- A Relentless Blast of Seattle Crossover Thrash, Captured in Its Rawest Form
The SGM is a crossover/thrash metal band from Seattle, WA , they have been active from 1986 until 1990 and have released one official album called "Aggression". This album SGM's "Aggression" has been produced by Jack Endino, who worked on seminal albums from bands such as Mudhoney, Soundgarden, and Nirvana
Released in 1986, Aggression by SGM (Satanic Genocide Militia) was conceived in the turbulent social and political climate of Reagan-era America. Seattle, still years away from its grunge explosion, housed a raw, unpolished underground scene where metal, punk, and nihilism converged. Economic disparities, the lingering Cold War paranoia, and the cultural backlash against conservatism provided fertile ground for a record as furious and unapologetic as Aggression.
SGM’s music defied simple classification. Aggression lives up to its title by seamlessly merging thrash metal's precision and speed with hardcore punk’s brevity and abrasion. Songs like “Back In Circulation” and “Gutter Of Pain” demonstrate rapid tempo shifts, shouted gang vocals, and relentless riffs that owe as much to Discharge as they do to Slayer. The band’s rhythmic economy – most tracks clocking in at under three minutes – intensified the listening experience, reflecting the urgency and unrest they sought to channel.
Lyrically, Aggression pulls no punches. The band veers between social commentary, anti-authoritarian rage, and confrontational satire. Songs like “Fags Of Denial” and “Do Me ('til I Die)” stirred controversy for their provocative phrasing, though the intent was often misunderstood. In true punk tradition, SGM blurred the lines between shock, criticism, and catharsis. Their confrontational tone was not about endorsement, but exposure — shining a harsh light on the absurdities and injustices of 1980s America.
Aggression was recorded at Reciprocal Recording in Seattle, WA — a space that would later become legendary through its association with early grunge acts. At the time of SGM’s session, the studio was co-managed by engineer and producer Jack Endino, whose raw, live-style production would later shape bands like Soundgarden and Nirvana. Here, Endino brought SGM’s abrasive sound to life, keeping overdubs minimal and preserving the organic violence of their live performances. The production is intentionally jagged, capturing the imperfections and volatility that define the crossover sound.
The album was co-produced by SGM and Jack Endino, reinforcing the band’s control over its message and musical direction. Endino also served as sound and recording engineer. The visual aesthetic of the album was crafted with equal intention: the front cover was illustrated by controversial artist Robert Williams, known for his surreal and often confrontational artwork. The back cover and SGM logo were created by Don Blackstone, with layout and design by Lisa Sutton and photography by Bob Peterson.
While Aggression was originally released in the U.S. through independent underground channels, a West German pressing followed in 1988. This European version featured minor changes in typography and cover color grading, though the audio mix remained identical. Bootleg cassettes circulated in the late 1980s, often missing the track “Bascus Eroticus / Graveyard” due to tape length or censorship in certain markets.
In the mid-1980s, amidst the gritty rise of punk and metal in Seattle, a crossover thrash band named SGM (Satanic Genocide Militia) exploded onto the underground scene. Founded by vocalist Mike Lawson (aka Mike Loser), drummer Paul Uhlir (Pablo), bassist Cole Peterson (Captain Blackout), and guitarists Rick Albrecht (Bitchard Louis) and Chris Quinn (Kris Quinn), the band blended hardcore punk intensity with the aggression of metal, capturing the raw spirit of their time.
SGM built a reputation for high-energy shows and confrontational, politically-charged lyrics. Their independently released 1986 LP Aggression was a brutal yet tightly constructed example of American crossover, produced with the help of legendary engineer Jack Endino. The album gave them cult status in the Pacific Northwest, but the band members soon found themselves musically outgrowing the limitations of the genre.
By the early 1990s, the group re-emerged with a new sound and identity—Sweet Water—signaling a shift toward more melodic, alternative rock influences. Retaining much of the original lineup, Sweet Water embraced catchy hooks and classic rock structures while still maintaining the energy and DIY ethic that defined their roots. The transition marked one of Seattle’s most fascinating underground evolutions—from hardcore thrashers to power-pop revivalists, all before the grunge wave hit the mainstream.
