Diatribe is the name of more than one artist
Also see Diatribes.
… Read Full Bio ↴Diatribe is the name of more than one artist
Also see Diatribes.
1) Diatribe was a coldwave group from San Jose, California which was active in the 1990’s and signed to Re-Constriction. They had a sound similar to 16 Volt and Chemlab, integrating synthesizers and vocal samples with more traditional rock instruments. Their song “Therapy” was used in the film Strange Days but does not appear on the official soundtrack album. . They put out 2 EPS (Therapy and Nothing), a single (Ultracide), and a self-titled LP.
2) Diatribe is a San Diego California hardcore punk band formed in late ‘84,one of the first political bands in the states, their style is similar to that of Discharge, Crucifix, Broken Bones, Iconoclast, English Dogs…etc they recorded The Aftermath EP (tape) in ‘85 which was also bootlegged in ‘92 on Revoltation records as a 7”EP and has since then been released in ‘07 by Get Revenge Records as a 7’’ EP.The band is working on new material and has shows set up for 2010.
This San Diego band became one of the first political punk bands in the U.S.A. They quickly started creating mayhem around town.They played they’re first show opening for D.O.A. and Abrasive Wheels. The band soon found themselves playing shows and sharing the stage with great bands like Conflict,Subhumans,Iconoclast,SNFU,Broken Bones,Battalion of Saints. The six song Demo tape “AfterMath”was recorded DIY for only 25 bucks.The Demo got rave reviews and the band soon had a strong following.A tour of the states was soon to follow.
This 7” EP on Get Revenge Records contains the six-song “Aftermath” demo, Diatribe’s only widely circulated recording. One track from it, “I’m Your Leader,” appeared on the Mortarhate 2xLP compilation “We Won’t Be Your Fucking Poor.” The demo was bootlegged circa 1991 on vinyl 7” by Revoltation Records in the UK, with one additional song called “The Day I Was Born,” obviously from a different recording session. Oddly, the order of the tracks on the Revoltation bootleg is not the same as on the original cassette. (The present reissue doesn’t use the original order either.) The Revoltation bootleg was coveted by lovers of raw punk, but even with the extra track, it is made obsolete by this reissue, which has much better sound quality. In fact, the sound could be better than surviving original copies of the cassette, as the vinyl was mastered from the original reel. The music is fast, with a redoubtable crunchy guitar and a perfect reproduction of the Discharge songwriting formula. “Hellish Inferno” actually seems to pay homage to Crucifix’s “Prejudice,” but mostly it’s as if Diatribe weren’t listening to much other than Discharge—though they covered Conflict live. A couple breakdowns slow the tempo (and induce hard-pitting in the living room), but mostly the music is fierce and relentless. No other American drummer played a d-beat in the ‘80s as convincingly as Diatribe’s (who, you may not have known, was African-American). So: you need this reissue. It’s great, and long overdue.
Other than “Aftermath,” Diatribe’s recorded history is something of a mystery. Tape traders have circulated a two-song demo with “Free the Animals” and “Glorious War Games” on it. “Free the Animals” begins with a tedious sample about vivisection, but then it turns out to be the same song as “The Day I Was Born” on the Revoltation bootleg. “Glorious War Games” begins with a Reagan sample and the song calls to mind the “Another Religion Another War”-era Varukers. There is another version of “Free the Animals” also circulating, dated February ’86, which is clearly live and inferior to the supposed second-demo version.Unfortunately, none of these additional recordings is available with good fidelity; deterioration of the tape is audible. Do high-quality master tapes still exist, as for “Aftermath”?
