Fans worldwide have come to love L7′s heavy, riff-oriented guitar grind. L7′s albums have been released on legendary U.S. labels Epitaph, Sub Pop, Slash/Reprise, as well as their own label, Wax Tadpole. Since their recording career began in 1987, L7 have spawned underground and mainstream hits, such as: Shove, Pretend We’re Dead, Shit List, Andres, and Drama. Their music has also appeared on countless soundtracks, including “Natural Born Killers.”

L7 have toured all over the world, numerous times, in clubs, concert halls, and festivals, some of which were: Offshore (Australia), Go Bang (Germany), Lollapalooza (U.S.), Hollywood Rock (Brazil), and Reading (U.K.). In addition to appearing on television shows internationally, including David Letterman, L7 starred in John Water’s movie, “Serial Mom”, and are the subject of a rockumentary by former Nirvana bassist Krist Novoselic, entitled “The Beauty Process.”

The L.A. based band, formed in 1985, consisting of Donita Sparks, guitar and vocals, Suzi Gardner, guitar and vocals, Dee Plakas, drums, and at various times, Jennifer Finch, Gail Greenwood, and Janis Tanaka on bass, have also made time to play many benefits for organizations like Rock For Choice (which they formed in1991), Greenpeace, and Act Up L.A., to name but a few.

Just some guys with an urge to tell the the rest of the world how screwed we really are. Peace!

What makes a protest song? The Specials should know. First time around, back when the 70s were lurching into the 80s, they sang of racism, war, unemployment and the rough edges of urban life, and never in the same way twice. As the multiracial flagship of the 2 Tone movement, they made a political statement every time they stepped on stage. June 2021 saw the 40th anniversary of their last and greatest protest song, Ghost Town, a record that will retain its eerie power as long as there are concrete jungles, empty dancehalls and desperate spasms of violence.
 
It's fitting, then, that in 2021 the Specials are releasing Protest Songs 1924-2012, an unpredictable collection of unique takes which celebrates the long history and endless versatility of the form, from folk to post-punk, from righteous uplift to biting satire, and from Kingston to Alabama. It’s a potent reminder that there are no fixed rules to templates for a protest song. All that’s required is the combination of something that needs to be said with music that needs to be heard. “People have been using music as a vehicle for protest since time immemorial,” says bass-player Horace Panter. “Injustice is timeless.”
 
“2020 was the year of protest, wasn’t it?” says Horace. “It was in the air. The hardest part of the whole record was deciding what songs to use.” Following the musical liberation of Encore, genre was no obstacle. Each song demands a different arrangement or tone of voice. “We thought, let’s throw out the musical constraints of the Specials. There’s not a tonic suit or Fred Perry in sight. We don’t want to deny our past, because that enables us to do what we do now, but we have our own creative minds to make up.”

The new album out now: 'I Inside the Old Year Dying'

http://pjharvey.lnk.to/iinsidetheoldyeardying/

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