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Collector's notes ( detailed background information on the persons working on this album) Transcript of the liner notes on the insert SGM is a five piece freight train running out of control. Combining a display of bone-crushing power with a never-say-no sense of humor, these young lads from Seattle, WA have taken the West coast by storm. SGM's insane live show and unique blend of punk, metal and rock and roll, have earned them a summer tour of the Northwest with the Accused, along with several of their own headlining dates.
Into their fourth year of existence, SGM's members are young (average age 19), loud and dedicated to rocking' with the band. Pablo's sonic thunder machine, Cole's gut-wrenching bass, and the driving guitar work of Bitchard Louis and Criss Quinn are seared by Mike Loser's vicious throat, creating an ingenious wall of driving sound influenced by AC/DC, Metallica and KISS. SGM's Aggression , their debut release for Medusa/Retless does just what the album title implies—loud and overpowering, yet melodic and tight. For proof, listen to "Back In Circulation," the title track "Aggression," and "She"—their KISS cover. All songs display all the power, originality, spontaneity and sheer face melting rock that SGM has built their reputation on. 'Young loud and crazy. Better than Sound Garden and Green River put together. Better than Led Zep and the Stooges even." The Rocket Was expecting sloppy thrash. but got powerful mid-tempo puniz. with driving guitar work. Good lyric topics, strong stuff here." Maximum RocknRoll |
| Album Fact Sheet: SGM - Aggression |
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Music Genre: Thrash Metal/Crossover |
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Album Production Information:
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Record Label & Catalognr: GWR Records – GWLP 48 |
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Record Format: 12" Vinyl Stereo Gramophone Record Total Album (Cover+Record) Weight: 230 gram |
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Year & Country: 1989 Made in UK |
Personnel/Band Members and Musicians on: SGM - Aggression |
Band Members, Musicians & Performers
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Complete Track-listing of the album "SGM - Aggression" |
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The detailed track-listings of this record "SGM - Aggression" is: Track Listing – Side One
Track Listing – Side Two
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High Quality Photo of Album Front Cover "SGM - Aggression" |
The album cover of SGM - Aggression, painted by Robert Williams, presents a hyper-violent, surrealist street-fight scene in comic-book style. In the foreground, two muscular men with exaggerated physiques are locked in a brutal confrontation. The man on the left, wearing a beret and white t-shirt, clutches his face in agony as he's strangled by a man in sunglasses and a blue jacket. The fists and faces are dramatically distorted with exaggerated motion, as if frozen mid-impact. In the middle ground, a bizarre mechanical figure bursts through the composition—part woman, part android—with metallic blue limbs, pink claws, and a pair of breasts shaped like black billiard 8-balls. Her exaggerated, contorted pose suggests violence or explosion, surrounded by shards, cubes, and jagged fragments as if the scene is being shattered like glass. Her chest is marked with skull tattoos and veins, adding to the grotesque surrealism. Behind the mayhem, a serene backyard pool scene contrasts the chaos. A woman in tight blue jeans, top, and ponytail stands beside the pool on the left, shielding her eyes as she looks at the violence unfolding. A red lounge chair and side table rest beside the pool. A baby floats unattended in the pool, underscoring the dark absurdity of the whole tableau. The background uses vivid electric blue and dark tones with crackled textures and fragmented edges. The logo "SGM" appears at the top center in neon-green slime font, and the album title "Aggression" is similarly styled at the bottom right. The artist’s signature “Robert Williams” appears just above the album title, anchoring the image as a disturbing yet mesmerizing example of crossover thrash visual identity. |
Album Back Cover Photo of "SGM - Aggression" |