The list of American hardcore bands influenced by Discharge would be long indeed, even though “Discharge-style” hardcore is most often associated with Finland and Sweden. Still, there’s a Discharge influence—Battalion of Saints, Poison Idea, SSD—and there’s a Discharge influence—Crucifix, Iconoclast, and, best of all, Diatribe. Though from California and nominally peace-punk, Diatribe didn’t actually fit in well with the categorization. They came later than Crucifix, Against, and The Iconoclast and their sound was much more hardcore than Another Destructive System or Treason—though not as metal as Final Conflict or the late ‘80s crust bands that came after them. Peace-punk, in its varied forms, took hold in Southern California ( Orange County, Los Angeles, and San Diego), San Francisco, and New York more so than anywhere else in the States. True, these regions were home to the largest scenes, so there was room for more varied subgenres among the legions of punx, but I believe something about the character of these places lent itself to this appropriation and Americanization of a British musical invention. Southern California, with its huge Latino population butted up against the vapid celebrity culture and, in turn, the xenophobic Republican stronghold of Orange County (which produced some of the most violent original American hardcore bands), is rife with contradiction that would be fruitful for a punk lyricist trying to relate Discharge’s lyrics to his own everyday life. San Francisco, on the other hand, has always had the feeling of being aloof, disconnected from the rest of the country due to its liberal politics and queer culture, which themselves actually alienate many. Finally, New York is a crazy bouillabaisse of these cultures, but unlike any other, with so many immigrants, so much corporate money, and yet deep social isolation in the midst of a billowing metropolis. Perhaps there is no explaining it, but to me, Diatribe, from San Diego, seem like they couldn’t have originated anywhere else. Their earnest belief that what they were doing was a radical political (anarchist, animal rights) project, an educational mission, combined with the horror-themed song “Psycho Killer,” captures perfectly not just the adolescent punk rock worldview but the contradictions of Southern California. Unlike The Iconoclast, Diatribe never had any of the (hippie-esque) dark, acoustic peace punk stylings. They played nothing but pure raging d-beat raw punk and matched the music with strong political beliefs.
Today, their pro-vegetarian and anti-vivisection attitude seems much less radical than it must have in 1985. What interests me most is their message, written in an autobiography (rather than interview) in Maximum Rocknoll in 1985, about border conflicts and why Latin Americans emigrate to the United States. At the time, not many bands were talking about this issue, which is obviously still highly contentious today. Diatribe write: “If all the money spent on border enforcement went for housing and food, everyone would be better off. If American companies exploiting the resources of Central and South America stopped, people wouldn’t be forced to leave their homes in search of food and jobs.” It’s funny how these lines from this anarchist punk band constitute a much more intelligent analysis of the “immigration” issue than can be found in much of the mainstream press today. I believe that the band was so accurate because they were from San Diego, a city that has been forced to confront the injustice that has led to illegal immigration for far longer than the rest of the United States. Diatribe’s intelligence about this issue demonstrates their essential “California-ness,” and maybe shows one reason why punks formed bands of this type in California and not in other places in the United States. Of course there were many idiotic ‘80s hardcore bands from California, but that only throws into relief what a breath of fresh air the anarchist bands were.
The band recently reformed at the end of 2009.
Watch for new music and upcoming shows.
Free tracks can be downloaded at their offical website,
http://www.myspace.com/diatribepunk
3.) With in memory of tomorrow the five Paderborner guys are presenting a very versatile hardcore album, far away from deadlocked structures. 10 songs have been forged together with a lot of independence which convince from beginning to end and pull one into their spell. The production is first class - one can tell straight away that a lot of devotion and intuition has gone into it
4) .Diatribe is a UK post-punk band during the mid 1980s. They released the ‘17 and Dying’ EP on Criminal Damage records and recorded a Peel session in 1985.
Also see Diatribes.
… Read Full Bio ↴Diatribe is the name of more than one artist
Also see Diatribes.
1) Diatribe was a coldwave group from San Jose, California which was active in the 1990’s and signed to Re-Constriction. They had a sound similar to 16 Volt and Chemlab, integrating synthesizers and vocal samples with more traditional rock instruments. Their song “Therapy” was used in the film Strange Days but does not appear on the official soundtrack album. . They put out 2 EPS (Therapy and Nothing), a single (Ultracide), and a self-titled LP.
2) Diatribe is a San Diego California hardcore punk band formed in late ‘84,one of the first political bands in the states, their style is similar to that of Discharge, Crucifix, Broken Bones, Iconoclast, English Dogs…etc they recorded The Aftermath EP (tape) in ‘85 which was also bootlegged in ‘92 on Revoltation records as a 7”EP and has since then been released in ‘07 by Get Revenge Records as a 7’’ EP.The band is working on new material and has shows set up for 2010.
