Hubbry Logo
End HitsEnd HitsMain
Open search
End Hits
Community hub
End Hits
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
End Hits
End Hits
End Hits
View on Wikipedia
from Wikipedia

End Hits
Studio album by
Fugazi
ReleasedApril 28, 1998
RecordedMarch–September 1997
StudioInner Ear Studios, Arlington
Genre
Length47:48
LabelDischord
ProducerFugazi
Fugazi chronology
Red Medicine
(1995) 		End Hits
(1998) 		Instrument Soundtrack
(1999)

End Hits is the fifth studio album by American post-hardcore band Fugazi, released on April 28, 1998, by Dischord Records. It was recorded at Inner Ear Studios from March 1997 to September 1997 and produced by the band and Don Zientara, and saw the band continuing with and expanding upon the in-studio experimentation of their previous album Red Medicine (1995). Due to the title, rumors began circulating at the time that it was to be their last release.[1]

While the album received mixed reviews upon release due to its experimental nature, End Hits has retrospectively received critical acclaim with many publications hailing it as an influential and classic album.

Background

[edit]

Due to the album's title, many speculated that it would be the band's last release, although the title literally refers to the end-of-the-album drum hits by drummer Brendan Canty that occur after the last song on the album, "F/D," ends. These drum hits are actually outtakes from the bridge-section of the track "No Surprise," the fourth song on the album. The title was later revealed to have been an inside-joke by the band.[1]

Recording

[edit]

After the grueling worldwide tour the band had completed in support of their previous album, 1995's Red Medicine, Fugazi took an extended break and also began writing material for a follow-up release. By March 1997 they had once again returned to Inner Ear Studios with producer/engineer Don Zientara to begin recording what would become the End Hits album with the intention of taking a more relaxed approach to recording and a longer amount of time to experiment with different songs and techniques in the studio. The group ultimately spent 7 months recording the album.[2]

A wide variety of sound effects and unusual microphone placements were used during both the recording and mixing process. In addition, the band used electronic drums, synthesizers and the practice of drum-layering for the first time, which is most evident on the track "Closed Captioned." Brendan Canty explained to Tape Op Magazine in 1999 "When "Closed Captioned" was recorded, the basic tracks to it are all a drum machine and then I overdubbed two different drum sets on top of it, which I love doing, it gives distance to a song." Recording for the track "Floating Boy" saw all the drum mics removed at the end of the song except for the bottom-snare mic, to create a hollow and muffled sound, after which synthesizer and several layers of reverb were added.[2]

Release and reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStar[3]
Encyclopedia of Popular MusicStarStarStar[4]
NME7/10[5]
OndaRock7/10[6]
The Philadelphia InquirerStarStarStar[7]
Pitchfork9.0/10[8]
Rock Hard8.0/10[9]
Rolling StoneStarStarStarHalf star[10]
The Rolling Stone Album GuideStarStarStarHalf star[11]
Uncut8/10[12]

Released on April 28, 1998, the album was commercially successful and marked one of the band's highest debuts yet on the Billboard charts. According to Nielsen Soundscan, End Hits sold 81,000 copies in the United States as of 2001.[13]

Initial

[edit]

Critical reaction to End Hits was mixed. Many critics praised the album's heavier tracks like "Five Corporations" and "Place Position" while others questioned the inclusion of the group's longer, more experimental songs like "Closed Captioned" and "Floating Boy". AllMusic critic Andy Kellman singled out the tracks "Closed Captioned", "Floating Boy" and "Foreman's Dog" as "the worst stretch of material Fugazi have recorded", noting a "virtually complete disregard for linearity that makes things seem stitched together."[3]

NME journalist Stephen Dalton was more positive, calling End Hits "a rather good record from a well-meaning bunch who are finally allowing a little colour and tenderness into their slate-grey terrorist cell."[5] The magazine would go on to name the album among their 50 favorites of the year.[14] Mojo critic Jenny Bulley remarked that certain tracks seemed to have resulted from "lengthy jam sessions," observing that "on 'Closed Caption' [sic] they meander more than is strictly necessary, though the approach works brilliantly on the darker, dubbier 'Pink Frosty'." She concluded that End Hits "may not be the requisite one-stop shop for Fugazi's music, but it's a fine record nonetheless."[15]

