A very well-rounded, powerful, humorous yet political release, much improved over the last one. Dave is really out there, and his character really comes across here, Experimentation usually works on this release, the lyrics are sharp, the cover art is a treat. Side Two lags at times, but I think the guts and sentiments come across really well. MDC is one of the few HC bands to really cut across time and cultures.
The long-awaited MDC LP is an interesting release. Thematically, they cover South Africa, cops, food, bullies in the pit, soup kitchens, nukes, skateboards—the gamut of HC themes. The mix isn’t quite as full or noisy as it could’ve been, but a cover of “Big Picture” (Canada’s SUBHUMANS) is a treat, and the rest of the material is pretty much thrash, though country, R’n’B, jazz-metal, and even rap influences sneak right in. Dave’s voice seems a bit straight at times, but that may have been intentional to make the vocals clearer.
MDC deliver a funnypunk classic in “Chicken Squawk,” an uproarious C&W thrash tune which belies a more serious argument for vegetarianism—it even has banjo lead breaks! On the flip, “Kleptomaniac” rates as a strong, catchy thrasher, although “Death of a Nun” suffers from lackluster performance and production values. A mandatory EP, however, and the foldout sleeve is extremely interesting and informative.
Four new songs that come enclosed in a well-researched and informative fold-out sleeve. The music is in MDC’s intense, complex, stop-on-a-dime thrash style, but the vocals have developed into an amalgam of rap and hardcore phrasings. This latest assault by one of the world’s leading political bands, in terms of both beliefs and commitment, is strengthened by excellent production.
MDC, formerly the Texas STAINS, are one of the most politically-aware punk bands around today, and this record has enough food for thought to gorge the average listener with ideas. The music is exceptionally fast but much more complex than the typical thrash attack, a combination that can be disorienting until the material becomes more familiar. My one complaint is that the mix emphasizes the vocals at the expense of the guitars, but this is still one of the year’s best albums.
