BACK COMES FIRST: SICK PLEASURE/ CODE OF HONOR DISTINCTIVENESS.

I intentionally skipped over but not dismissed those acts which marked the beginning of a very particular branch within the realms of Frisco Hardcore, not so long after its fortunate outburst with epitomes like Dead Kennedys or Avengers. 

It is interesting to notice that these two bands, Sick Pleasure and Code Of Honor, might have had a different way of feeling the "Punk Formula", soaking it with psychological or emotional features whilst others dwelled into the same boring themes as violence or false patriotism.

Concerning Sick Pleasure, they would eventually get started by Niki Siki's nihilistic outlooks and amorality, destructive fury in lyrics and attitude, yet they were indeed laying the foundation for the Second Punk Wave in the Bay Area. There ain't much releases by them, apart from the 7'' 1983 self-titled and the LP split with the later Code Of Honor that's actually named Dolls Under Control. 
It's important to linger a little bit more upon Sick Pleasure, because some members, especially Dave Chavez, would go on to form the next C.O.H. or even Verbal Abuse; I don't like V.A. at all, I think they have an unpleasant voice setting-out. Instead, I really love Code of Honor.

Let's switch on them now. Managed to rise from the ranks of a mere underground band, they've taken right place into the Maximum Rock N Roll comp Not So Quiet On The Western Front with What Price Will You Pay?, a beautiful, heartfelt tune from their first 1982 7'' What Are We Gonna Do?
Code of Honor are peculiar indeed; what makes 'em stand out to me is Jonithin Christ's pathetic, howling sing that gives lotta weight to every song, and this is even clearer in the second and last record Beware The Savage Jaw, where a post-punk turn in music shows the will of becoming poetical, evocative, yet harrowing.

THRASHING POWER: VENICE BEACH CROSSOVER

I was being pretty undecided today, between touching on the more important S.F. and L.A. Punk scenes, or keep standing within the minus ones. I will be rather going for the second option still, because the others have really many outfits that I want to possibly expose one by one.

Well, let's crack on Venice, then!!

A very cool scene has brought on there by the end of '85. The true essence of Hardcore had already went off into its own "violence blindness" and the best turn that it could take was only to get back to a vigorous Metal sound.

But in some cases, that might have led to an unexpected, good result. That's what actually happened with the arise of Crossover Thrash. Its most blatant expression was without doubt represented by Suicidal Tendencies, great underground quartet captained by the ruling figure of ever-present character Mike Muir, that got through several lineup splits and formations (Los Cycos, Infectious Grooves, Cyco Miko,) all over the years. Their musical style is so broad and varied: they started as a simple, disregarded hardcore band involved in gangs but soon became a key Skatepunk and Metal influence to bands such as Excel, Aversion, Beowulf, No Mercy, Neighbourhood Watch, Cryptic Slaughter.

Self-Titled 1983 1st album was pivotal in so many ways, inspiring movies like Repo Man and Suburbia, getting acclaimed reception from Anthrax and Slayer nonetheless. 

Other incredibly good albums in my opinion are How Will I Laugh Tomorrow If I Can't Even Smile Today and Lights, Camera, Revolution, a must-listen.

Nice thanks to 80's Venice Punk Rock Facebook Page for related material.