Retrospective

[edit]

Four years after the release of End Hits, The A.V. Club's Joshua Klein noted that "the music continues in the experimental vein" of Red Medicine and would likely disappoint fans expecting more conventional rock songs, while describing End Hits as "a curious look at America's most vital band as it finds new and inventive ways to buckle and squirm under its self-imposed constraints."[16] In 2005, Stylus' Clay Jarvis praised the album as being "a massive step forward for Fugazi: quieter, as the band replaced volume with audible creative force; illogical, as unpredictability became the core of a new world of dynamics for the band; experimental, but in all the right places and for all the right reasons. End Hits is a masterful combination of playing and mixing, improvising and editing. And yet it all sounds so natural."[17] A few years later, Trouser Press lauded End Hits as a continuation of "the evolutionary sonic path first carved out on Red Medicine, except with more focus and even less reliance on the formulaic punk chug of their own invention."[18]

In 2018, Pitchfork ranked it the 24th best album of 1998; staff writer Sasha Geffen wrote that Fugazi had managed to produce some of their most melodic and accessible songs "without sacrificing any of the muscle of their first four LPs."[19] The same year, on its 20th anniversary, both NME and Magnet offered the album praise, calling it an "influential" and "classic" album, respectively.[20][21] Fact called it an "audacious trip from a fearless band," labeling it a "classic in the canon of an impossibly important band" and "a monumental album."[22]

Legacy

[edit]

Buke and Gase covered "Guilford Fall" live.[23] Dead to Me and TheSTART covered "Five Corporations"[24] and "Place Position" respectively.[25] Rapper P.O.S references and samples the song "Five Corporations" on his album False Hope, which was later released on Never Better.

Packaging

[edit]

The picture on the album cover is of Hong Kong with the Hopewell Centre prominent in the foreground. Limited vinyl copies of the album feature a gatefold cover, which folds out to display a live photograph of the band playing at the Palladium in New York City, taken by Glen E. Friedman.

Track listing

[edit]

All tracks written by Fugazi.

No.TitleLead vocalsLength
1."Break"MacKaye2:12
2."Place Position"Picciotto2:45
3."Recap Modotti"Lally3:50
4."No Surprise"Picciotto (chorus sung by MacKaye)4:12
5."Five Corporations"MacKaye2:29
6."Caustic Acrostic"Picciotto2:01
7."Closed Captioned"MacKaye4:52
8."Floating Boy"Picciotto5:45
9."Foreman's Dog"Picciotto (chorus sung by MacKaye)4:21
10."Arpeggiator" 4:28
11."Guilford Fall"Picciotto2:57
12."Pink Frosty"MacKaye4:09
13."F/D"MacKaye/Picciotto3:42

Personnel

[edit]
  • Ian MacKaye – guitar, vocals, composer, cover design, mixing
  • Guy Picciotto – guitar, vocals, composer, cover design, mixing
  • Joe Lally – bass, vocals, composer, cover design, mixing
  • Brendan Canty – drums, composer, cover design, mixing

Technical

  • Jerry Busher – photography
  • Jem Cohen – cover design
  • Jason Farrell – cover art
  • Glen E. Friedman – photography
  • Leanne Shapton – cover design
  • Don Zientara – engineer

Charts

[edit]

Album

[edit]

Billboard (North America)

