Agnostic Front Albums (11)
What The Critics Say
Some may argue that Agnostic Front's tenth studio album, 2007's Warriors, sounds like just another day at the office for joint CEOs, vocalist Roger Miret and Vinnie Stigma, and their suitably tattooed subordinates. But when a band has been this successful at the business of producing classic, crossover hardcore ass-kickings for their loyal consumers, well, outside observers may just want to keep their mouths shut and be thankful that their own jobs cover health insurance -- it could come in handy if they cross the wrong person here. Such is life at Agnostic Front Public Works, Inc.: a not-for-profit organization (get it? the band has never seen a cent for their efforts) devoted to all sorts of social activism ("Outrage," "We Want the Truth"), community services ("For my Family," "All These Years"), and a few tough love lessons about the code of the street ("Black and Blue," "Revenge") mixed in for good measure (no one likes a goody two shoes). At times, the band's approach may even seem a little too preachy, with impassioned entreaties like "Change Your Ways," "Forgive Me, Mother," and opener "Addiction" (where the band shouts "Save yourself!" to all who will listen) adding up to a veritable roll call of public service announcements. Heck, all that's missing is a bonus video of Miret asking "It's ten o'clock...do you know where your children are?" -- and that'll probably crop up on their next album. All kidding aside, though, at least Agnostic Front are focusing on largely positive and empowering messages versus the prevalent pessimism of yesteryear. And since, musically speaking, they've also stopped straying from the violent simplicity that's always served them best, the future still looks bright for the Agnostic Front corp., and, by extension, the entire NYHC industry. ~ Eduardo Rivadavia, All Music Guide
'Working Class Heroes'
Release Date 1/13/2003
Tracks 29
Label I Scream
See Album Tracklist and Review
What The Critics Say
True to its title, the split album Working Class Heroes features the street-level fist-in-the-air anthems of N.Y.C. hardcore stalwarts Agnostic Front and Dutch street punks Discipline. Recorded live at a 2001 gig together in Belgium, the record is pretty much as one would expect -- the sonic equivalent of a sweaty, teeming mosh pit of dudes with shaved heads and wife beaters pushing and stomping their way through a never-ending assault of fiery hardcore. The first part of the album is basically Roger Miret furiously barking out lyrics of politics and scene solidarity, even going so far as to tell people to disregard the rappers supposedly invading his hometown turf since their music is nothing but "fucking bullshit" that doesn't interest hardcore. You can practically see his vitriol-filled spit fly. As the packed crowd responds with throaty yells at every belted note, it's quite obvious that Agnostic Front's reach from atop the N.Y. hardcore heap goes far beyond the Bowery's cracked sidewalks on the Eastern Seaboard. Their set is fine for fans who can't get enough of the group (though they'd probably be just as well served by the band's 1989 Live at CBGB album), but the real highlight comes on the record's second half with the more Oi!-leaning hardcore sounds of Discipline. Maybe it's because you can't beat the incensed backing "Oi!s" filling every other song or the guitars that scorch the air with passion, but whatever it is, their set is fueled by an intense electricity that transferred much better to record than that of AF's set. You can just feel the hot-blooded vigor surging through the crowd on songs like "Young & Reckless," "Nice Boys Finish Last," "Hooligans Heaven," and even the relatively sentimental "These Streets." Though Discipline measure up as equal to (if not better than) their American counterparts at this show, both bands make Working Class Heroes about the closest thing to getting a boot in the face short of actually being in the pit. And who can complain about that? ~ Corey Apar, All Music Guide
What The Critics Say
By the time of this, their third release for Epitaph Records, Agnostic Front was entering their third decade together. It's more than impressive for a punk outfit to last so long -- it's nearly a miracle. Not quite a miraculous collection, Dead Yuppies lacks the immediacy of Agnostic Front's best work. There are enough good moments, however, to outshine the many Generation-X upstarts and also-rans. At first glance, Dead Yuppies projects the image of an Agnostic Front who's living in the past. The choruses are familiar, and even the term "yuppie" sounds a little dated. In the days of this release, it was the high-tech professionals and dot-bomb dreamers rubbing all the underground class warriors the wrong way. So the names might have changed, but that didn't concern Agnostic Front, as the message remained the same. Tracks like "Out of Reach" and "Politician" are staunch reiterations of 20-year themes, like the value of personal freedom, middle-class angst, and the mistrust of the power elite. Familiar in every way, Dead Yuppies will neither disappoint nor astonish fans of Agnostic Front's classic hardcore identity. ~ Vincent Jeffries, All Music Guide
What The Critics Say
Riot, Riot, Upstart is a 1999 album in the classic early-'80s Agnostic Front style: full-on, straight-ahead, adrenaline-driven hardcore. It may not be anything new, but it is refreshing in the late '90s to hear the genre's roots still being adhered to, and the lack of glossy overproduction is another plus. Agnostic Front's political concerns and righteous anger are still very much intact, and while it's a shame that there aren't many new voices popping up to address these concerns, it's nice to still have veterans who know exactly what they're talking about. ~ Steve Huey, All Music Guide
