With early EPs like 1981’s Haunted Town and 1983’s We’re Da Machine, the Effigies helped establish Chicago as a Midwestern punk stronghold. More than four decades later, the band is still shadowed by the sudden loss of founding vocalist John Kezdy, who died in a bicycle accident in August 2023, leaving behind a nearly completed album and a gaping void in the group’s identity. Released the following year, Burned became his final statement with the Effigies.
Rather than retire the name, surviving members Paul Zamost (bass) and Steve Economou (drums) enlisted guitarist Andy Gerber and new vocalist Geoff Sabin, eventually returning to the stage. Fire. Aim. Ready. (Pravda) is the first Effigies album with Sabin at the microphone and the band’s sixth full-length overall. Recorded at Chicago’s Million Yen Studios with Gerber producing, engineering and mixing, its dozen tracks retain the band’s chest-thumping combination of aggressive, bass-driven rhythms and hard-driving guitars. Meanwhile, Sabin brings his own pointed perspective in the form of lyrics that address political manipulation, institutional corruption and society’s ever-widening divisions.
Sabin and Economou unpack Fire Aim Ready a track at a time.
—Hobart Rowland
1) “Move Forward”
Sabin: “The opening song plays out as a collective mission statement. It’s about powering on from tragedy or heartbreak and vowing to get stronger and continue moving forward to continue an important legacy. We knew we needed this song, and it fits the Effigies’ situation perfectly. Its straight-ahead punk beat and guitar riff felt natural and primal. It’s fitting as an opening track, both to the new album and to a new chapter for the band.”
Economou: “The only solution to our problems is action. Let there be continuous revolution.”
2) “Voluntary Surveillance”
Sabin: “For such a heavy song, this actually originated on an acoustic guitar and was the first song idea I brought to the band. The power it had when everyone added their attack was exhilarating—especially Steve’s relentless drums in the riff breaks and Andy’s intricate guitar solo. The theme addresses our full and often willing participation in an environment of tracking, spying and over-the-line camera hijinks. Pay for this, participate in that—and with your services, you also get constant surveillance for free.”
3) “Hallucinations”
Sabin: “Paul has a seemingly endless backlog of bass lines and riffs to toss into the pot. This was the first one we worked on for this batch of songs. The main distinctive riff is front and center on the track and makes the guitar stand out, but it all stemmed from the original bass and drums. We added the Who-like pulses at the intro and breakdown to really set up that riff. Lyrically, it’s about the disconnect between the responsibilities of those in positions of authority and their actual actions.”
4) “Fire. Aim. Ready.”
Sabin: “This was yet another one initiated by Paul with a driving bass line and Steve with a heavy dance beat. The Effigies’ rhythm section has always been the backbone, which is helpful if you’re the new guy who’s overly conscious about staying true to the band’s sound. The song is the story of our sociopolitical options—or lack thereof. The wordplay in the title confronts what it seems like we’re seeing around us currently: Shoot first, think later. Big, fast reactions without research or knowledge. Andy came up with the heavy slowdown interlude in the second half. We initially thought it was out of left field and would interrupt the groove. But once we massaged it a bit, it gave the song an additional metal-influenced element that stands out.”
Economou: “A wise person once said, ‘If voting could change anything, they’d make it illegal.’ The puppet masters are laughing at us.”
5) “Algorithm”
Sabin: “A blatantly intentional nod to early Effigies jams like ‘Security,’ with its punk-disco beat and repeating chorus chant. It’s obviously aimed directly at our current phone culture. We had our daughters and friends lend a little more character to the vocal chants.”
Economou: “Modern man will be remembered for the fact that he fornicated and read the papers. Or is it that he scrolled the internet?”