Year Chart Position
1998 Billboard 200 138

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

End Hits

View on Grokipedia
from Grokipedia
End Hits is the fifth studio album by the American band , released on April 28, 1998, through their independent label . Recorded at Inner Ear Studios in Arlington, , in March and September 1997, the album was produced by the band and longtime engineer Don Zientara. Featuring the quartet's standard lineup of on vocals and guitar, on vocals and guitar, on bass, and on drums, it runs 47 minutes and 42 seconds across 13 tracks. The album marks a further evolution in Fugazi's sound, blending post-hardcore intensity with experimental rock elements, including complex syncopated rhythms, avant-garde structures, and influences from art punk and indie rock. Tracks like "Closed Captioned" showcase unpredictable experimentation featuring elastic vocals over sparse instrumentation, while "Five Corporations" and "Caustic Acrostic" retain the band's signature confrontational energy rooted in their punk origins. End Hits continues the exploratory phase initiated in prior releases like Red Medicine (1995), emphasizing artistic risk over conventional songwriting. Upon release, End Hits achieved notable commercial success, marking one of the band's highest chart debuts and reaching No. 4 on the Heatseekers Albums chart, solidifying their influence in the independent music scene. Critical reception was mixed, with some praising its bold creativity and intricate soundscapes, while others critiqued its perceived disjointedness; over time, it has been reevaluated as a significant, timeless work in the band's discography. The CD edition was remastered in 2008 at Silver Sonya, and the vinyl was reissued in 2009 on metallic gold pressing.

Background and production

Background

Following the exhaustive worldwide tour supporting their 1995 album , which spanned 172 dates from March 1995 to November 1996, took a break of several months from intensive touring and recording to focus on personal lives and side projects, amid a three-year gap since the release of . This period allowed band members to prioritize family commitments such as bassist becoming a father and drummer raising two young children. The break provided essential time for reflection amid the demands of their DIY punk circuit, enabling the group to recharge without the constant pressure of live performances or label expectations. Central to Fugazi's approach during this time was their unwavering independent ethos, embodied by , the label co-founded by vocalist/guitarist in 1980 to release music on their own terms. Dischord's model rejected major-label advances and commercial compromises, distributing albums directly to fans and sustaining creative freedom by prioritizing artistic control over profit-driven decisions. This structure had defined Fugazi's career since their formation in 1987, allowing them to experiment without external interference and maintain affordability, such as capping ticket prices at $5 for shows. The title End Hits emerged from an inside joke among the band members, specifically referencing the emphatic drum accents—strong hits at the conclusion of song phrases—played by Canty. However, the provocative phrasing fueled widespread rumors within the punk community that it signaled 's dissolution or a final release, especially given the long gap since . The band quickly dismissed these speculations as baseless, clarifying that the title held no such ominous intent and was not a harbinger of .

Recording

The recording of End Hits took place at Inner Ear Studios in Arlington, Virginia, from March to September 1997, spanning seven months with intermittent breaks to accommodate the band's touring schedule. This extended period allowed for a deliberate pace, contrasting with the more rushed sessions of earlier albums, and totaled about three weeks of actual studio time across multiple installments. The album was produced collaboratively by the band members—Ian MacKaye, Guy Picciotto, Joe Lally, and Brendan Canty—alongside longtime engineer Don Zientara, who handled the technical aspects at his Inner Ear facility. This partnership emphasized experimentation, with the band recording live in the same room, facing each other to capture raw energy, while incorporating overdubs and multi-tracking for added depth. Techniques included the introduction of electronic drums and synthesizers, marking a departure from their prior punk-driven sound toward more atmospheric and intricate arrangements. On specific tracks, "Closed Captioned" utilized a drum machine for the basic tracks, which were then overdubbed with two full drum sets played by Canty and additional collaborator Jerry Busher to create a layered, pulsating rhythm. Similarly, "Floating Boy" employed innovative drum layering, with the entire drum kit overdubbed using a single microphone and pitch-shifted tape, culminating in a section recorded solely with the bottom snare mic for a unique, resonant close. These methods extended from extended jam sessions where songs evolved organically, often through spontaneous additions like feedback or auxiliary instruments. The process presented challenges in reconciling Fugazi's punk roots with these sonic explorations, as navigated self-production without external producers and adapted to new equipment over multiple visits to the studio. As Picciotto noted, "We also got into the entire drum set with one mic and then changing the pitch of the tape," highlighting the trial-and-error approach that fostered intricate builds while preserving live intensity.

