REVIEW: The Icons’ “Appointment With Destiny!”

Photobucket The Icons are a project from Seattle featuring Tom Dyer, James Gascoigne, Rick Yust, and Steve Trettevik recording the kind of ruthless pop/punk that sounds good now as it originally did in the 1980’s. Appointment With Destiny! (Green Monkey) will be celebrated by Seattleites who remember when the Seattle music scene sounded like this. These guys may be older than the first time they were around, but it and they still sound really good. While some of Seattle bands from the era sounded different from one another, you can listen to Mudhoney, Green River, The U-Men, The Fastbacks, and then this album and realize that they were all striving for something. Maybe back then they weren’t about claiming “authenticity”, but it feels and sounds real, that kind of gutsy aggressive rock that is immediate but also something that’s worthy for tomorrow. A track like “Dancin’ In The Jailhouse” may remind people of other bands like X or The Fleshtones, bands who weren’t afraid of distortion or feedback and if it was there, they’d make more music around and within it.

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REVIEW: The Icons’ “Masters Of Disaster”

Image and video hosting by TinyPic The Icons were a Seattle band most people outside of the Pacific Northwest have not heard of. but you may have heard of them if you were a part of the music scene in the early/mid-80’s. Keyword is *may* because they were obscure, but they did make an impact on those who attended their shows.

Masters Of Disaster (Green Monkey) is an album that represents the Seattle sound circa 1985, and I don’t mean a body of water either. Their sound was a mixture of new wave with a hint of gothic overtones, punk but not overly punk, but with an attitude and hint of sarcasm that has become one of the region’s greatest trademarks. The music may have sounded rough but lyrics to songs like “I Call Your Name”, “Work Ethic Rock”, and “Give Me All Your Love” show a sense of caring that could’ve made The Icons into a decent pop band, if they collectively wanted to go down that route. They did not, but it is an interesting flashback to a scene who were willing to try out anything and everything without a bankable template to work off of, especially at a time when templates were what other music communities spoke of.

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