Kerrang! magazine, issue 273, January 1990

Images S M L S M L S M L

Pictures by Kristin Callahan

AIN'T TOO PROUD TO BEG

Power Triumvirate PRONG (guitarist TOMMY VICTOR pictured right) have clawed their way out of the murky depths of New York's Metal underground to secure a major deal with Epic records. The band's first release for the label, a soon-come album entitled 'Beg To Differ', is 'a lethal Molotov Cocktail of urban angst, extreme heaviness and cunning lef field guitar work'. MIKE GITTER lights the blue touchpaper and lets fly...

First they delighted you good Anglo/Eurofolks with three months of extensive touring. Audiences were large, reactions were enthusiastic, and the press corps stumbled over themselves in worship.

Then Prong returned to the US and released the 'Force Fed' LP, together with a 12 inch featuring a scalding rendition of Chrome's 'Third From The Sun'.

For the first time in their four years of slogging it out amindsy the Big Apple's depressing CBGB's sub-underground, Prong actually won notice outside the pages of Maximum Rock 'N' ROll and specialised tiny-distribution fanzines.

Prong were clearly on their way. It took Eipc records A&R sugar-daddy Bob Fineagle to step in and elevate 'em to rightful stature.

You don't see Prong guitarist TOmmy Victor, bassist Mike Kirkland or drummer Ted Parsons around CBGB's that much these days, Why? Because Prong are finally on the verge ofrealising everything they've hoped for.

The proof? 'Beg To Differ', 10 misshapen riff-twisters signed, sealed and delivered under the Epic imprint. Tossed in a Pushead sleeve and heaved out there, it's a lethal Molotov Cocktail or urban angst, extreme heaviness and cunning left-field guitar work.

Miles from any vague notion of 'sell-out' or commerciality, this is the one that could turn the band's rabid cult following into something a little more substantial.

"Us signing with a major label was very much a matter of survival," Tommy states. "That was on of the big lessons we learned once we got back form Europe. People in the US aren't really concerned with the underground - it's not ingrained in them like it is over in Europe. American culture is very poppy and you have to be in a position of stature to be taken seriously. It's a social Darwinism, you know? No-one gives a shit about what's at the bottom of the pyramid game.

"Up until now, we've self-financed both records we've don ('86's 'Primitive Origins' and '87's 'Force Fed') and we're sick of doing these really low-budget, rushed albums. Even though out previous label In-Effect did more for us than any label in the past, it was still very half-way; they never even managed to released 'Force Fed' on CD! Plus, we were being offered the same contract and budget as certain hardcore bands that barely had a seven inch out, let alone two records and a whole bunch of European press!

"We're not high school kids living at home with our parents. If we're going to continue as Prong, we have to do this full time. I know Relativity (In-Effect's parent company) has the ability to do that with certain bands, but I guess they didn't have the confidence in us like they do with Shotgun Messiah," he sniggers.

How do the Prongsters plan to avoid being written of as another chestnut in Epic's (Suicidal Tendencies, Kreator, Meliah Rage) recent Speed Metal glut?

"That's not really a concern," Victor insists. "Aside from the Metal promotion department, Epic's really concerned with tha alternative promotion as well. Plus, before the record even comes out, they'll be sending out a three-song sampler of live stuff we did at CBGB's in November: 'Third From The Gun', 'Dying Breed' and 'Intromenstral'. 'Dying Breed' is the only one that comes even remotely close to Speed Metal.

"Besides, it seems that we're thought of as critic's band, y'know? People who pick up on Faith No More or Soundgarden should logically pick upon Prong. I don't think Epic signed us because they wanted another Metallica copy - there's so many out there already."

Prong have it in 'em to go down in history as innovators, Speed Metal's ugliest bastard sons and brightest logical conclusion.

In the past, they have cut into matters with the skill of a surgeon using a dulled, rusty blade - less immediate impact, but double the pain. And, sure, the production on the new LP (by Mark Dodson) does streamline matters. Although tracks like 'Lost Aand Found', 'Beg To Differ' and 'For Dear Life' are less desolate and alienating than previous grind-fests, there are surely enough skewed, angular riffs and looping guitar flashes to keep even Jason Arnopp happy.

"In a lot of ways, the production on 'Beg To Differ' is very anti-Heavy Metal," claims Victor. "I think the difference between us and a lot of big-ime bands is that we still realise the distinction between being technicians and artists. That's something Mark Dodson was always complaining about. He would put on a Def Leppard record and go, 'Listen to this, it's just too perfect! THe record would be better if there were at least a couple of fuck-ups in there. It would certainly make it more real'."

So, 'Beg To Differ'? Against what? Whom?

"Against going the route of becomming a young professional, or something like that. Not saying that conformity is the be-all and end-all. It seems like the early '70s all over again - everything is seen in terms of advertising. People should be the 'real man' or the 'real woman', the 'real office worker' or the 'real construction worker'. And everyon that doesn't buy into that is a freak.

"A lot of that's a hold-over from the Reagan era, people copping out and seeking traditionalism. WHy do you think a band like Guns N' Roses got so popular during that time frame? They're every bit as traditional as Frank Sinatra and there's certainly nothing outrageous about them. It's a double entendre, a huge deception."

Ain't that the fucking truth.