The back cover of SGM - Aggression features a chaotic and layered visual design that mirrors the sonic aggression of the album. At the top center is a stylized yellow-and-blue graphic bearing the SGM logo with a distorted demonic face and skulls in the background. Flanking it on both sides are the track listings for the album: six tracks on each side, written in neon green font against a cracked black backdrop. Side One includes: Back In Circulation, Acid Rain, Power, Blow Job, Gutter of Pain, and Tap the Keg. Side Two lists: Bascus Eroticus / Graveyard, Aggression, Fags of Denial, Do Me ('til I Die), Mrs. Brown, and She. Below the track listing, production credits are listed in small yellow type, noting that the album was produced by SGM and Jack Endino, engineered by Endino, and recorded at Reciprocal Recording in Seattle. Credits are also given to Robert Williams (front cover), Don Blackstone (logo and back design), Lisa Sutton (layout), and Bob Peterson (photography). The bottom half of the cover is dominated by a red-tinted, layered photo of the band. The image has a ghostly, motion-blur effect, creating the impression of distortion and frenzy. Each member is shown standing in different poses—some with long hair, some obscured by double-exposure-style shifts. Text over the photo in yellow identifies the musicians: Kris Quinn (guitar), Pablo (drums), Mike Loser (vocals), Richard Louis (guitar), and Captain Blackout (bass). At the very bottom, small print includes detailed liner notes and thank-you messages, referencing other bands, influences, and acknowledgments. Label logos for Medusa Records and GWR appear in the corners, situating this release in its late-80s underground metal context. |
GWR Records Insert with background information on the SGM band and their album "Aggression" |
This image shows the original GWR Records promotional insert for the band SGM and their album Aggression. Printed in black and white on plain stock, the insert features the GWR logo at the top, followed by the band name and full member lineup: Mike Loser (vocals), Pablo (drums), Captain Blackout (bass), Bitchard Louis (guitar), and Kriss Quinn (guitar). The body text describes SGM as a “five piece freight train running out of control,” praising their combination of aggressive power and humor. Originating from Seattle, WA, the band’s high-energy performances and fusion of punk, metal, and rock earned them recognition and a tour with The Accused. The insert notes that the band members had an average age of 19 at the time, with instrumentation described in vivid language: Pablo’s drums as a “sonic thunder machine,” Cole’s bass as “gut-wrenching,” and the guitars as “driving” and “ingenious.” The vocal performance by Mike Loser is described as a “vicious throat,” drawing influence from AC/DC, Metallica, and KISS. It is also stated that Mike Loser departed the band shortly before the release of Aggression to pursue college, and that Kirk Verhey (former vocalist of Mace) replaced him. The album Aggression is described as loud, overpowering, but tight and melodic. Recommended tracks include “Back In Circulation,” “Aggression,” and “She,” their KISS cover. The description emphasizes the band’s spontaneity and originality. At the bottom, two short review quotes are included. One from The Rocket compares them favorably to Soundgarden, Green River, Led Zeppelin, and The Stooges. Another from Maximum RocknRoll praises the band’s mid-tempo punk style, strong lyrics, and guitar work. |
Photo of "SGM - Aggression" 12" LP Record - Side One: |
This image shows the center label of the Side A of the SGM - Aggression 12" vinyl LP, pressed by GWR Records. The label design features a dark charcoal background with a bold, stylized set of swirling arcs in shades of metallic blue, white, and red, forming a partial circular frame around the center spindle hole. The GWR Records logo appears prominently in red with a lightning-style peak in the "W," followed by the word "RECORDS" in smaller white capital letters. Above the logo, in a more understated type, the label states: “Marketed by Roadrunner on GWR” with the Roadrunner "R" logos on both sides.
The side indicator A is printed clearly in silver at the bottom-right of the label, identifying this as the first side of the LP. At the right edge of the vinyl, the matrix etching This GWR label design is typical of the label's late-80s output and adds a visual flair that matches the aggressive and high-energy sound of the music contained on this side. |
Photo of "SGM - Aggression" 12" LP Record - Side Two: |
This image displays the Side Two label of the 12" vinyl LP SGM - Aggression, issued by GWR Records under catalog number The text includes detailed production credits: “Produced by SGM and Jack Endino.” All songs are attributed to SGM, with publishing rights varying across tracks—some under Taint Music / La Rana Music (BMI), others under Cafe America Inc / Rock Steady Inc / Kiss / Gladwyne Music Publishing Corp (ASCAP). The copyright year is noted as © 1988 Medusa Records. The layout divides the track listings into two sections: “Other Side” and “This Side.” The former lists tracks from Side A: Back In Circulation (4:02), Acid Rain (2:26), Power (4:05), Blow Job (4:52), Gutter of Pain (3:40), and Tap the Keg (3:29). The “This Side” section lists the Side B tracks: Bascus Eroticus / Graveyard (2:50), Aggression (2:52), Fags of Denial (5:04), Do Me (’til I Die) (2:41), Mrs. Brown (3:24), and She (Simmons / Coronel) (4:45), the latter being a KISS cover.
Technical details are also displayed, including “33 rpm” speed, stereo format, and the rights societies |