A band whose existence is essential for these times, FUCKED AND BOUND encapsulates the frenetic energy, confrontational anger, and increasing anxiety that so many are feeling. Initially released in 2018 by Atomic Action! Records, the 2020 edition of Suffrage includes new album artwork by guitarist Brian McClelland (He Whose Ox Is Gored) and a cover of Sonic Youth’s “Kool Thing.”
“The band – which features members of He Whose Ox Is Gored and Cattle Decapitation – specializes in lurching, distorted punk, vocalist Lisa Mungo’s raspy screams cutting through the grimy distortion and frantic drumming. Alongside a dark and stylized performance video, ‘Terror’ makes a strong argument for why Suffrage is one of the best punk albums to be (re)released this year.” — Decibel Magazine
In advance of the re-release of Suffrage, the band is pleased to unveil a video for “Terror,” now playing at Decibel Magazine. Created by Seattle-based artist Chris Cunningham of Dark Details, the performance footage captures the heavy intensity of the band’s live shows, a melancholy and yet much needed injection of the band’s vivacity. It reminds us that even as we are void of stages and shared spaces for the time being, FUCKED AND BOUND is an outlet for those who seek solace in the filth and the fire, whose cynicism has grown out of disappointed idealism, who carry a bloody, sharpened ax to grind with the powers that be.
Adds Decibel Magazine, “The band – which features members of He Whose Ox Is Gored and Cattle Decapitation – specializes in lurching, distorted punk, vocalist Lisa Mungo’s raspy screams cutting through the grimy distortion and frantic drumming. Alongside a dark and stylized performance video, ‘Terror’ makes a strong argument for why Suffrage is one of the best punk albums to be (re)released this year.”
Suffrage will be released on December 18th on limited edition vinyl and digital formats. Find preorders at THIS LOCATION.
Despite the name, Seattle’s FUCKED AND BOUND feels fundamentally untethered. They’ve achieved an air of unhinged freedom mainly by thrashing their way through unassuming, beloved punk venues, writhing across unwashed floors and DIY spaces, hosting their own sort of hardcore communal exorcisms — participation mandatory.
In simpler, pre-pandemic times, vocalist Lisa Mungo (He Whose Ox Is Gored) is a full frontal, feral assault to those who bear witness to the band. The majority of her time is spent throwing herself into the fray, forcing interaction, wildly occupying a headspace that exposes her natural effervescence and intimacy just as much as the reckless abandon, anger and nihilism that can be found in their lyrics. In a way that not many others can, Mungo fearlessly elicits nearly fanatical enthusiasm, even from those who have never previously heard the band. She can be seen stepping on stage with a dozen red roses to hand out, and five minutes later, tearing off her clothes and screaming viciously into the faces of unsuspecting attendees in the pit. This juxtaposition of tenderness and aggression, romance and filth, is a perfect metaphor for the band’s music as a whole.
All the while, drummer Matt Chandler, bassist Rah Davis (Cattle Decapitation), and guitarist Brian McClelland (He Whose Ox Is Gored) allow Mungo the space to fully transform, howling and rabid, as they tear through their own grimy d-beats and breakneck grindcore riffs in a nuanced way. Their collective ethos appears firmly rooted in feminism and radical righteousness – unapologetically so.