Subhumans

In the scorched wake of the late 1970s, as punk rock was either imploding or mutating in scenes like New York and London, Vancouver’s Subhumans emerged with something more urgent: purpose. Formed in spring 1978, the group debuted at a raucous anarchist “Anti-Canada Day” rally on July 1. Their very first performance, political in tone and unrelenting in sound, signaled that these weren’t just kids with guitars — they were instigators, provocateurs, and sharp social commentators.

The original lineup featured Brian “Wimpy Roy” Goble (vocals), Mike “Normal” Graham (guitar), Gerry “Useless” Hannah (bass), and Ken “Dimwit” Montgomery (drums). Each brought equal parts chaos and clarity to the band’s mission. Goble, equal parts jester and truth-teller, whipped crowds into frenzies with spontaneous rants and physical abandon — often hurling himself into the audience, sometimes emerging bruised, bloodied, or even nude. Dimwit and Hannah formed a rhythm section that shook foundations, while Graham’s slicing guitar laid the groundwork for some of the most ferocious punk to emerge from Canada.

Early tracks like “Death to the Sickoids,” “Oh Canaduh,” and “Fuck You” laid bare the Subhumans’ ethos: anti-authoritarian, brutally self-aware, and delivered with volume and venom. Their shows were chaotic, often hilarious, sometimes confrontational — and always unforgettable. Their debut 7” single on their own label S1A00/S1B00, and their 12” Death Was Too Kind EP (produced by a young Bob Rock), became defining documents of early Canadian punk.

They were soon touring across Western Canada and the U.S., rubbing shoulders with bands like Black Flag, Minor Threat, Dead Kennedys, and Bad Brains, and building a following in key scenes like San Francisco and Seattle. In 1980, the Subhumans released their first full-length album, Incorrect Thoughts, a biting, blistering collection that tackled everything from toxic masculinity (“Slave to My Dick”) to capitalist dread (“Big Picture”) to media mind control (“The Scheme”).

Perhaps their most infamous song, “Fuck You,” became a defiant sing-along anthem for disillusioned youth. The chorus — “We don’t care what you say, fuck you!” — delivered in a shouted gang vocal, summarized the alienation and rebellion of a generation that had no interest in pleasing authority.

Elsewhere, tracks like “Firing Squad” directly addressed global events, including the religious fanaticism and state repression that erupted around the Iranian Revolution — revealing the Subhumans’ ability to tie international politics to personal outrage and local resistance.

But by 1981, internal exhaustion and political disillusionment began to fracture the group. Following a grueling tour, both Gerry Hannah and Jim Imagawa (who had replaced Dimwit on drums) exited. Ron Allan (bass) and Randy Bowman (drums) joined for one final studio effort, No Wishes, No Prayers, recorded for SST Records. Before the album’s release, Brian Goble left to join D.O.A., and Mike Graham went on to form Shanghai Dog. The Subhumans were, officially, no more.

The Squamish Five and a Legacy of Resistance
In 1983, Gerry Hannah — long involved in environmental and anarchist activism — took a radical turn. As part of Direct Action, later dubbed the Squamish Five, he helped bomb an environmentally destructive hydro substation on Vancouver Island and the Litton Industries plant near Toronto, which produced components for U.S. cruise missiles. The group was arrested, and Hannah was sentenced to 10 years in prison, serving five. His nickname, Nature Punk, was no affectation — his activism, like his music, was deeply principled.

Reflecting on that time, Hannah later said:

“I don’t look back and say, ‘Oh my God, if only I hadn’t done those actions.’ I’m not ashamed of it. It’s the way my life went, and I don’t have a problem with it.”

Meanwhile, the rest of the original members returned to quieter lives. Goble continued playing with D.O.A., Mike Graham worked for his father’s architectural firm, and Imagawa became a postman. Tragically, Ken “Dimwit” Montgomery passed away in 1994, just as he was poised for greater success with The Four Horsemen.

Reunion and Resurgence (1995–Present)
In 1995, Hannah and Goble reunited for a Western Canadian tour, joined by Jon Williams on guitar and David Macanulty on drums. Hannah referred to it as his “summer job”, but the reception was anything but casual — hundreds of fans lined up, eager to reconnect with a band whose message still resonated. That same year, they released Pissed Off… With Good Reason, a compilation of their early material, on Essential Noise/Virgin.

A decade later, the Subhumans reformed again — this time with an eye toward the present. Alongside Jon Card (Personality Crisis, SNFU, D.O.A.), they recorded the fiercely relevant New Dark Age Parade (2006, Alternative Tentacles/G7), followed by a re-recorded Incorrect Thoughts in 2010 (Same Thoughts, Different Day) due to legal complications with the original master. These releases proved that the Subhumans weren’t just revisiting the past — they were still challenging the present.

Legacy and Impact
The Subhumans' work remains among the most fearless in Canadian punk history. Their lyrics — filled with satire, critique, and righteous anger — pulled no punches. Their records captured the spirit of resistance and rebellion in ways that still feel urgent decades later.

Their early singles, especially “Death to the Sickoids,” “Fuck You,” and “Firing Squad,” are now collector’s items. Their influence extends from underground punk circles to mainstream coverage, and they’re frequently cited by critics, musicians, and fans as one of the most important bands of the Vancouver punk era.

In the words of Vancouver journalist John Mackie, writing in the 1995 liner notes:

“Time has been kind to the Subhumans’ music — it sounds as fresh and invigorating as the day it was cut. The political sentiments are as valid today as they were in 1979 or ’80. The Subhumans are still pissed off — and with good reason.”

The final dedication on their retrospective release says it all:

“This album is dedicated to the memory of Dimwit, an inspirational person in many ways — a truly great drummer and the original ‘Subhuman.’ Farewell, brother.”
-Robert Williston