6) “Neighbors Divide”
Sabin: “A great deal of this album was initiated in my little basement home studio. Steve, Paul and I got together for a few all-day writing sessions between shows in winter 2025-26. Three or four of those ended up yielding most of the elements that became this album. Some began with somebody’s idea presented for collaboration. Others came from freeform jamming. We ran just a few microphones to capture what came out, hoping to craft songs from the spontaneous ideas. ‘Neighbors Divide’ came from what we called the ‘Psych Dance Jam.’ It’s kind of Gang Of Four-ish, with the bass groove and spacious guitar in the verses. Lyrically, it takes on an age-old question: When a community is confronted with division, which of the stories becomes the surviving account of that time or culture? History is shaped by whose story lives on and whose is misrepresented.”
Economou: “What is truth? We’re driven by myths, whether collectively, ethnically or religiously. The tongue is mightier than the sword.”
7) “Rapid Decline”
Sabin: “All great societies have faced decline when their accomplishments and progress become overshadowed by greed and opulence. As an observer, you can try to look away, but it’s historically inevitable.”
Economou: “Geoff’s lyrics hit like a hammer. Any illusions of us coming back from our current political and cultural predicament are gone. The empire is dying. Good riddance.”
7) “Cult Of Corruption”
Sabin: “This was another song crafted from a free jam. Originally, we dubbed it the ‘Angular Jam’ for its dissonant chords and intricate drumbeat. The big chorus came later, almost as an afterthought. When it was added, the song gained its power and worked out some anger. We witness an amazing imbalance in power and wealth every day that’s undeniable. You’d think most of civilization would reject it. But there seem to be large numbers of flock-like followers who enable the most crooked individuals for some perceived benefit or glory. In reality, they’re supporting a network of frauds and killers.”
Economou: “We get what we deserve. The cowardice and indifference of the masses have brought us to this point. I was always told that the tree of liberty was fed by the blood of tyrants and patriots.”
8) “Lucy’s Song”
Sabin: “Steve wrote most of this, including the chord progression and lyrics. While it’s not entirely about her, it references historical Chicago activist Lucy Parsons, whose honorary street runs right by Million Yen Studios, where we rehearse and record. Once we’d recorded the basic tracks, the style and feel of the song had me thinking that T. Duggins from the Tossers could add a great vocal—and, of course, he did. That led to adding Jeff Pezzati of Naked Raygun and Josh Caterer of the Smoking Popes. It’s an honor to have those three lend their time and talent. Their guest vocals took this to a great place and really helped capture the collective spirit of the song and the legacy of our treasured Chicago scene.”
Economou: “We’re living in dire times. The song was inspired by all those people who have the courage to stand for freedom and human dignity and are willing to be arrested and, in some cases, die for their actions. We’re witnessing the collapse of our democracy in real time, with people being dragged off the streets and out of their homes without due process. This song is for them.”
9) “Every Brick”
Sabin: “This one has some formative Effigies elements. The rhythm section nails it, and Andy’s lead-guitar licks remind me of ‘Mob Clash’ and other early standout guitar hooks from original guitarist Earl Letiecq. The chorus, “Every brick is sand,” is metaphorical, of course. Every building block is made from something small—and no matter how solid, it can return to that state. I found myself barking through the lyrics in a way John might have done before me. He was so good at that, and it’s a staple of the band’s legacy.”
10) “The Rich”
Sabin: “This partial track sets up the cover song that closes the album. It was a total stoner-rock jam that we ended up capturing and using a small portion of. Maybe we’ll finish a full version someday. The rich probably still won’t be paying.”
11) “Skin Deep”
Sabin: “This is a cover of a song by the Stranglers, one of the Effigies’ great early influences. Andy had the idea that a cool version of this song could be made in the style of ‘Smile!’ from our 1984 album, For Ever Grounded. Andy started a demo on his own and played it for the rest of us. We were surprised and pleased with the approach—and it was fun, which isn’t a common descriptor for our catalog. Everybody then added parts, contributing to the version heard on the album. What a great band—and what a great time to interpret the song with an Effigies sound.
See the Effigies live.
