The Faith was an early American hardcore punk band, from Washington DC, with strong connections to the scene centered on the Dischord label. The band formed as a four piece in the summer of 1981 and featured Alec MacKaye on vocals, former vocalist for the Untouchables, as well as Michael Hampton of State Of Alert on guitar. On second guitar, bass and drums were Eddie Janney, Chris Bald and Ivor Hanson. After recording a demo, the band released a split LP with fellow D.C. hardcore punk band, Void. It was released by Dischord, a local independent label founded by MacKaye's older brother and Minor Threat vocalist, Ian MacKaye. It featured the song "You're X'd," which addressed the straight edge philosophy popularized by Minor Threat and S.O.A.. In 1983 The Faith released an eight song twelve inch EP called "Subject to Change". It was produced by Ian MacKaye and showed the band progressing into more melodic hardcore territory with the addition of a second guitarist. Within a few months of recording the record The Faith broke up, and three out of five members went on to join Embrace with Ian MacKaye on vocals. Guitarist Eddie Janney joined Rites of Spring and later was reunited with Michael Hampton for One Last Wish. Alec MacKaye went on to sing for Ignition and then later The Warmers. The Faith could stylistically, sonically and lyrically be considered the first realised "emotive/emotional hardcore" band, later shortened to "emocore" then morphed simply into "emo" (since no has had time to pronounce full terminology for a long while). And a predecessor to Rites Of Spring whom always get all the glory (or fluke/backlash) for igniting the movement. Their lyrics were very personal, emotional and heartfelt since the beginning. They did not deal nor incur into the typical "political discourse" that permeates hardcore deeply. The Faith sound is very disparate and out of place when compared to other hardcore punk bands of the era yet could only have been product of its time. They epitomise all the desperate fury and speed of early 80s hardcore. Songs like "Face To Face" and "It's Time" exemplify this with their blistering pace. "Don't Tell Me" sounds like a song very related to "I Don't Wanna Hear It" by Minor Threat, perhaps a jab at it. It features Ian on back vocals either way. Alec sang with a distinctive snarl and inflection. They displayed a level of dynamics and melody most hardcore bands of that time were sorely missing. It was not only about wanton speed and aggression. With very atmospheric and unpredictable songs such as "Confusion" and "In The Black", this is demonstrated. The latter possesses a specially dark and occult atmosphere, even somewhat channelling some early "black metal". They seemed to have attained an influence to powerviolence. Charles Bronson covered "What's Wrong With Me?". The song is basically a powerviolence one by definition. All the elements are there. Subject To Change is the record upon which Embrace and Rites Of Spring had their foundations built. All the elements of what became "emo" are clearly present. The personal/introverted lyrics, the melodic yet abrasive, raw sound. Progressive approach and song structures. Strong sense of dynamics. They may not have gone down on history as universally obsessed over and revered/lauded as Alec's brother's band, Minor Threat, Rites Of Spring themselves or even Embrace (who in fact are denominated and identified by many as the "first true emo" band, instead of Rites), however, their influence and imprint on underground/extreme music was way more subtle and fairly unnoticed. Albeit, not undetected. Many go as far as claiming (and even devalue them in the process) that their inclusion on a split with a band of such calibre as Void, was underwhelming; they do not fit in/sound appropriate within their context nor of the record. That only further serves to prove how idiosyncratic they were within hardcore, and really, The Faith are just the other side of the same coin to which Void pertain. The stark, sharp contrast created by the unexpected interaction of both bands is what truly elevated that split to legendary and ubiquitous status. And that is exactly what split albums should bring: Diversity that feels cohesive. Often-times not even obligatorily nor necessarily within the same genre of music.