work begin to bridge the gap. I did find “Stationary People” to incorporate a modification of the bass line (in pitch, but with the same pluck) to Nirvana’s “Smell’s Like Teen Spirit”, though it represents only a small portion of the 4 plus minute track…But as a whole, there is a vast array of originality represented here that solidifies the devotion those familiar with the band tend to display.
Though only 7 tracks are represented, they are long in composition and ultimately satisfying with the proper dedication to listening. You can’t just hear a band like this, or their depth will fall flat…But if you give Anasarca the same dedication they exhibited in their songwriting, you are sure to feel satisfied with the honesty and complexity that it holds. Not a record worth hearing…a record worth listening. Kudos to Second Nature for recognizing this aspect and giving us a chance to share in the moment. For mathematical emo-philes and complex hardcore lovers…a bit of history that’s worth revisiting.
2) Anasarca (http://www.anasarca.de/) is a death metal band formed in July 1995 in Emden, Germany. Its original members were Heiner (drums) and Michael (Guitar/Vocals) who left their old band Vomiting Corpses right after the release of the Coma (the Spheres of Innocense) album.
One week after Anasarca originally formed, they released their promo tape entitled Condemned Truth, and at that time took on Frank (Guitar) and Chris (Bass), who left their local band Vae Solis. After some more member bouncing in August 1997, Heiner left and Herbert joined due to his insanely fast-paced drum beats. Finally in August 1998, they released their first album entitled Godmachine through Repulse Records.
Again, Anasarca did some member switching - and label switching - and in February 2001 released their second album Moribund through the Danish label puny Music. For this album they did a European tour.
Current Members
Michael Dormann - Guitars, Vocals (since 1995), Bass (since 2001)
Daniel Schneider - Drums (since 2013)
Steffen Parth - Guitars (since 2013)
Michael Ernst - Guitars (since 2013)
Carsten Geerlings - Guitars (since 2013)
Former members
Joshi Wang - Guitars (2003-2013)
Christian Jansen - Bass (1995-2001)
Heiner Saliger - Drums (1995-1997)
Frank Tholen - Guitars (1995-1999)
Herbert Grimm - Drums (1998-2004)
Benjamin Hakbilir - Guitars (2000-2001)
Done in Our Name
Anasarca Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I should have known
we'd killed him
Tuesday morning.
I woke up strangely buoyant,
whisteling a song
over the dictionary's c's
boldface, at the corner,
there to catch my eye,
were corpse candle, cauterize
and condemnation, cyanide
I should have known then
we'd killed him
should have sensed the
huge organism's
sly joy, cat's paw
Batting at his eye, in
the chamber, out again
cranky machinery of revenge
grinding to and fro
in the night
in our name.
One headline read "REPRIEVE"
and just a block away
another edition shouted "EXECUTED."
It was done
in our name.
All our hands
on the wheel
that sealed him
in the tomb.
All our ears
echoing with
it's metallic clang.
We all find ourselves
murderers now
participate in his death,
no - even more than that
We take part in his crime.
Others are saddened,
diminished or angry.
But once it's done
the clock has turned.
It doesn't matter
what we said.
A man, a boy, is dead.
It was done in the dark
Tuesday morning
in our name and all our hands
The song "Done in Our Name" by Anasarca reflects on the death penalty, and the guilt and responsibility that we all share when an execution is carried out. The singer expresses a sense of foreboding and unease, even before they learn that the execution has taken place. The use of dark and ominous language, such as "corpse candle," "cauterize," and "cyanide," suggests a deeper, more sinister meaning behind the news.
As the singer discovers that the execution has indeed happened, they describe the machinery of the justice system as "cranky" and vengeful. They suggest that, even though the execution may be presented as a simple act of justice, there is something more insidious going on. The fact that the death penalty is carried out in our name, and that we all share a responsibility for it, is a disturbing thought.
The singer goes on to suggest that when an execution takes place, we are all murderers, at least in some sense. Even if we did not pull the trigger or flip the switch, our complicity in the system means that we are implicated in the death. The final lines of the song are bleak and resigned, suggesting that it doesn't matter how we feel or what we say - once the execution is carried out, there is no going back.
Overall, "Done in Our Name" is a powerful reflection on the death penalty and the ways in which we are all implicated in it. By using dark, foreboding language and exploring the singer's sense of unease and guilt, the song encourages us to consider the deeper moral implications of capital punishment.
Line by Line Meaning
I should have known
The singer regrets not recognizing the act of killing in which they were complicit.
we'd killed him
The person being referred to was killed by the singer and others.
Tuesday morning.
The day on which the killing took place.
I woke up strangely buoyant,
Contrary to what one might expect, the artist felt upbeat on the day the killing took place.
whisteling a song
The artist felt carefree enough to whistle a tune.
As when I bent
The singer describes a moment of casual serendipity.
over the dictionary's c's
The singer was looking up words beginning with the letter c.
boldface, at the corner,
The word was highlighted for emphasis.
there to catch my eye,
The word in question stood out to the artist.
were corpse candle, cauterize
The words the artist came across were related to death and destruction.
and condemnation, cyanide
The words the singer came across were also related to punishment and poison.
I should have known then
The artist feels as though they missed an important warning.
should have sensed the
The singer wishes they had been more observant.
huge organism's
The singer is referring to the system of violence responsible for the killing.
sly joy,
The system of violence derives pleasure from exerting power over others.
cat's paw
The killers are unwitting pawns of the system.
Batting at his eye,
The system is depicted as disrespectful, even aggressive.
in the chamber, out again
The system is impersonal and mechanical.
cranky machinery of revenge
The killing is a part of a larger pattern of violence and retribution.
grinding to and fro
The killing is depicted as coldly efficient.
in the night
The violence takes place under cover of darkness.
in our name.
The artist acknowledges their own complicity in the killing.
One headline read "REPRIEVE"
The public reaction to the killing is contradictory and confusing.
and just a block away
The news coverage is localized and immediate.
another edition shouted "EXECUTED."
The media coverage is sensationalized and opportunistic.
It was done
The killing is irrevocable.
in our name.
The singer and others are held responsible for their role in the killing.
All our hands
The killing was a collective act.
on the wheel
The system of violence has been set into motion.
that sealed him
The victim was deliberately put to death.
in the tomb.
The singer likens the victim's death to a burial.
All our ears
The killing was witnessed by many.
echoing with
The memory of the event persists.
it's metallic clang.
The killing is traumatic and shocking.
We all find ourselves
The gravity of the situation is emphasized.
murderers now
The artist and others are culpable for the act of killing.
participate in his death,
The singer and others played an active role in bringing about the victim's demise.
no - even more than that
The singer implies a deeper level of responsibility.
We take part in his crime.
The victim's death is linked to a broader system of injustice and inequality.
Others are saddened,
The artist acknowledges that the victim's death has caused pain and suffering.
diminished or angry.
People's emotional reactions to the killing are varied.
But once it's done
The violence is irreversible.
the clock has turned.
The world keeps moving forward despite the tragedy.
It doesn't matter
The artist implies that the outcome was predetermined.
what we said.
Words cannot negate the reality of the killing.
A man, a boy, is dead.
The artist humanizes the victim, emphasizing the tragedy of the situation.
It was done in the dark
The secrecy surrounding the killing is emphasized.
Tuesday morning
The specifics of the incident are recalled in detail.
in our name and all our hands
The singer emphasizes collective responsibility for the victim's death.
Contributed by Cameron E. Suggest a correction in the comments below.