Fugazi

Fugazi is an American post-hardcore band that formed in Washington, D.C. in 1987. The band's continual members are guitarists and vocalists Ian MacKaye and Guy Picciotto, bassist Joe Lally and drummer Brendan Canty.
Fugazi are noted for their DIY ethical stance, manner of business practice and contempt towards the music industry.
Fugazi have performed numerous worldwide tours, produced six studio albums, a film and a comprehensive live series, gaining the band critical acclaim and success around the world. Fugazi has been on indefinite hiatus since 2003.
Fugazi's music was an intentional departure from that of the hardcore punk bands the members had played in previously. Though clearly rooted in punk and hardcore, there is arguably more than punk to be found in Fugazi's music. Fugazi incorporated funk and reggae beats, irregular stop-start song structures, and heavy riffs inspired by popular rock bands such as Led Zeppelin and Queen, bands that the punk community of the time largely disdained. Also The Faith (Alec MacKaye's band, younger brother of Ian) and their 1983 EP Subject to Change had influence on Fugazi's music, at least in their first three albums.
Picciotto became the group's second guitarist when he realized MacKaye's typically chunky, low-end riffs and Lally's dub-influenced basslines allowed him to focus on high-pitched parts. In both vocal and guitar roles, Picciotto assumed the role of a foil to MacKaye; employing a Rickenbacker guitar for its scratchy single-coil sound in order to "cut through MacKaye's chunky chording like a laser beam." Picciotto's assumption of guitar duties allowed all four members of the band to jam together and write songs that way, where previously they had played songs largely as MacKaye had arranged them. When writing songs, the band often rearranges them with different structures and different singers. Spin Magazine has listed MacKaye and Picciotto together at No. 86 on their list of The 100 Greatest Guitarists of All Time for their unique and interlocking guitar style in Fugazi.
Generally, MacKaye's lyrics and singing are more direct and anthemic (MacKaye admits that he loves audience sing-alongs and writes songs with shout-able slogans), while Picciotto usually favors a more abstract, oblique approach. Lally has contributed vocals to a few songs as well, in which he sings in a more relaxed, quiet style as opposed to MacKaye and Picciotto, whose lyrics and vocals often feature strong emotional intensity. Later, Fugazi more fully integrated elements of punk rock, hardcore, soul and noise with an inventively syncopated rhythm section. Notable is MacKaye and Picciotto's inventive, interlocking guitar playing, which often defies the traditional notion of "lead" and "rhythm" guitars. They often feature unusual and dissonant chords and progressions filtered through a hardcore punk lens.
When questioned by Guitar World in 2002 about the band's influences, singer/guitarist Ian MacKaye responded, "Too many to mention. And not just from the last few years. Some of them predate us by decades, and most of them wouldn't be punk. I would hope any musician would be inspired by a lot of different kinds of music." Fugazi's guitar work has earned comparisons to Tom Verlaine's playing with New York art-punk icons Television and the early work of the UK's Gang of Four.
Each of Fugazi's albums since Repeater have featured an instrumental song. By the time of 1995's Red Medicine bassist Joe Lally also began contributing vocals to the band and the group was implementing many of their broader influences into the overall sound. Critics Ian McCaleb and Ira Robbins declared that Fugazi's music combined an "unprecedented dynamic range ... and previously unimagined elements" such as "clattering musique concrète ... piano and sound effects ... murky dub and lancing clarinet" and "loose-limbed jammy funk ... into an ambitious, experimental format that raises more stylistic questions than it answers."
After the hardcore punk group Minor Threat dissolved, Ian MacKaye (vocals and guitar) was active with a few short-lived groups, most notably Embrace. MacKaye decided he wanted a project that was "like the Stooges with reggae," but was wary about forming another band after Embrace's break up. MacKaye recalled, "My interests were not necessarily to be in a band, but to be with people who wanted to play music with me."
