Reviews

Red Scare

Broadway Calls Meet Me On The Moon / Call It Off (Acoustic) 7″

This 7″ is one of those releases that exists just to signal to fans that the band is still doing that thing they liked back when. It might pull in a few new people here and there, but it’s mostly a nostalgia call for older fans. There’s no experimentation or anything really new here in this love song single. That said, it is very well done and shows they’ve put in their hours doing their thing. “Meet Me On The Moon” is the pop-punk, BOUNCING SOULS sound that BROADWAY CALLS has always had, just slightly fresher. The B-side is an acoustic version of “Call It Off,” the first song off the band’s first album. The vocalist seemed unsure how to make the whoa-oh-ohs of the original work all slowed down and acoustic, but he tries…

Broadway Calls Sad in the City CD

This is BROADWAY CALLS’ fourth full-length. They mix hard driving melodic pop-punk with catchy-as-hell hooks, and a nice line in sophisticated politics, with wordplay to match. They don’t like empire and authority, for all the right (as in left) reasons, and couch it in emotional anthems that wouldn’t sound out of place on the FALCON’s debut, or the LAWRENCE ARMS greatest hits roster, for that matter. Dark, yet poppy soundtracks for these times, for sure.

Guerilla Poubelle L’Ennui CD

I believe this French trio has been around for a while. Indeed, looking through my CDs, I discovered a disc of theirs from several years ago. Who knew!? Anyways, sonically, they marry melodic hardcore with that HOT WATER MUSIC gruff-yet-anthemic, effortless driving rhythm. And they do it good. Real good. Even better, lyrically, they are spot on, and given that my French is getting rusty (to say the least), they have a handy paragraph (in English) about each set of lyrics—examining the themes of exploitation, alienation, capitalism, ageing, class war, and revolt! Plus a handy (and excellent) reading (and podcast) list—albeit in French. Fortunately, being from Paris and all, they actually sing in French. And, judging from the aforementioned earlier effort, which I dug out and (re)listened to in preparation of reviewing this one, musically, they’re going from strength to strength, while not losing any of the articulate lyrical rage over time. Like a good French cheese, or wine, if that’s your bag, they just get better and better over time.

Sicko In the Alternate Timeline CD

So SICKO is back together, or maybe not—they did just play recently. I used to see this band in the ’90s during pop punk’s golden era. This is a “best of” collection, and it’s a pop punk ripper. Very cool energetic pop tunes that stay away from the RAMONES worship thing. Not that there’s anything wrong with that. A good starting point for the pop punkers who don’t know this Seattle band.

Sludgeworth Losers of the Year LP reissue

Here we have a reissue of an already posthumous compilation album from a SCREECHING WEASEL-affiliated band that predicted the ’90s Midwest pop punk that would eventually birth that weird, crooning dude-sweat style that VFW hall punk bands did in the late ’90s/early ’00s. It is both a time capsule and something that the Riot Fest crowd would freak out about if it was recorded and released today. It feels like the hype around the original couple GASLIGHT ANTHEM releases, when they were maybe the new saviors of Americana punk or something. There’s just something here that’s tangible and timeless that sticks with you. The fact that there’s still enough warranted interest in this release 30 years after the band broke up (and almost 28 years after this was originally released on Lookout!) is testament to how perfectly this collection captures a feeling that many of us want to experience over and over. It’s also one of a million examples of the second track on an album always being awesome, with “Someday,” originally from their only LP, What’s This?, taking that spot here.

Nothington / Swingin’ Utters Split EP

A worthy song each from two SF Bay Area veterans. NOTHINGTON’s track is reminiscent of late ’80s big guitar alternative punk, where the roots might go down to STIFF LITTLE FINGERS but the aspect and melody hits more in the direction of Chad Price-era ALL. It’s a bittersweet, but sweet, catchy anthem track for the band to go out on. The SWINGIN’ UTTERS track was a surprise: drilling mid-tempo melody somewhere between the expected jangle of ’70s UK punk-pub originators, but cut with a more avant edge similar to a great EFFIGIES track, with lyrics dropping with clever missives. Lime green vinyl makes it a keeper.

