![]() Not content just to put out a record, he had to create what one of the song titles dubbed “The Sound of Young America.” “I’m an atom bomb,” he sang, and the music–a strangely ordered cacophony of guitar feedback, driving drums, and an apocalyptic trumpet bleating in the distance–hit like one. But Svenonious went right for the jugular from Nation of Ulysses’s first release. Most bands toss off a few seven-inches before really finding their sound, cementing their ideology. It seemed to come out of nowhere–even in the context of the relatively progressive underground in Washington, D.C., at the time. Svenonious’s first band, Nation of Ulysses, emerged at the start of the decade into a scene that was caught up in tough-guy hardcore posturing and a dry political discourse that had grown outright stale over the last decade. But we like it, and we like Svenonious–one of a handful of visionaries, along with Bikini Kill’s Kathleen Hanna and Outpunk fanzine’s Matt Wobensmith, to make a real musical and philosophical mark on punk rock in the 90s. ![]() Yeah, we have seen it all before–the white-boy soul dressed out with just enough distortion to make it seem relevant, the James Brown tiptoe posturing, the organ pumping, the pegged black pants, and yes, even the gravity-defying do Svenonious is sporting up there onstage. ![]() Best of Chicago 2022: Sports & Recreation. ![]() Click here to join the Reader Membership Community today! Close ![]()
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