'Something's Gotta Give'
Release Date 5/22/1998
Tracks 15
Label Epitaph
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What The Critics Say
Their first recording for '90s punk mega-label Epitaph, Something's Gotta Give began a second comeback of sorts for New York hardcore veterans Agnostic Front. After too many long, ill-timed periods of inactivity due to legal and personal struggles, and a controversial metallic phase, the band's relevance had withered considerably by the time of this 1998 release. But there still existed enough interest from purists, musicians, and younger fans -- all appreciative of Agnostic Front's NYHC innovations, and unconcerned with the subsequent stylistic shifts -- to warrant this attempted resurrection of their early-career sound. The songs are fast, simple, and loaded with politically confrontational lyrics. This formula works best on the opening title track, as well as other standouts like "Today, Tomorrow, Forever"; "Do or Die"; and "Gotta Go." Their finest disc in years, Something's Gotta Give might not have broken any musical barriers, but the record helped to solidify Agnostic Front's position among the punk rock elite. ~ Vincent Jeffries, All Music Guide
'Raw Unleashed'
Release Date 7/17/1995
Tracks 62
Label Grand Theft Audio
See Album Tracklist and Review
What The Critics Say
The second live release from Agnostic Front, Last Warning features many fan favorites ("United Blood," "Toxic Shock," etc.) that also appear on the superior Live at CBGB's. This was intended to be the band's swansong -- which it was until Agnostic Front re-formed years later -- which might explain the close proximity of such similar offerings. The recording quality is satisfactory for a live punk disc, and the performances are urgent enough. But what makes Last Warning special is the inclusion of the group's scarce United in Blood EP following the live tracks. Originally recorded in 1983, this remastered, second section of Last Warning still sounds thin and raw compared to the relatively metallic concert tracks. But the 40-second blasts of pure hardcore energy are enough to bring a nostalgic tear to any punk veteran's eye. An interesting retrospective, Last Warning is a fine hardcore primer from one of the genre's most important outfits. ~ Vincent Jeffries, All Music Guide
What The Critics Say
Agnostic Front's seminal debut, Victim in Pain, arguably remains the ultimate document of the New York hardcore scene -- an early-'80s movement which coincided with some of the most dire social and political crises ever to afflict the metropolis. By taking the rudiments of punk, then injecting enough energy and rage to elevate them to an entirely new level of primal aggression, Agnostic Front's piece de resistance ultimately succeeds because it transcends musical art form to create protest rock not necessarily at its most lucid, but definitely at its most visceral. With 11 tracks clocking in at a mere 15 and a half minutes, Victim in Pain is also a five-round knockout in the most literal terms; from the 45-second blast of the title track through to the last agonized strains of "With Time," there's barely a chance to breathe, much less put up a fight in your defense. Hardcore anthems all, "Blind Justice," "United and Strong," "Power," "Society Sucker," and "Your Mistake" were literal calls to arms for New York City's disenfranchised youth, who faithfully trekked down on a weekly basis to CBGB's legendary Sunday hardcore matinees. Listen closely to these cuts and you can almost hear the hallowed Bowery venue's dilapidated walls sweat, blister, and peel from the onslaught. Also of note from a purely sonic perspective, Victim in Pain is almost entirely rooted in '70s punk rock and the hardcore teachings of similar scenes in L.A. and D.C. -- unlike latter Agnostic Front efforts, which incorporated elements of speed metal in an extreme style known as crossover. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Led by singer Roger Miret and guitarist Vinny Stigma, New York's cataclysmic Agnostic Front made quite a name for itself with records like Victim in Pain and Cause for Alarm. As one the first truly pioneering NYHC (New York Hard Core) bands to successfully bridge the gap between metal, punk, and hardcore, the band rose to legendary cult status up and down the East Coast. Recorded in the flesh at New York's punk rock Mecca CBGB's in August of 1988, Live at CBGB captures the band in all its ferocious glory. As Miret announces "this is the title track from our first album Victim in Pain, the song's also called "Victim in Pain,"" the band is off. "Pain" is quickly followed by "Public Assistance" and later a song that calls for unity between punks and skins, "United Blood." The recording contains 19 fast and furious cuts highlighted by the band's hardcore anthem, "Crucified." Prior to "Liberty & Justice," Miret offers, "Since we're an American band, let's recite the pledge of allegiance." This gives way of course to "Liberty & Justice" only to be upstaged by all 35 seconds of "Discriminate Me." Other highlights include Cause for Alarm's "Your Mistake" (later covered by Negative Approach on Total Recall). Beneath all the band's political lambasting and calls for unity (although many of their shows were anything but), there's a good musical lesson to be learned from all of this. Because, if you've ever been just the slightly bit curious about what NYHC is all about, this release is a solid launching point. ~ John Franck, All Music Guide
