Gang of Four went disco, Mission of Burma went deaf--and the Clash? Well, the Clash just went, but Fugazi have managed to escape the pitfalls that befell their predecessors. In fact, the Washington D.C. band formed by Minor Threat's Ian MacKaye and Insurrection's Guy Piccotto may well have become the world's most reliable source of no-sellout noise-pop. 13 Songs brings together the two 1989 EPs that first introduced the group's unique hybrid of hardcore, funk, and art-rock. And while Fugazi's music has since grown in sophistication, fan favorites such as "Waiting Room" and "Margin Walker" are early indicators that something decent can come out of our nation's capital. --Bill Forman

The Argument is a bracing reminder of Fugazi's confidence and passion, reflecting the experimental impulses of their previous two albums while further refining their songs and arrangements. It's certainly their most expansive album to date, with a supporting cast that includes Bridget Cross (Unrest, Air Miami), Kathi Wilcox (Bikini Kill), Amy Domingues (Ida), and roadie-soundman Jerry Busher. There's a pronounced pop element at work this time: the title track and "Life and Limb" are Fugazi's most subtle tracks yet, their taut guitar and whispery vocals creating a quiet tension. Even a song like "Full Disclosure," which begins with Guy Piciotto's feral howling, ends with lithe harmonies. Meanwhile, tunes like "Ex-Spectator" and "Epic Problem" expand their core attack without sacrificing an iota of its explosiveness. Brendan Canty's sinuous, rock-solid drumming is key in this regard, providing monster hooks even before the guitars come in. --Mike Appelstein

By far the most unrelievedly aggressive of this seminal D.C. foursome's seven albums, this 1993 collection assembles all the essential elements of Fugazi's aesthetic--strafing melodic tension, dynamic shifts, and unrestrained lyrical fury--and drives them into the psyche with nary a hint of sonic subtlety. That might sound one-dimensional, but somehow Ian MacKaye and company manage to wring a full spectrum of emotional impact out of that small patch of territory. From typically vociferous political plaints ("Smallpox Champion") to decidedly personal missives designed to provoke self-examination ("Great Cop"), the songs invariably cut to the bone. The highlight? "Cassavetes," which stutters and swells with remarkable grace, paying oblique tribute to John Cassavetes, an outsider director who was to Hollywood what Fugazi is to the music industry. --David Sprague

Increase your Life Points by 500 points.

This is punk rock slowed down to a lope, transformed into angry meditations on, well, a number of things--sometimes alienation, sometimes the fashion industry, and sometimes things too vague really to specify. Fugazi are always interesting, if only because of their absolute willingness to overturn every established punk rock convention (and what could be more punk rock?). On this record, inventiveness generally outpaces quality, and protest songs without catchy melodies--for all their good intentions--are pretty quickly forgotten. Regardless, their trademark staccato guitar attack and fractured rhythms are here in force, and at least two songs, "Reclamation" and "Nice New Outfit," rank with their best. --Percy Keegan

Soundtrack to their 1999 video of the same name. Features plenty of rarities including demos, studio tracks and various practice tapes, none of which has been previously released. 18 tracks in all. 1999 release.

The Argument is a bracing reminder of Fugazi's confidence and passion, reflecting the experimental impulses of their previous two albums while further refining their songs and arrangements. It's certainly their most expansive album to date, with a supporting cast that includes Bridget Cross (Unrest, Air Miami), Kathi Wilcox (Bikini Kill), Amy Domingues (Ida), and roadie-soundman Jerry Busher. There's a pronounced pop element at work this time: the title track and "Life and Limb" are Fugazi's most subtle tracks yet, their taut guitar and whispery vocals creating a quiet tension. Even a song like "Full Disclosure," which begins with Guy Piciotto's feral howling, ends with lithe harmonies. Meanwhile, tunes like "Ex-Spectator" and "Epic Problem" expand their core attack without sacrificing an iota of its explosiveness. Brendan Canty's sinuous, rock-solid drumming is key in this regard, providing monster hooks even before the guitars come in. --Mike Appelstein