Musical content

Style and themes

End Hits is classified as a album incorporating experimental elements, such as jazz-like and ambient textures, while displaying reduced aggression relative to Fugazi's earlier releases like and . The record blends austere, muscular energy with genre-hopping structures, allowing space for catchy melodies and deeper production layers that enhance its accessibility. This evolution reflects the band's maturation, prioritizing intricate songcraft over raw intensity. Key influences from , no-wave, dub, and math-rock are evident throughout, manifesting in unconventional structures and syncopated rhythms. For instance, the track "Five Corporations" features hypnotic riffs and math-rock-inspired tempo shifts, contributing to the album's expansive soundscapes and avant-garde leanings. These elements underscore Fugazi's commitment to pushing boundaries, with tracks varying from abrasive guitar-driven pieces to sparse, directionless explorations. Lyrically, End Hits critiques and corporate power, as seen in "Five Corporations," alongside themes of personal and abstract imagery. These ideas are conveyed through the dual vocals of and , whose interplay ranges from shouted gang choruses to more melodic, elastic deliveries, adding emotional depth and wit to the proceedings. The album's 47:46 runtime mixes short punk bursts with longer experimental compositions, solidifying its place as a pivotal maturation in Fugazi's .

Track listing

End Hits comprises 13 tracks, all written by the members of (, , , and ). The album has a total runtime of 47:46.
No.TitleLengthLead vocals
1Break2:12
2Place Position2:45
3Recap Modotti3:51
4No Surprise4:12
5Five Corporations2:29
6Caustic Acrostic2:01
7Closed Captioned4:53
8Floating Boy5:46
9Foreman's Dog4:21
10Arpeggiator4:29Instrumental
11Guilford Fall2:57
12Pink Frosty4:09
13F/D3:41 &
The sequencing alternates between shorter, aggressive punk tracks and longer, more experimental pieces, such as the placement of the ambient "Floating Boy" toward the middle and the "Arpeggiator" later in the album. Vocal duties are shared among MacKaye, Picciotto, and Lally, with occasional dual vocals on tracks like the closing "F/D". No alternate versions of the tracks were released on the original album, though the record has been reissued in various formats, including vinyl and remastered .

Release and promotion

Release

End Hits was released on April 28, 1998, by , the independent label co-founded by vocalist in 1980 to embody DIY punk principles. The album became available in multiple formats, including , cassette, and 12-inch vinyl, with the initial vinyl pressing produced on marbled grey vinyl. The album has been reissued multiple times, including a metallic gold vinyl pressing in 2009 and a repress on metallic gold vinyl in 2024. Dischord handled distribution through direct mail-order to prioritize fan accessibility and control, supplemented by partnerships with independent entities such as Southern for international markets, ensuring no involvement from major labels to uphold the band's commitment to . Prior to release, the album's title sparked considerable buzz and speculation among fans that it signaled Fugazi's disbandment, though it actually referred to the drum hits at the end of the album played by drummer after the final track, which were outtakes from the bridge section of "No Surprise"; no formal promotional singles were issued, but snippets were previewed during live performances.

Promotion and touring

Fugazi's promotion of End Hits adhered to the band's longstanding DIY principles, eschewing traditional commercial tactics such as or radio singles in favor of efforts and direct fan engagement. This approach reinforced Fugazi's anti-commercial stance, prioritizing independent distribution over mainstream media exposure. Following the album's release on April 28, 1998, Fugazi supported End Hits with an intensive spring U.S. tour comprising 11 shows from late April to mid-May. The itinerary included performances at venues like the 180 Club in (May 1), Rangos Ballroom at in , (May 2), the Flood Zone in (May 11), and Teamsters' Union Hall in , (May 12). Setlists emphasized new material, with up to 11 tracks from End Hits per performance, including "Closed Captioned" and "Five Corporations," to showcase the album's experimental sound to live audiences. The band extended promotion through additional U.S. and Canadian dates in the summer of , part of an 11-show tour that further integrated End Hits into their repertoire. A notable performance occurred on July 27 at in , where approximately 11 songs from the album dominated the set amid a crowd of 200. These outings, conducted without major sponsorships, highlighted Fugazi's commitment to accessible pricing—typically $5 at the door—and all-ages venues to broaden the album's reach organically.

