Reading American Hardcore is drastically different that watching the film of the same name. Although, there are similar historical transgressions and curios in both: Social Distortion is repeatedly referred to as a hardcore band as are the Misfits. But more importantly, to me at least, is the fact that Necros are lumped into a Michigan/Detroit scene that while the group was surely apart of, hailed from Maumee, Ohio. The Toledo suburb is probably known for something – what I can’t say – but it seems like taking Necros from Ohioans is unwarranted. I mean, are the Dead Boys from New York? Nope, but they lived there. Anyway…

Necros are usually figured as one of the early hardcore bands functioning in and around the Midwest. In stark contrast to the scenes that were happening on the coast, Necros developed, early on at least, independent of a specific scene. Black Flag were clearly heroes of the group, and when one of the crew headed out to LA in a high school exchange program and returned with live footage of Ginn and company, it was just short of revelatory.

After corresponding with the folks (Tesco Vee et. all) behind the Touch and Go Zine – and eventually the label – the guys from the Necros (initially Barry Henssler on vocals, Andy Wendler playing guitar and Todd Swalla behind the drums) were able to reach some deal where they’d record for the new imprint. The Sex Drive single was the first release from the label.

At this point in the band’s development, the four songs that comprised the single varied in approach with a few that were as much sloppy punk ala the Germs as hardcore. But of course the fact that the Germs frequently get checked as having helped start the whole hardcore thing it’s sensible – kinda.

Either way, the seven inch included indictments of the police, teenage libido and American society in a general sense. It wasn’t the pinnacle of punk or hardcore, but pointed towards the direction that the band would follow in coming years. The pace would be ratcheted up and recording quality would improve, but for all intents and purposes Necros were fully formed, if a bit young sounding, on its first release.

A few years hence, IQ32 cropped up as a split release between Ian McKaye’s Dischord Records and Touch and Go. The nine songs were recorded in much cleaned up fashion with Henssler being audible most of the time as opposed to listeners just hearing a series of melodic grunts.

The societal critique continued with songs like “Race Riot” and “Wargame,” although it didn’t seem contrived. Coupling the adolescent politics being figured out over the course of the disc with a matured group of players, the band came off as a better rehearsed and more focused ensemble.

There’d be subsequent releases by Necros, but they wouldn’t receive the same sort of attention as folks on the coast, or even the Zero Boys in latter years. That might be partially as a result of the group’s slide into hard rock. The same thing happened to SSD, though, so at least Necros are in good company.