A Victim of Society pick up where surf music left off (namely sunny beaches filled with tan-lined blondes), venturing into the sort of surf one imagines washes up on the Jersey shoreline: something dank, possibly carcinogenic and made entirely of discarded needles and mobster remains. A few minutes with this so-called surf and you’ll be yearning for good old daylight to hit you square in the face with its blinding, definitely carcinogenic rays of light.
God Is Not a Pro also bears a bit of resemblance to a close compatriot of surf music: rockabilly. Of course, it’s rockabilly* heard through the walls from the raucous (and possibly carcinogenic) party at the end of the dorm hallway. The sound is muffled and the speakers have seen better days, but the six-gun shuffle retains its swagger and the endless stream of greasers travelling wandering the halls makes you feel that the only way anyone’s leaving this party is via a switchblading. Rock (even rockabilly) should have an element of danger. Rock (even rockabilly) never requires a perfect hi-fi or a communal phone for emergency calls in the event of a stabbing. A Victim of Society is the leader of the pack, slicing lithely through the crowd, lit cigarette dangling from its lips and a sneer that could melt the heart of even the Heather-est of cheerleaders.
Big beat (of the ’60s variety, not of the latter ’90s variety) set the pace for fuzz bass played in the best don’t-give-a-fuck fashion and corroded, caroming vocals. Everything gets lots of reverb in order to rattle the walls of your skull more efficiently. Superb for any genre, but aces in the genres listed.
A Victim of Society Fact Sheet
Hometown: Athens, Greece
Genre: “lo-fi garage surf” or “reverbcore”
The Greeks created the world’s first “society,” which was an unfortunate offshoot of the world’s first “democracy.” In the original Greek, “society” translates roughly as “scapegoat.” There is a dearth of information about A Victim of Society available on the web, which isn’t really “fun,” nor necessarily a “fact.” However, nearly every profile of AVoS includes the word “mysterious,” including this one just now.
A genre of music crafted by musicians who found it impossible to choose between their two true loves: rock n roll and country n western. Rather than flip a coin or make a freekin’ decision for once in their existence, they decided to combine both into a musical form that contained the best elements of each influence while simultaneously failing to resonate with acolytes of either musical form. The resulting sound, as exemplified by Reverend Horton Heat, the Cramps and various others, drew the attention of neckbeared hipsters, swing dancers who found it to be more readily available than actual “swing music” and about a million greaser-emulating Japanese youths.
The AOR classic rock crowd remained unimpressed and the country fanatics were slowly being accustomed to the allure of pop music, thanks to a slow-but-steady shift in the country genre that has left most of them unaware that this is actually happening, much like the proverbial frog in the pot of slowly heating water. The hipsters, however, were ecstatic, seeing as rockabilly was regulated to dive bars, most of which featured their favorite canned domestic beers at alcoholic-friendly prices. Swing dancers, especially those that have taken classes, are always looking for a place to throw each other around in a highly showoff-y fashion, so anything coming within a beat or two of swing is usually excuse enough for some excessive (but often [begrudgingly] talented) dancefloor maneuvering.
If you’d like to learn more about “rockabilly,” be sure to check out my four-part history of the genre, which should be arriving roughly between now and never, with the smart money being on the latter.