Photo provided by Treblezine.com

By Tyler Hersko

“Before there was punk, there was a band called Death.”

That’s how they’re advertised, anyway. The band known as Death — and no, we’re not talking about the pioneering death metal act of the same name —formed in 1971 and consisted of three brothers who’d create music and perform shows in their family home.

To make a long story short, Death’s eventual efforts to record a studio album fell through and the trio disbanded in 1977. Over thirty years later, record label Drag City released the partially completed record as “…For the Whole World to See.”

When the original recording dates of the songs are taken into consideration, it’s hard not to be impressed. Death was a band ahead of their time, creating fast and edgy rock music years before The Clash or Bad Religion took to the stage. Historical significance aside, “…For the Whole World to See” was also a flat-out entertaining record, full of pleasingly lo-fi guitar riffs and uplifting vocals.

Since then, the aging protopunk band — sans original guitarist David Hackney, who died of lung cancer in 2000 — have gone on several tours, all the while continuing to release their archived material. The remainders of Death’s recordings were finally brought to light last Tuesday with the release of the simply titled “Death III.” While the band’s presumably final record may not have the lasting appeal of “For the Whole World to See,” Death’s swansong album is an enjoyable, albeit uneven, throwback to the rock’s younger days.

From start to finish, the album is chock-full of groovy guitar riffs and refreshingly discernible bass. Although “North Street,” with its fast and frantic riffing, is the only track stylistically comparable to the band’s hard rocking debut, Death’s softer side is not without merit.

“Death III” is unabashedly 70s. The lyrics are unpretentiously straightforward, while the instrumentation gives off that special kind of vibe that just can’t be emulated on modern equipment

Unfortunately, “Death III” embodies several of rock’s older flaws, as well. While “…For the Whole World to See” sounded like a 70s punk record for the 21st century — there’s a reason these guys are often referred to as visionaries — “Death III” is undeniably archaic.

As mentioned, Death’s records tend to be understandably lo-fi. There is, however, a fine line between a classically-produced record and a record with simply bad production, and too much of “Death III’s” playtime falls into the second category. Songs such as “We Are Only People,” “Yes He’s Coming” and “First Snowfall in Detroit” are nearly ruined by the egregiously omnipresent hissing of static. It’s a shame, because the latter two songs are otherwise quite good.

Clocking in at nearly nine minutes, “We Are Only People” serves as the album’s disappointing centerpiece. Its first four minutes are a mess of repetitive guitar chords and meandering vocals that struggle to rise above the obnoxious deluge of static. Over halfway through the track, the listener’s patience is simultaneously rewarded and mocked with a legitimately enjoyable jam session only counteracted by a mystifyingly awful vocal performance.

“We Are Only People” may not be the only offender, though it is certainly the worst of them. Thankfully, the record manages to redeem itself with the majority of its remaining tracks.

The aforementioned “North Street” and the mid-paced catchiness of “Restlessness” are suitably fun slices of lighthearted punk. “We’re Gonna Make It” closes the record on an especially high note. Thanks to its bluesy riffs and endearingly simple lyrics, the track is undoubtedly one of the band’s best.

“Death III” has neither the impact nor the longevity of the band’s archival debut, but as far as “new” classic rock music goes, a strong argument can be made for Death. Despite all of its admittedly noticeable flaws, “Death III” is livelier than most of the old school rock music you’re going to find today.

Tyler Hersko can be reached at thersko@sagebrush.unr.edu.

By Tyler Hersko

“Before there was punk, there was a band called Death.”

That’s how they’re advertised, anyway. The band known as Death — and no, we’re not talking about the pioneering death metal act of the same name —formed in 1971 and consisted of three brothers who’d create music and perform shows in their family home.

To make a long story short, Death’s eventual efforts to record a studio album fell through and the trio disbanded in 1977. Over thirty years later, record label Drag City released the partially completed record as “…For the Whole World to See.”

When the original recording dates of the songs are taken into consideration, it’s hard not to be impressed. Death was a band ahead of their time, creating fast and edgy rock music years before The Clash or Bad Religion took to the stage. Historical significance aside, “…For the Whole World to See” was also a flat-out entertaining record, full of pleasingly lo-fi guitar riffs and uplifting vocals.

Since then, the aging protopunk band — sans original guitarist David Hackney, who died of lung cancer in 2000 — have gone on several tours, all the while continuing to release their archived material. The remainders of Death’s recordings were finally brought to light last Tuesday with the release of the simply titled “Death III.” While the band’s presumably final record may not have the lasting appeal of “For the Whole World to See,” Death’s swansong album is an enjoyable, albeit uneven, throwback to the rock’s younger days.

From start to finish, the album is chock-full of groovy guitar riffs and refreshingly discernible bass. Although “North Street,” with its fast and frantic riffing, is the only track stylistically comparable to the band’s hard rocking debut, Death’s softer side is not without merit.

“Death III” is unabashedly 70s. The lyrics are unpretentiously straightforward, while the instrumentation gives off that special kind of vibe that just can’t be emulated on modern equipment

Unfortunately, “Death III” embodies several of rock’s older flaws, as well. While “…For the Whole World to See” sounded like a 70s punk record for the 21st century — there’s a reason these guys are often referred to as visionaries — “Death III” is undeniably archaic.

As mentioned, Death’s records tend to be understandably lo-fi. There is, however, a fine line between a classically-produced record and a record with simply bad production, and too much of “Death III’s” playtime falls into the second category. Songs such as “We Are Only People,” “Yes He’s Coming” and “First Snowfall in Detroit” are nearly ruined by the egregiously omnipresent hissing of static. It’s a shame, because the latter two songs are otherwise quite good.

Clocking in at nearly nine minutes, “We Are Only People” serves as the album’s disappointing centerpiece. Its first four minutes are a mess of repetitive guitar chords and meandering vocals that struggle to rise above the obnoxious deluge of static. Over halfway through the track, the listener’s patience is simultaneously rewarded and mocked with a legitimately enjoyable jam session only counteracted by a mystifyingly awful vocal performance.

“We Are Only People” may not be the only offender, though it is certainly the worst of them. Thankfully, the record manages to redeem itself with the majority of its remaining tracks.

The aforementioned “North Street” and the mid-paced catchiness of “Restlessness” are suitably fun slices of lighthearted punk. “We’re Gonna Make It” closes the record on an especially high note. Thanks to its bluesy riffs and endearingly simple lyrics, the track is undoubtedly one of the band’s best.

“Death III” has neither the impact nor the longevity of the band’s archival debut, but as far as “new” classic rock music goes, a strong argument can be made for Death. Despite all of its admittedly noticeable flaws, “Death III” is livelier than most of the old school rock music you’re going to find today.

Tyler Hersko can be reached at thersko@sagebrush.unr.edu.