Critical reception

Initial reviews

Upon its release in 1998, End Hits received mixed reviews from critics, who lauded the album's energetic tracks but often found its experimental elements uneven and challenging. Rolling Stone awarded it 3.5 out of 5 stars, highlighting the raw power of songs like "Five Corporations" and "Place Position" as exemplars of Fugazi's signature intensity, while noting the record's continuation of the band's maverick approach with jazz-inflected variations on past hits such as "Waiting Room." AllMusic described End Hits as "Fugazi's most diverse album yet," praising its blend of aggression and exploratory textures that pushed the band's sound into new territories. However, some outlets critiqued the album's more moments, such as the dubby rhythms and abstract structures in tracks like "Floating Boy," as disjointed and less accessible compared to Fugazi's earlier, more straightforward efforts. The album's title sparked speculation among reviewers about whether it signaled the band's end, amid rumors of dissolution that added a layer of intrigue to the release, though denied any such intentions. In the broader 1998 landscape, End Hits was viewed as a bold evolution for the genre, distinguishing from peers like or through its intricate arrangements, yet it fell short of mainstream commercial success despite strong support from independent circuits.

Retrospective assessments

In the years following its release, End Hits has garnered increasing critical acclaim, often reevaluated as a pivotal work in Fugazi's discography that showcased their evolving sonic experimentation. Pitchfork ranked it 24th on its 2018 list of the best albums of 1998, praising its blend of post-hardcore intensity with atmospheric and sarcastic undertones that marked a maturation in the band's sound. Retrospectives in the 2020s have further solidified its status as a classic, with describing it in 2025 as a "zenith" of Fugazi's progressive methods, highlighting its role in pushing boundaries. Similarly, Glide Magazine's 2023 revisit called the album "expansive and intricate," noting how its layered structures and unconventional song forms have aged well compared to contemporaries. These assessments contrast with the album's initial mixed reception, crediting its prescience in signaling Fugazi's impending hiatus after 2002 and demonstrating a refined sonic maturity that bridged raw punk energy with more abstract compositions. Modern commentary has also recognized End Hits' influence on subsequent and scenes, with its dynamic shifts and emotional depth inspiring bands that expanded 's emotional palette. In academic analyses, the album is noted for bridging punk's aggression with elements, as explored in Eric Grubbs' 2008 book POST: A Look at the Influence of 1985–2007, which positions Fugazi's work, including End Hits, as a in the genre's evolution toward more experimental and introspective forms.

Cultural impact and legacy

End Hits has left a lasting mark on the genre, influencing subsequent waves of bands through its experimental structures and DIY ethos. Notably, drew inspiration from Fugazi's innovative approach, incorporating similar angular rhythms and socially charged lyrics into their own high-energy sound during the late and early revival of . The album is often regarded as a high point in Fugazi's discography, showcasing their evolution just before the band's indefinite hiatus in 2002 following the release of The Argument in 2001. Several artists have paid homage to End Hits through covers and samples, extending its reach across genres. Dead to Me included a cover of "Five Corporations" on their 2011 split 7-inch with , Under the Influence Vol. 16, capturing the track's urgent critique of corporate power. Similarly, theSTART reinterpreted "Place Position" on the 2017 tribute compilation Everybody Wants Somewhere: A Tribute to , emphasizing the song's propulsive and introspective vibe. Rapper P.O.S. sampled "Five Corporations" in his 2009 track "" from the album Never Better, layering the original's riff over hip-hop beats to amplify themes of resistance. The album's legacy is preserved through ' Live Series, an online launched in 2011 that includes recordings from tours promoting End Hits, allowing fans to access over 800 shows and ephemera from the era. In April 2025, the series expanded to streaming platforms like , making additional archival material from the End Hits promotion era available digitally. Its anti-corporate themes continue to resonate in fan communities, where discussions highlight the record's role in sustaining punk's rebellious spirit. End Hits has also appeared in documentaries exploring DIY punk culture, such as Jem Cohen's 1999 film Instrument, which features footage from the album's recording and touring period, underscoring 's commitment to independent artistry.

Packaging

Artwork

The cover art for End Hits features a black-and-white photograph of the skyline, with the distinctive circular Hopewell Centre skyscraper prominently centered in the foreground, evoking a sense of towering urban density. The overall design adopts a minimalist black-and-white aesthetic, created by the band in collaboration with staff, including cover design assistance from Leanne Shapton. The inner sleeve presents the album's lyrics in a stark, unadorned font, prioritizing clear over decorative elements and aligning with Fugazi's longstanding rejection of rock glamour and excess. It also incorporates the phrase "Committed to excellence" in bold type, deployed ironically to satirize corporate buzzwords while underscoring the band's rigorous .

