Anti-Flag

My initial exposure to Anti-Flag was through a punk compilation tape that a friend had dubbed for me in the mid-90s. Being mostly unfamiliar with the genre except for its more commercially successful acts, I remember being drawn to their angst and street-level raucousness. This band clearly wasn’t from the same school as Green Day or The Offspring, and the general sense of protest and confrontation that permeated their songs came across as an attempt to put the danger back into punk.

Since then, I have admittedly heard less about Anti-Flag’s music and more about the controversy they have been stirring up over the years. Simultaneously praised and reviled by fans, corporate America, and even government officials, they have occupied a curious place in punk rock history. There are few bands that have the distinction of signing to a major label, getting props from a U.S. representative (for inspiring young people to vote), and having their records banned from stores after 9/11, but Anti-Flag can rightfully claim it all.

A Benefit For Victims Of Violent Crime has served as a good refresher on what I’ve been missing from this Pittsburgh-based four-piece, as it compiles seven new tracks next to five live songs. The liner notes state that this album is intended to raise funds for an advocacy group called The Center for Victims of Violence and Crime. Apparently one of the band members was personally affected in such a way that inspired its release, although none of the songs seem to address the issue. Instead, Anti-Flag fans are treated to the usual words of social and political protest that have become the band’s trademark.

Musically, the new tracks seem to be veering dangerously close to the same pop-punk territory that the band has traditionally avoided. However, it is possible for pop-punk to be played with integrity and conviction, and Anti-Flag certainly brings those traits to the table. Thus, the source of my disappointment with these “catchier” tracks probably lies in my own expectations. I went into this album expecting raw punk rock that bordered on hardcore, and got something different. Moving on to the live tracks, they are predominantly culled from late-era albums, so there isn’t much of this disc that ties the band back to their roots. But it seems that the intention here is to provide fans with a collection of new and recent live material in exchange for charity funds. This is certainly a noble cause, especially when it contributes to the healing process of those affected by violent crime.

Aesthetically, punk rock has always been a tough genre for me to interpret. The music is usually straightforward (as it is here), and the lyrics are either socially aware or misanthropic (think G.G. Allin). But there is something about combining these factors into a song that transforms people and stimulates their souls. Punk rock fans are avidly devoted to their chosen genre, and the music has been known to inspire acts of benevolence and humanitarianism. As a medium for those ideas that move people to positive action, punk rock can only be called art.

Despite my lukewarm response to A Benefit For Victims Of Violent Crime, I can still sense a certain spirit that Anti-Flag brings to its fans. This is especially apparent on the live tracks, where the crowd interaction and sing-alongs convey a sense of unity and belonging that goes beyond a traditional concert setting. It is clear that this band holds an esteemed and well-earned spot in the punk rock scene, and their continued participation can only bring about good things.

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