Chicago punk in the '80s had its fair share of weirdos, but End Result in particular pushed the envelope of what people would tolerate hearing. Not quite as blatantly crass as, say, the Mentally Ill, but musically these Southside punks could really test your patience. Don't let the more-or-less straightforward opening track deceive you; the Ward EP quickly devolves into an unrighteous mess of horns, semi-competent guitar squall, and psychotically howled vocals. The bizarre rendition of Petula Clark's 'Don't Fall Asleep in the Subway' must be heard to be (dis)believed.
|from Maximumrocknroll #3|
Chicago's End Result was a multi racial experimental No Wave band born out of the early 80s hardcore scene. They managed to limp all the way to the end of the 80s with a rotating cast (at one point they advertised they were seeking a "singer with a hatred of music") built around guitarist [Alan] Jones. Perhaps their greatest legacy is that they paved the way for No Wave/artfuck bands presenting themselves to an all-ages, hardcore/punk audience, something that defined the Chicago underground of the 90s (Milk of Burgundy, Skingraft, etc.). Their odd songs (a straightforward tune about amputation wasn't atypical) were released on Articles Of Faith's Wasteland label, and on several important Midwestern hardcore/punk comps, resulting in fans of boundary-pushing gravitating towards them, including Steve Albini and Sonic Youth. No child of privilege, Jones lived in a mission for a while, and turned lemons into an odd tasting lemonade by briefly making the mission's basement a site for punk shows.
End Result fit into the Chicago punk puzzle somewhere between early Silver Abuse and ONO. Here's a video of them circa 1984:
I know it was my fault, but I'm gonna take it out on you