Packaging variants

The standard edition of End Hits was released on CD and cassette in 1998 by . The CD came in a jewel case with a 12-page booklet containing full for all tracks, along with production credits and artwork. The cassette featured a similar insert with cover artwork, , and credits, housed in a standard plastic case to facilitate affordable distribution. Vinyl editions included both grey and black pressings from the 1998 initial run, packaged in a sleeve with a full-size lyric insert that also included credits and additional artwork. Later reissues maintained this format, with a remastered 2009 pressing on metallic vinyl, a 2023 standard edition, and a limited metallic variant in 2024, emphasizing durable construction for repeated play and independent retail handling. A special promotional was issued in March 1998, marked "For Promotional Use Only - Not For Resale," in a plain or minimal without the full retail booklet, intended for media and industry previews ahead of the album's April release. As of 2025, no deluxe reissues with expanded content have been produced, aligning with ' longstanding no-frills philosophy that prioritizes straightforward, high-quality physical formats over elaborate packaging.

Personnel and credits

Band members

The core lineup of Fugazi remained unchanged since the band's formation in fall 1987 and handled all instrumentation and vocals on End Hits.
  • Ian MacKaye – guitar, vocals (lead on "Five Corporations")
  • Guy Picciotto – guitar, vocals (lead on "Caustic Acrostic")
  • Joe Lally – bass, vocals (lead on "Recap Modotti")
  • Brendan Canty – drums

Additional personnel

The album End Hits was engineered by Don Zientara at Inner Ear Studios, where he also served as co-producer alongside the band during the recording sessions from March to September 1997. The cover artwork and layout were designed collaboratively by the band Fugazi and filmmaker Jem Cohen, with additional assistance from Leanne Shapton on cover design support and Jason Farrell handling the cover mechanics, all under the Dischord Records imprint. No additional musicians appear on the album, underscoring Fugazi's commitment to a self-sufficient production process without external performers.

Commercial performance

Charts

End Hits was released on April 28, 1998, by . The album entered the US chart in its second week, debuting around early May and reflecting the band's dedicated fanbase in the scene. It ultimately peaked at number 138 on the in May 1998, solidifying Fugazi's presence on mainstream charts amid the genre's increasing visibility. On the Heatseekers Albums chart, which tracks emerging artists without major label support, End Hits debuted at number 4, underscoring its strong initial performance among independent releases. Internationally, the album experienced limited charting due to Dischord's independent distribution model, which prioritized DIY over broad commercial reach. For instance, it reached number 47 on the and number 6 on the UK Independent Albums Chart upon its entry in April 1998.

Sales figures

End Hits sold 81,000 copies in the United States by 2001, according to Nielsen SoundScan data. These figures reflect steady in the independent sector, achieved without major label promotion or traditional marketing efforts. As an independent release on Dischord, End Hits never received RIAA or certifications, which typically require 500,000 and 1,000,000 units shipped in the U.S., respectively. Subsequent reissues have contributed to its enduring commercial viability, including a remastered CD version released in and a re-cut 12-inch LP pressing issued in 2009 on metallic gold vinyl. Additionally, the addition of Fugazi's full catalog to major streaming platforms in has further supported long-term accessibility and consumption beyond physical sales.