This San Diego band became one of the first political punk bands in the U.S.A. They quickly started creating mayhem around town.They played they’re first show opening for D.O.A. and Abrasive Wheels. The band soon found themselves playing shows and sharing the stage with great bands like Conflict,Subhumans,Iconoclast,SNFU,Broken Bones,Battalion of Saints. The six song Demo tape “AfterMath”was recorded DIY for only 25 bucks.The Demo got rave reviews and the band soon had a strong following.A tour of the states was soon to follow.
This 7” EP on Get Revenge Records contains the six-song “Aftermath” demo, Diatribe’s only widely circulated recording. One track from it, “I’m Your Leader,” appeared on the Mortarhate 2xLP compilation “We Won’t Be Your Fucking Poor.” The demo was bootlegged circa 1991 on vinyl 7” by Revoltation Records in the UK, with one additional song called “The Day I Was Born,” obviously from a different recording session. Oddly, the order of the tracks on the Revoltation bootleg is not the same as on the original cassette. (The present reissue doesn’t use the original order either.) The Revoltation bootleg was coveted by lovers of raw punk, but even with the extra track, it is made obsolete by this reissue, which has much better sound quality. In fact, the sound could be better than surviving original copies of the cassette, as the vinyl was mastered from the original reel. The music is fast, with a redoubtable crunchy guitar and a perfect reproduction of the Discharge songwriting formula. “Hellish Inferno” actually seems to pay homage to Crucifix’s “Prejudice,” but mostly it’s as if Diatribe weren’t listening to much other than Discharge—though they covered Conflict live. A couple breakdowns slow the tempo (and induce hard-pitting in the living room), but mostly the music is fierce and relentless. No other American drummer played a d-beat in the ‘80s as convincingly as Diatribe’s (who, you may not have known, was African-American). So: you need this reissue. It’s great, and long overdue.
Other than “Aftermath,” Diatribe’s recorded history is something of a mystery. Tape traders have circulated a two-song demo with “Free the Animals” and “Glorious War Games” on it. “Free the Animals” begins with a tedious sample about vivisection, but then it turns out to be the same song as “The Day I Was Born” on the Revoltation bootleg. “Glorious War Games” begins with a Reagan sample and the song calls to mind the “Another Religion Another War”-era Varukers. There is another version of “Free the Animals” also circulating, dated February ’86, which is clearly live and inferior to the supposed second-demo version.Unfortunately, none of these additional recordings is available with good fidelity; deterioration of the tape is audible. Do high-quality master tapes still exist, as for “Aftermath”?
The list of American hardcore bands influenced by Discharge would be long indeed, even though “Discharge-style” hardcore is most often associated with Finland and Sweden. Still, there’s a Discharge influence—Battalion of Saints, Poison Idea, SSD—and there’s a Discharge influence—Crucifix, Iconoclast, and, best of all, Diatribe. Though from California and nominally peace-punk, Diatribe didn’t actually fit in well with the categorization. They came later than Crucifix, Against, and The Iconoclast and their sound was much more hardcore than Another Destructive System or Treason—though not as metal as Final Conflict or the late ‘80s crust bands that came after them. Peace-punk, in its varied forms, took hold in Southern California ( Orange County, Los Angeles, and San Diego), San Francisco, and New York more so than anywhere else in the States. True, these regions were home to the largest scenes, so there was room for more varied subgenres among the legions of punx, but I believe something about the character of these places lent itself to this appropriation and Americanization of a British musical invention. Southern California, with its huge Latino population butted up against the vapid celebrity culture and, in turn, the xenophobic Republican stronghold of Orange County (which produced some of the most violent original American hardcore bands), is rife with contradiction that would be fruitful for a punk lyricist trying to relate Discharge’s lyrics to his own everyday life. San Francisco, on the other hand, has always had the feeling of being aloof, disconnected from the rest of the country due to its liberal politics and queer culture, which themselves actually alienate many. Finally, New York is a crazy bouillabaisse of these cultures, but unlike any other, with so many immigrants, so much corporate money, and yet deep social isolation in the midst of a billowing metropolis. Perhaps there is no explaining it, but to me, Diatribe, from San Diego, seem like they couldn’t have originated anywhere else. Their earnest belief that what they were doing was a radical political (anarchist, animal rights) project, an educational mission, combined with the horror-themed song “Psycho Killer,” captures perfectly not just the adolescent punk rock worldview but the contradictions of Southern California. Unlike The Iconoclast, Diatribe never had any of the (hippie-esque) dark, acoustic peace punk stylings. They played nothing but pure raging d-beat raw punk and matched the music with strong political beliefs.