MacKaye recruited ex-Dag Nasty drummer Colin Sears and bass guitarist Joey Lally, and the trio began practicing together in September 1986. After a few months of rehearsals, Sears returned to Dag Nasty and was replaced by Brendan Canty (earlier of Rites of Spring). One day Canty's Rites of Spring bandmate Guy Picciotto dropped by during a practice session to see how his friend was getting along; he later admitted he secretly harbored the idea of joining the group. But Picciotto was disappointed that there seemed to be no place for him; he said, "It seemed really completed already  It had a completely different feel from what I'd been doing with Brendan. It seemed just solid and done."
After some uncertainty from Canty about what he wanted to do with his future, the trio regrouped and booked their first show at the Wilson Center in early September 1987. The group still needed a name, so MacKaye chose the word "fugazi" from Mark Baker's Nam, a compilation of stories of Vietnam War veterans, where it was used as slang for "fucked up", or, to be precise, an acronym for "Fucked Up, Got Ambushed, Zipped In ".
The band began inviting Picciotto to practices. Inspired by use of a foil in hip hop, Picciotto sang backup vocals. After his band Happy Go Licky broke up, he became more involved with Fugazi. MacKaye eventually asked Picciotto to become a full member, which he accepted.
Fugazi embarked on its first tour in January 1988. In June 1988 the band recorded its debut EP Fugazi (or 7 Songs) with producer Ted Nicely and producer/engineer Don Zientara (who would become a long-time collaborator), and shortly afterwards embarked on an arduous tour of Europe.
At the tour's conclusion in December, the band recorded songs for its intended debut album. However, the band was spent from touring and decided that the resulting sessions were unsatisfactory. The tracklist was cut down to an EP and released as Margin Walker the following year. Both EPs were eventually combined into the 13 Songs release in late 1989. Upon the band's return from Europe, Picciotto, unsatisfied with merely singing, began playing guitar.
With Picciotto now playing guitar full-time, Fugazi had made the transition into jamming on and writing new material as a band as opposed to performing songs composed solely by singer/guitarist MacKaye. In addition to working on new material, songs that they had already been performing live were refined such as "Merchandise" and "Turnover" for inclusion on their first official full-length studio album.
Released on April 19, 1990 through Dischord Records, Repeater did not initially reach the Billboard 200 charts or become a commercial success. However, the band spent most of 1990 and 1991 touring heavily behind Repeater, performing a total of 250 concerts between March 1990 and June 1991, routinely selling out 1,000+ capacity venues all over the world. By summer 1991 the album had sold more than 300,000 copies, a large number for a label that relied on minimal promotion. While major labels began to court Fugazi, the band decided that Dischord was distributing their records well enough and refused the offers. Repeater went on to sell over 1 million copies in the US alone, and has sold more than 2 million worldwide. The album was also critically well received and featured an alternative rock sound that pre-dated significant releases such as Nirvana's Nevermind and Pearl Jam's Ten, which would unexpectedly go on to break the genre into the mainstream.
For Fugazi's second studio-album Steady Diet of Nothing, released in July 1991, the band once again asked Ted Nicely to produce. Nicely had become a chef and had to reluctantly turn down the job, so the band members decided to produce the record themselves. After the success of Repeater and its subsequent world tour, Steady Diet was highly anticipated, six months prior to its release Dischord had pre-orders in excess of 160,000 for the album.
Fugazi recorded its third album In on the Kill Taker in the fall of 1992 with Steve Albini in Chicago; however, the results were deemed unsatisfactory and the band re-recorded the album with Ted Nicely & Don Zientara. With the breakthrough of alternative rock in the early 1990s, In on the Kill Taker; released on June 30, 1993, became the group's first record to enter the Billboard album charts, received critical praise from Spin, TIME magazine and Rolling Stone, sold 180,000 copies in its first week of release and subsequently became the band's breakthrough album.
By the In on the Kill Taker tour, the group began to sell-out large auditoriums and arenas, as well as receive more lucrative major label offers. During the bands sold-out 3-night stint at New York City's Roseland Ballroom in September 1993, music mogul and Atlantic Records president Ahmet ErtegÃ¼n met with the band backstage in an attempt to sign them. ErtegÃ¼n offered the band "anything you want", their own subsidiary label and more than $10 million just to sign with Atlantic. Fugazi declined the offer. The organizers of Lollapalooza also attempted to recruit the band for a headlining slot on its 1993 tour, which the band considered but ultimately turned down.