References

  1. https://www.allmusic.com/album/end-hits-mw0000036777
  2. https://dischord.com/release/110/end-hits
  3. https://glidemagazine.com/290616/25-years-later-revisiting-fugazis-expansive-intricate-end-hits/
  4. https://www.billboard.com/music/music-news/new-fugazi-album-slated-for-september-79682/
  5. https://pitchfork.com/features/interview/5840-fugazi/
  6. https://consequence.net/2017/02/lessons-from-fugazi-on-taking-down-donald-trump/3/
  7. https://www.loudersound.com/features/every-fugazi-album-ranked-from-worst-to-best
  8. https://trouserpress.com/reviews/fugazi/
  9. https://fugazi.bandcamp.com/album/end-hits
  10. https://tapeop.com/interviews/12/fugazi
  11. https://www.punknews.org/review/16246/fugazi-end-hits
  12. https://pitchfork.com/features/lists-and-guides/the-50-best-albums-of-1998/?page=3
  13. https://www.punknews.org/review/15674/fugazi-end-hits
  14. https://thequietus.com/interviews/strange-world-of/best-of-fugazi/
  15. https://www.discogs.com/master/4049-Fugazi-End-Hits
  16. https://open.spotify.com/album/3Dy7ttLGgQPLNTEsqlIVU8
  17. https://www.washingtonpost.com/archive/lifestyle/style/1998/05/10/fugazi-sounding-familiarly-vague/3396e8ec-d22c-40dd-8b2f-72e9b3a65038/
  18. https://stillalivemag.com/articles/dischord-records
  19. https://www.discogs.com/release/4532472-Fugazi-End-Hits
  20. https://www.discogs.com/release/29751931-Fugazi-End-Hits
  21. https://www.discogs.com/release/2159072-Fugazi-End-Hits
  22. https://www.stereogum.com/1133821/fugazi-albums-from-worst-to-best/photo/
  23. https://www.popmatters.com/10-best-fugazi-songs
  24. https://dischord.com/fugazi_live_series/baltimore-md-usa-51298
  25. https://www.setlist.fm/setlist/fugazi/1998/180-club-hagerstown-md-33d9b065.html
  26. https://www.setlist.fm/setlist/fugazi/1998/rangos-ballroom-pittsburgh-pa-23d9b05b.html
  27. https://dischord.com/fugazi_live_series/richmond-va-usa-51198
  28. https://dischord.com/fugazi_live_series/pittsburgh-pa-usa-50298
  29. https://www.setlist.fm/setlist/fugazi/1998/maxwells-hoboken-nj-33d9b055.html
  30. https://dischord.com/fugazi_live_series/hoboken-nj-usa-72798
  31. https://www.rollingstone.com/music/music-album-reviews/end-hits-105934/
  32. https://pitchfork.com/features/lists-and-guides/the-50-best-albums-of-1998/
  33. https://www.amazon.com/POST-Look-Influence-Post-Hardcore-1985-2007/dp/0595518354
  34. https://www.brooklynvegan.com/15-albums-that-defined-the-2000s-post-hardcore-boom/
  35. https://www.punknews.org/review/12422/dead-to-me-the-flatliners-under-the-influence-vol-16-7-inch
  36. https://selltheheartrecords.bandcamp.com/track/place-position
  37. https://www.whosampled.com/sample/20343/P.O.S.-Savion-Glover-Fugazi-Five-Corporations/
  38. https://dischord.com/news/465/2011/11/fugazi-live-series-to-launch-december-1-2011-now-up-in-beta
  39. https://www.billboard.com/music/music-news/fugazi-live-series-streaming-1235958526/
  40. https://www.treblezine.com/23505-10-essential-21st-century-post-hardcore-albums/
  41. https://www.musicfilmweb.com/2012/10/music-documentary-review-fugazi-instrument/
  42. https://genius.com/albums/Fugazi/End-hits
  43. https://www.discogs.com/release/8815536-Fugazi-End-Hits
  44. https://www.ebay.com/itm/395097645260
  45. https://www.discogs.com/release/2032142-Fugazi-End-Hits
  46. https://www.discogs.com/release/981180-Fugazi-End-Hits
  47. https://dischord.com/band/fugazi
  48. https://kylegarret.com/2024/12/23/discography-fugazi-part-6-end-hits/
  49. https://www.discogs.com/release/614839-Fugazi-End-Hits
  50. https://www.discogs.com/release/3775208-Fugazi-End-Hits
  51. https://www.billboard-japan.com/charts/detail?a=ubillboard200&year=1998&month=05&day=16
  52. https://www.officialcharts.com/charts/independent-albums-chart/19980419/131/
  53. https://www.officialcharts.com/artist/33439/fugazi/
  54. https://www.riaa.com/gold-platinum/
  55. https://dischord.com/
Add your contribution
Related Hubs
User Avatar
No comments yet.