THE PROLETARIAT - SOMA HOLIDAY

Non-U/Radiobeat

A Debut album by this local band is one of the few to mix music and politics. Proletariat's musical style, a fast and furious type labeled hardcore, is the perfect forum for the political views of songs like "Soma Holiday," taken from Huxley's "Brave New World" and reflecting the same desperation about the state of the world. The songs "Famine." "Another Banner Raised," "Subsidized" and "Purge" are protests against food shortages, War, the capitalist system and prejudice, respectively. Harsh-voiced lead vocalist Richard Brown shrieks each song. Guitarist Frank Michael's accompanies each lament with a characteristic, abrasive style of playing that compliments Brown's exhortations, and bassist Peter Bevilacqua plays with force and anger throughout. All 18 songs are filled with protest and calls for change. A powerful and thought provoking album.

-Tracy Everbach, Boston Globe Calendar, November 17th, 1983

PROLETARIAT 's highly skilled labor

REVIEW MUSIC

THE PROLETARIAT - With Sorry and Dub 7 at

Storyville, Sunday

The Proletariat will probably never have a hit single. They'll seldom get played in dance clubs, and odds are that no major label will take a chance on their aggressive, politically motivated music. But in the past year, they've emerged as leaders of the local underground.  The band attracted critical attention with their "Soma Holiday" album (whose title, taken from Huxley's "Brave New World," ironically refers to drugged escapism). In Boston Rock magazine's year-end poll, The Proletariat placed first as Best Local Band, second for Best Local Record, and fourth as Best National Band. But they haven't toured to capitalize on their success, preferring to play all-ages shows and to develop material for their second album.   The Proletariat can thrash with conviction, but their delivery goes beyond hardcore punk. True, they employ frantic tempos, and play with near-frightening urgency. And yes, you can slam-dance to them (although at Storyville, the slamming was safely confined near the stage). But the Proletariat's message is clearly anti-violence. Their anger is more incisive for its focus, their musical attack sharper for its precision.  Whether pointing the finger at organized religion or commercialism, The Proletariat's songs take apathy as the enemy. Instead of shouting slogans, they string together unsettling images. "Decorations," which opens the album and the live set, confronts blind allegiance: "Medals on the shirt...bullet through the chest..flowers on your grave..obedience." Singer Richard Brown clung to the last word, twisting and snarling it into a battle cry.  If The Proletariat don't offer hope, they can provide a stirring release of tension. Guitarist Frank Michaels absorbs the best post-punk influences (Public Image Ltd., early Gang Of Four), and cuts them to the sharpest edge. His concise solos sliced through the nervous backbeat, bringing the songs to dissonant peaks.

Opening were the promising Sorry, whose high volume delivery belies their humble name. Dub 7, formerly 007, provided a sunnier moment between the storms by throwing a funky reggae party.

-Brett Milano, Boston Globe, March 6th, 1984

THE PROLETARIAT - "Indifference"

Indifference, indeed. The Proletariat are a righteous bunch of radical rockers. They play punk rock that's comparable to Gang Green but with a lyrical approach that's about 180 degrees to the left. On their second album the Proles tackle some Big Subjects like poverty, greed, apathy, the Ku Klux Klan, Etc. Because of personnel changes, this 15 song disc features three different singers, but Peter Bevilacqua (bass) and Frank Michaels (guitar) make sure there is continuity. The flaw in the process is that the melodies don't have the sweep or dynamics of , say, Moving Targets, but there's more than enough delights worth unearthing here. (Homestead)

- Jim Sullivan, Boston Globe Calendar, November 13th, 1986