Fugazi began writing the material for Red Medicine in late 1994, after touring in support of In on the Kill Taker. The band worked with engineer Don Zientara, but did not choose to work with producer Ted Nicely again. Fugazi opted to retreat from the in-your-face production values of In on the Kill Taker and instead worked to create an ambient sound which would display greater range and depth. To achieve this, the band handled production duties themselves, and in doing so, became more confident with in-studio experimentation. Red Medicine would take Fugazi a step further toward art rock. The band began an extensive worldwide tour in support of the album, playing a total of 172 shows between March 1995 and November 1996.
After the grueling worldwide tour the band had completed in support of Red Medicine, Fugazi took an extended break and also began writing material for a follow up release. By March 1997 Fugazi had once again returned to Inner Ear Studios with producer/engineer Don Zientara to begin recording what would become the End Hits album with the intention of taking a more relaxed approach to recording and a longer amount of time to experiment with different songs and techniques in the studio. The group ultimately spent 7 months recording the album. Due to the title, rumors began circulating at the time that it was to be the their last release. Released on April 28, 1998 the album was commercially successful and marked one of the band's highest debuts yet on the Billboard charts. However, critical reaction to End Hits was mixed. Many critics praised the album's heavier tracks, while others questioned the inclusion of the group's longer, more experimental songs.
Fugazi began work on the The Argument in 1999. This process saw the group taking more time than usual to write and demo material. Each member would bring their own individual riffs and ideas to the band, jam on them, and then begin piecing the songs together into various configurations before deciding on what would become the final versions. The album's recording sessions took place between January and April 2001 at Inner Ear Studios and Dischord House in Arlington, VA, located just outside of Washington D.C. The band once again worked with producer/engineer Don Zientara. During the recording process a considerable amount of time was spent finalizing each songs production, in particular the album's drum tracks, in an effort to give it a unique feel. Drummer Brendan Canty explained to Modern Drummer that "We recorded them all very differently in terms of the drum sounds. We used a lot of different drum kits, cymbals, snares, and miking techniques.
The Argument was released by Dischord Records on October 16, 2001, along with the EP Furniture + 2, almost 4 years after the release of End Hits. The album was met with critical and commercial success entering the Billboard charts and selling over 170,000 copies in its first week of release. Arion Berger of Rolling Stone called the album "bracing" and "intellectual" and Chris True of AllMusic referred to the album as "spine-tingling and ear-shattering all at once" stating that, "the band has raised the bar for themselves and others once again." He also noted that the album had "touched on strange new territory." By this point Fugazi were on tour less frequently, due in large part to other professional and personal commitments, they performed only 32 shows in 2001 and 2002 respectively.
Fugazi went on what they have called an "indefinite hiatus" after the conclusion of their 2002 UK tour following 3 sold-out nights at the London Forum in England on November 2, 3, 4, 2002. The hiatus was brought on by the band members' insistence on spending more time with their families and to pursue other professional projects.
Since Fugazi went on hiatus in 2003, rumors began circulating regarding a possible reunion, with some insinuating that the band may get back together to headline the Coachella Festival in Indio, CA. While the band has confirmed that they have been offered large sums of money to reunite and headline festivals, such as Coachella, they have so far, declined the offers.
As recently as March 2011, MacKaye reiterated that Fugazi has "been offered insane amounts of money to play reunions, but it’s not going to be money that brings us back together, we would only play music together if we wanted to play music together and time allowed it".
In November 2011, when asked by the AV Club about the possibility of a reunion and a follow up to 2001's The Argument, bassist Joe Lally stated that "The Argument was a great record that we should try and top. It’ll take some time to come together and everything. To do that, we’d have to, the way the four of us are, we would take quite some time, I think, re-associating ourselves musically, and then just letting it come about naturally, because it would have to be a natural thing. So we’ll just see."