The Bollweevils Essential CD

Chicago’s BOLLWEEVILS return with a new full-length after a fourteen-year absence, and they haven’t missed a step. A solid outing here. Admittedly, I’ve never been a huge fan of this band—aside from their split with 88 FINGERS LOUIE and their Weevilive album, I’ve been mostly ignorant to their catalog. After giving this one a few spins, it’s got me interested in giving their back catalog another listen. I believe that those already familiar with the band will be more than satisfied with this offering, and those who are new to the band, or like me, kind of ignored them in the past, will be pleasantly surprised by what they hear.

The Brokedowns Maximum Khaki LP

I relentlessly wished every nearby human who would listen a “Happy Kony 2013” (and 2014, 2015, and so on) every New Year’s Day for almost a whole decade and did not get tired of that incredibly stupid joke. I am therefore very happy to see “Kony 2022” as a track title on the new BROKEDOWNS album. This is a collection of fourteen straight-ahead punk music moments, most under ninety seconds each, with tongues shoved into cheeks and maybe other places. A prime example of what’s being presented here is the EXPLOITED sequel no one asked for, “UK82 Pt. 2: The Olds Are Not Alright.” If you’re slowly finding yourself past your physical peak at shows lately, “I’m Sore” is the new anthem the crowd that stands in the back now has been waiting for. It also serves as a rad showcase for the guitar section. If you find comfort in the awkwardly warm embrace of Midwest punk à la DILLINGER FOUR or the LAWRENCE ARMS with just a smidge of GOOD RIDDANCE thrown in, there are a few fun little ditties for you on this album. You also can’t be mad about the option to get in on the mature and business-like khaki-colored vinyl.

Tightwire Six Feet Deep CD

A QUEERS / ATARIS / FIENDS-type pop punk band from Minneapolis that are a couple years old and play done-to-death. That said, it is done well. Being a trio, it’s pretty straight forward musically, as the short songs are catchy, and the vocals are on key. For the pop punk elite only.

Tightwire Head Full of Snakes CD

There must be something in the beer out there in the Midwest, because I swear that region is consistently churning out some of the best pop punk. This has it all. Hooks, “whoa-oh”s, songs about drinking, cool guitar licks, melodies out the wazoo, a singer that has that kinda RAMONES yet kinda vaguely Dan Vapid-esque style while not being either of those things. This one is gonna be on repeat for a while. Solid album. I dig it.

V/A Red Scare Industries: 15 Years of Tears and Beers CD

I guess if I’d have stopped to figure it out/think about it, I would have realized that Red Scare is only fifteen years young. It seems like they’ve been around forever, but I guess it makes sense that they are the sound of the new millennium. Certainly, they have consistently proven to more than emulate, and indeed, to help define what the more melodic end of punk and hardcore actually sound like over the last decade and a half. If Epitaph and then Fat both gestated and represented that 90s sound, Red Scare have picked up that blazing torch, reassembled and reinvigorated it, and hurled it headlong into this century, and then some. To celebrate, there’s fifteen artists, from the current Red Scare roster, with one track apiece. It’s hard to pick out standouts when the whole damn pack itself is leading, but I’ll mention my two faves. BRENDAN KELLY AND THE WANDERING BIRDS add a suitably genius twist to a LILLINGTONS standout, managing in this incarnation to channel the best of CAPTAIN SENSIBLE and ATOM AND HIS PACKAGE in a wonderful electro-pop gem, while THE BOMBPOPS channel BLINK 182 at their pop punk perfect pinnacle. Then again, it’s not as if the likes of the COPYRIGHTS, ELWAY, GARRETT DALE and RAMONA are also-rans. fifteen years to date, not a misstep to be seen, and they’re still reaching for the stars. Long live the comrades at Red Scare.