Savage Republic

In the Los Angeles post-punk milieu of the 1980s, Savage Republic stood out for merging tribal percussion, industrial drones, and raga-like guitar lines into a singularly brooding aesthetic that alternated between stark desolation and moments of eloquent grandeur. Guitarist Bruce Licher served as the ensemble’s central figure, founding the project and remaining its sole constant amid frequent lineup shifts. Their catalog veered between cyclical instrumentals and abrasive quasi-industrial pieces featuring gruff, chant-like vocals, yielding an uneven body of work that nonetheless included several lasting highlights.

Former UCLA students Licher and drummer Mark Erskine established the band in the early 1980s. After recruiting Jackson Del Rey, Jeff Long, and Robert Loveless, the musicians initially performed under the name Africa Corps before adopting Savage Republic shortly prior to issuing their debut recording in 1982. Unconventional percussion remained integral from the outset, with oil cans, metal pipes, and 55-gallon drums frequently employed. The early singles and first album Tragic Figures (1982) represent the group at its most abrasive, though traces of the more atmospheric and melodic direction that would later emerge are already audible.

Following departures that led some members to form 17 Pygmies, Savage Republic reconvened with greater emphasis on guitar textures. Ceremonial (1985) marked a turn toward predominantly instrumental compositions shaped by guitars tuned in unconventional ways, occasionally featuring instruments strung with six identical strings. Occasional returns to droning, tension-filled vocal chants persisted, yet the instrumental pieces rarely ventured beyond established territory across the decade, resulting in studio albums that could feel uneven. The band’s most compelling presentations occurred in live settings, where they incinerated pampas leaves in trash cans, performed on Los Angeles’ Skid Row, and incorporated assorted unexpected objects as percussion to ensure each concert remained distinct.

Albums issued on Licher’s Independent Project label drew notice as much for their individually hand-letterpressed and numbered packaging as for their musical content. Licher extended similar design work to other artists on the label, earning a Grammy nomination for his contributions to Camper Van Beethoven’s debut LP. Savage Republic never approached the commercial reach of that act—an outcome never pursued—and ceased activity around 1990. A limited reunion tour occurred in fall 2002, followed by only sporadic performances. After moving to Arizona, Licher continued operating Independent Project and creating artwork, most notably for an R.E.M. Christmas fan-club single. He also resumed performing with the instrumental trio Scenic, whose sound merged Savage Republic’s exotic qualities with influences drawn from Ennio Morricone and Southwest border music.

The group reconvened during the 2000s, though Licher participated solely in the initial reunion tour and Erskine took no part. The configuration consisted of three mid-1980s members—Greg Grunke, Thom Fuhrmann, and Ethan Port—joined by newcomers Alan Waddington, Val Haller, and Kerry Dowling. This lineup produced the album 1938, released in 2007 on the Neurot label.