Sons Of Ishmael - Sing Generic Crap (EP)

Tracks

Side 1

		Track Name	Length
	1	Downsview	00:51
	2	The Halloween Party	00:51
	3	Elastic Sympathies	01:04
	4	Fluffy the Cat	00:33
	5	Jimmy Swaggart Stuck His Pee-Pee In My Poo-Poo	00:53

Side 2

		Track Name	Length
	1	Less Than Zero	00:58
	2	Obnoxious	01:59
	3	Man And His Penis Sceptre	01:13
	4	Louie Louie	01:02
	5	The Waltz	00:25

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Information/Write-up

Sons Of Ishmael were a Canadian hardcore punk band whose roots lay in the small town of Meaford, Ontario, before their activities expanded nationally and internationally. Active primarily between 1985 and 1992, the band emerged from a local scene that barely existed, shaped as much by isolation and boredom as by imported records, mail-order culture, and an increasingly mobile underground network.

The group’s origins trace back to the early 1980s, when Tim Freeborn and friends began absorbing punk and hardcore records discovered through small-town outlets, trips to nearby cities, and eventually Toronto. Early incarnations operated under names such as Toxic Shock and Angry Thalidomide Babies, reflecting both adolescent provocation and the rough, transitional nature of the lineup. As songwriting became more focused and original material took shape, the band adopted the name Sons Of Ishmael in early 1985, a self-consciously ironic reference drawn from biblical imagery and a sense of outsider identity in a conservative rural environment.

From the outset, Sons Of Ishmael were driven less by technical polish than by speed, density, and lyrical specificity. Influenced by American hardcore acts such as Jerry’s Kids, MDC, Crucifix, and early SST Records bands—including Black Flag, Hüsker Dü, Minutemen, Meat Puppets, and Saccharine Trust—the group combined blunt aggression with sarcasm, social critique, and a distinctly Canadian sense of humour. Their songs often skewered authority, conformity, and macho posturing, while also reflecting the frustrations of growing up punk in a town largely indifferent or hostile to the subculture.

The band’s first significant recording, Hayseed Hardcore (1985), was recorded at Accusonic Studios in Toronto and pressed independently. Issued as a 7-inch EP, it captured the band’s raw, live-in-the-room intensity, favouring immediacy over refinement. Despite its modest pressing, the record circulated internationally through mail order and fanzine networks, earning unexpected attention in underground hardcore circles. Its opening track, “Small Town Mentality,” became the band’s most enduring statement, articulating the claustrophobia and social friction of small-town life with biting clarity. The EP’s inclusion in Pushead’s list of notable hardcore releases further cemented its reputation beyond Canada.

Contrary to the limitations often associated with small-town hardcore bands, Sons Of Ishmael became an unusually active touring unit. In 1986, the band undertook frequent weekend trips into the United States, followed in 1987 by a full two-month North American tour that took them across the Midwest, the Deep South, Texas, San Francisco, and numerous other regions. Additional shorter tours followed in 1989, further extending the band’s reach and solidifying their reputation within the live underground circuit.

This outward momentum continued into the early 1990s. In 1990 and 1991, Sons Of Ishmael completed extended European tours lasting approximately two months each, performing extensively throughout Germany as well as Ireland (both north and south), Spain, and Austria. These tours significantly broadened the band’s audience and reinforced their standing within the international hardcore community, achieved largely through informal networks rather than industry support.

As the band evolved, so did its approach. Sing Generic Crap (1989) leaned heavily into satire, absurdity, and provocation, deliberately mocking genre clichés while sharpening the band’s critical voice. This self-awareness carried into Mimsy With The Borogoves (1990), a 10-inch mini-album released by Germany’s Sell-Out Activities label and recorded at Marquee Studio in Reutlingen, with additional material tracked in the Netherlands. While still rooted in hardcore, the record reflected greater confidence and stylistic range, balancing political commentary with surreal humour.

By the early 1990s, Sons Of Ishmael gradually ceased activity as members moved on to other priorities, including education, work, and personal commitments. There was no formal breakup or final show; the band simply wound down. What remains is a compact but influential body of work that resonated far beyond its point of origin.

In retrospect, Sons Of Ishmael occupy a distinct place in Canadian hardcore history: a band forged in isolation, sharpened on the road, and remembered for translating a sharply local perspective into a genuinely international underground presence.
-Robert Williston

Musicians
Tim Freeborn: vocals
Paul Morris: guitar, vocals, drill
Glenn Poirier: guitar
Mike Canzi: bass
Chris Black: drums, electric saw

Doug Galbrath: emcee

Songwriting
Written by Mike Canzi: ‘Downsview’, ‘Elastic Sympathies’, ‘Fluffy The Cat’, ‘Louie Louie’
Written by Tim Freeborn: ‘The Hallowe'en Party’, ‘Jimmy Swaggart Stuck His Pee-Pee In My Poo-Poo’, ‘Less Than Zero’, ‘Man And His Penis Sceptre’
Written by Paul Morris: ‘Obnoxious’, ‘The Waltz’

Produced by Sons of Ishmael and Ormond Jobin
Engineered by Ormond Jobin
Mastered by George Graves

Graphic Design by Mike Visser
Title lettering by Guelph Heckler
Photography by Joel Robinson, Mike Canzi, and Mike Visser

Notes
First pressing: picture sleeve interior does not include “2nd Pressing” text
500 copies pressed
Some copies include a small hand-cut insert advertising Sons Of Ishmael merchandise

THIS RECORD NOT PRODUCED BY IAN MACKAYE

SONS OF ISHMAEL
1979 YONGE ST #5
TORONTO, ON
M4S 1Z6
CANADA

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