Today, their pro-vegetarian and anti-vivisection attitude seems much less radical than it must have in 1985. What interests me most is their message, written in an autobiography (rather than interview) in Maximum Rocknoll in 1985, about border conflicts and why Latin Americans emigrate to the United States. At the time, not many bands were talking about this issue, which is obviously still highly contentious today. Diatribe write: “If all the money spent on border enforcement went for housing and food, everyone would be better off. If American companies exploiting the resources of Central and South America stopped, people wouldn’t be forced to leave their homes in search of food and jobs.” It’s funny how these lines from this anarchist punk band constitute a much more intelligent analysis of the “immigration” issue than can be found in much of the mainstream press today. I believe that the band was so accurate because they were from San Diego, a city that has been forced to confront the injustice that has led to illegal immigration for far longer than the rest of the United States. Diatribe’s intelligence about this issue demonstrates their essential “California-ness,” and maybe shows one reason why punks formed bands of this type in California and not in other places in the United States. Of course there were many idiotic ‘80s hardcore bands from California, but that only throws into relief what a breath of fresh air the anarchist bands were.
The band recently reformed at the end of 2009.
Watch for new music and upcoming shows.
Free tracks can be downloaded at their offical website,
http://www.myspace.com/diatribepunk
3.) With in memory of tomorrow the five Paderborner guys are presenting a very versatile hardcore album, far away from deadlocked structures. 10 songs have been forged together with a lot of independence which convince from beginning to end and pull one into their spell. The production is first class - one can tell straight away that a lot of devotion and intuition has gone into it
4) .Diatribe is a UK post-punk band during the mid 1980s. They released the ‘17 and Dying’ EP on Criminal Damage records and recorded a Peel session in 1985.
The Son
Diatribe Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Take me to your leader
Send him greetings from his son
We’ll be leaving here forever
'Cause I am the chosen one
Where are all the children
Singing songs of my fall?
I listen, but I can’t hear them
Come as one or don’t come at all
The final thoughts of chaos
You are too weak to prove me wrong
Unless they find a new solution
Sick the weak upon the strong
Send him greetings from his son
We’ll be leaving here forever
'Cause I am the chosen one
Where are all the children
Singing songs of my fall?
I listen, but I can’t hear them
The final thoughts of chaos
You are too weak to prove me wrong
Unless they find a new solution
Sick the weak upon the strong
In Diatribe's song "The Son", the lyrical narrative is of a chosen one who is leaving this world forever, bidding farewell to their father, the leader. The chosen one is uncertain of why the children are singing songs of their fall, but the lyrics convey that they are not listening to them anymore. This chosen one firmly believes that they are the strongest and that chaos reigns. They demand a new solution to the problems faced by the world, and suggest that the weak must be sicked upon the strong.
The song "The Son" by Diatribe is open to interpretation, but on the surface, it appears to address issues of power and leadership. The singer, in this case, the son, is challenging the authority of his father, the leader, by leaving him a message. This message serves as a greeting, yet it also carries an ominous connotation that suggests the son is embarking on a crucial journey to fix what's wrong with the world. Listening to the song, one could argue that it is an indirect way of calling out political leaders who have failed to provide solutions to global crises.
Line by Line Meaning
Take me to your leader
I want to meet the person in charge
Send him greetings from his son
Tell him I am important and have a connection to him
We’ll be leaving here forever
We are ready to move on from this place permanently
'Cause I am the chosen one
I have a special destiny
Where are all the children
Why are the innocent not speaking up?
Singing songs of my fall?
Are they happy to see me fail?
I listen, but I can’t hear them
I am not receiving any support
Come as one or don’t come at all
Unity is key, otherwise don't bother
The final thoughts of chaos
The end of an unstable period
You are too weak to prove me wrong
I am powerful and cannot be challenged
Unless they find a new solution
Things must change for me to listen
Sick the weak upon the strong
Use the vulnerable to defeat the powerful
Contributed by Peyton T. Suggest a correction in the comments below.
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@vaquerolayman1121
Awesome and great CD