Every Record I Own - Day 250: Coliseum GoddamageThere is a big...

Every Record I Own - Day 250: Coliseum Goddamage

There is a big contingent of the record collecting community that focus entirely on the past. They care about The Beatles or Pink Floyd or the new reissue of that cult songwriter that only pressed 1000 copies of his one album before he dropped off the face of the Earth. Conversely, there’s a big contingent of music fans that only care about what’s current. They have no time for anything that’s not new and modern. I would like to say I hover directly in the middle, but the truth is that I slant heavily towards the past. That’s partially because time serves as a filter. It weeds out a lot of the stuff built on fads or expensive marketing ploys. It’s also largely due to the simple fact that your average record store is predominately made up of the past. But a lot of it boils down to despising the idea that music is ephemeral. If you like something when you’re fifteen, you should still like it when you’re fifty, so if people are still talking about an artist after they’ve broken up, you know they have lasting value. 

I don’t think I was ever more in touch with modern music than I was between ‘93 and ‘98. I had already become obsessed with ‘80s hardcore, but I didn’t realize it was still a vibrant scene until I went and saw a couple of hardcore bands play at a nearby college. I then became obsessed with modern hardcore and would pursue any new band getting hyped in zines like MRR or HeartattaCk. It was an exciting time, and I still feel that if I have any real specialized knowledge, it revolves around North American hardcore of the mid-’90s.

That interest waned around ‘98, partially because my tastes diversified, partially because the scene had gotten too big and had splintered off into too many factions. I didn’t care about old-school or traditional hardcore. With a few notable exceptions, I didn’t like glossy Trustkill and Victory Records bands. All the proto-screamo bands were beginning to sound the same. But I think a big part of it was that the majority of the great hardcore bands of the ‘90s put out amazing 7″s but mediocre LPs. Even though hardcore made up a huge part of my musical diet in my teens and twenties, I don’t have very many LPs from that era to prove it. My 7″ collection, however, tell a different story. It’s just unfortunate that as I grew older, my patience for flipping a record every 5 minutes decreased.

I bought this reissue of Coliseum’s Goddamage EP after the band’s van was totaled, figuring any money I could send their way would help out. I already had the 2x7″ version on Auxiliary, but knew I’d get more mileage out of an LP that I only had to flip once. Goddamage is a fan favorite in the Coliseum catalog, which may have something to do with hardcore’s propensity for thriving in shorter time constraints. And indeed, it’s a rager—a solid combo of their debut’s d-beat fury mixed with more gritty metal and rock elements. 

My favorite Coliseum material was yet to come, but Goddamage is still worth pursuing, even if you’re one of those folks that doesn’t investigate broken-up bands or access the vast archives of great music from years past.