Rikk Agnew All By Myself

Rikk Agnew’s All by Myself is one of those records that feels like a secret you’re lucky to stumble upon—a raw, weird, totally personal snapshot of a restless artist at a pivotal moment. Originally released in 1982 on Frontier Records, the album stands apart from most of what was coming out of Southern California at the time, even though it was born right in the middle of the exploding hardcore punk scene.
All by Myself lives up to its title in the most literal way. Agnew recorded the album largely on his own, playing all the instruments and handling vocals himself. Instead of delivering another straight-up hardcore record, he went inward. The result is a lo-fi, home-recorded collection of songs that blend punk energy with new wave, post-punk, psychedelic touches, and even moments of pop sensitivity. It’s rough around the edges, but that’s exactly the point—the album feels intimate, unfiltered, and honest. Context is everything here. In the early ’80s, Southern California punk was loud, fast, and often confrontational. Bands were pushing against the mainstream and even against each other, racing toward more extreme sounds. While All by Myself shares that DIY spirit, it doesn’t fully play by hardcore rules. The tempos shift, the moods wander, and the songs feel more like personal experiments than scene anthems. That made the record a bit of an outlier at the time—but also what gives it lasting appeal. Frontier Records was the perfect home for a release like this. The label was known for supporting artists who didn’t quite fit into neat categories, and All by Myself captured that ethos perfectly. It showed that punk wasn’t just about speed or volume—it could also be about vulnerability, curiosity, and creative freedom. Today, All by Myself is often seen as a cult classic. For fans of early punk, post-punk, or anyone interested in the roots of DIY recording culture, this album is essential listening