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- Greg of The Bouncing Souls by Katie Hovland
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Beach Rats – Rat Beat
Epitaph – Release Date: 7/29/22
In late July, the all-star cast of punk rock lifers known as Beach Rats released their debut album. The band formed over a mutual love of 80’s punk and hardcore, and to simply have fun while creating music that evokes the spirit of that era. Not only did Beach Rats achieve that goal on Rat Beat, they also succeeded in carving out their own distinctive sound. Opener “Bikes Out” crashes through the speakers at a breakneck pace and the signature vocals of Ari Katz, (Lifetime) are front and center in the mix. Bassist Bryan Kienlen, (Bouncing Souls) also provides several prominent bass leads, which really assist in bringing everything together on this short and direct entry. “Heavy Conversation” features a unique, descending guitar lead in its intro, quickly followed by chords that transition furiously in the verse. The song brims with energy and would likely induce numerous fists in the air at a live show. It also enjoys somewhat of a loose feeling during the breakdown, illustrating that Beach Rats are fittingly more focused on mood than they are perfection.
The title track contains a vocal melody and accompanying chord progression that overlap perfectly, as well as a surplus of frantic guitar solos, courtesy of Brian Baker, (Bad Religion, Minor Threat) and Pete Steinkopf, (Bouncing Souls). The song quiets for a few seconds near the end, seemingly fooling the listener before the band charges back at full volume one last time. Conversely, “Blown to Bits” is more of a mellow track that mixes major and minor chords. It has lots of alternating rhythms that transition unexpectedly, and some underlying hardcore beats, all of which showcase the abilities of drummer Danny Windas.
Rat Beat was primarily written and rehearsed in Baker’s basement, and then recorded by Eric Bennett at Lakehouse Studios in just one day. It’s this sort of approach, both instinctive and not overthought, that really defines the character of these songs. There’s also an abundance of youthful drive and an undeniable sense of honesty on this record. It’s traits like this that allow Beach Rats to not only live up to the hype, but ultimately surpass expectations.
Fake Names – Self-titled
Epitaph – Release Date: 5/08/20
Last month, Fake Names released their debut full-length via Epitaph. The band’s lineup features Dennis Lyxzén, (Refused, International Noise Conspiracy) Brian Baker, (Bad Religion, Minor Threat) Johnny Temple, (Girls Against Boys) and Michael Hampton, (S.O.A.). While many will be quick to label them a supergroup, what’s different about Fake Names is that its members share a natural chemistry and their songwriting doesn’t seem forced. One of the first entries that stands out is “Being Them,” as it combines old school punk with contemporary influences. It also features a sprawling chorus and lyrics that champion free thought and oppose conforming to society’s standards. “Brick” begins with a fiery riff and an aggressive verse before a hyper-melodic chorus emerges unexpectedly. Its lyrics are rather timely in that they talk of revolution, (“You will fall like never before / Statues crumble, backs against the wall / You will pay for what you’ve done / Gonna destroy what you’ve become”). Despite clocking in at under two minutes, it’s easily one of the album’s most memorable songs.
“First Everlasting” spotlights the range and command of Lyxzén’s voice and includes a sing-a-long chorus that’s reinforced with multiple backing vocals. “This Is Nothing” embraces more of a post-punk style, with a plodding verse and a distorted bass lead. Its words provide a critique of consumerism and denounce the shallow aspects of today’s culture. The record ends on “Lost Cause,” an overtly catchy song with a driving beat and prominent melodic guitar leads. It concludes the album on a fitting note, with a positive message of not giving up and holding true to one’s beliefs.
Without question, this is a concise and solid debut. Its overall theme of questioning longstanding institutions and societal norms is extremely appropriate right now. Here’s to hoping there’s more to come from Fake Names and that this record is not just a one-off experiment.
Bad Religion @ Metro, 6/22 & 6/23/15
Photos by Katie Hovland
V/A – The Songs of Tony Sly: A Tribute
Fat Wreck Chords – Release Date: 10/29/13
Last year, No Use For A Name singer/guitarist Tony Sly passed away unexpectedly at the age of 41. No Use’s longtime label, Fat Wreck Chords, has responded by releasing this 26-track compilation, with proceeds benefitting Sly’s wife and two daughters. The resulting album features some of the biggest names in punk, with bands covering both NUFAN songs and music from Sly’s solo career. By all accounts, Sly was a truly gifted songwriter and this record does a phenomenal job of not only showcasing his talents, but also celebrating his life. Karina Denike, former Dance Hall Crashers singer, opens the album with a haunting, almost a cappella rendition of “Biggest Lie” that emphasizes Sly’s powerful lyrics. Strung Out provides a fast-paced, metallic version of No Use’s biggest hit, “Soulmate,” and it’s simply one of the best entries on the record. Conversely, Rise Against offers a stripped-down, acoustic take of “For Fiona,” which strikes an emotional chord when singer Tim McIlrath concludes the song by echoing Sly’s words of “I’m always here.” Bad Religion, NOFX and Lagwagon all contribute strong and sturdy covers, with the latter sounding particularly spirited. Snuff adds a reggae-tinged song, while Old Man Markley supplies some bluegrass influence, illustrating that Sly’s songwriting transcends genres. Frank Turner and The Gaslight Anthem also present quality interpretations, as do The Bouncing Souls, Teenage Bottlerocket and many additional artists on this compilation. In short, the album very much succeeds in honoring Sly’s memory. He was respected by an array of musicians and will always be remembered for being an especially talented lyricist. If you ever enjoyed any of Sly’s work, there’s no doubt that you’ll enjoy this as well. Lastly, check out Alkaline Trio’s unique and chilling cover of “Straight from the Jacket” below.
[audio:http://www.jadedinchicago.com/wp-content/uploads/2013/11/15-Straight-From-the-Jacket.mp3|titles=”Straight From the Jacket”]
Bad Religion Interview, 2003
Bad Religion is one of punk rock’s longest-running and most revered acts. Over the years, they’ve sold millions of albums and influenced countless bands. By combining political and intelligent lyrics with three-part vocal harmonies, they created a signature sound that’s one of the most recognizable in all of punk. Several months ago, Bad Religion came through Chicago for a show at The Vic and we talked with bassist Jay Bentley. We conversed about the band’s latest album, The Process of Belief, their return to Epitaph and much more.
Continue Reading…Bad Religion – The Dissent of Man
Epitaph – Release Date: 9/28/10
Not only did Bad Religion turn 30 this year, they also released their 15th studio album, entitled The Dissent of Man. Easily their best effort since The Process of Belief, this record blends varying genres, bristles with pointed lyrics and radiates a glossy production job. The band wastes little time getting warmed up, as the second track, “Only Rain”, showcases virtually all of their finest attributes. It opens with an intricate guitar lead, flaunts intelligent words, delivers powerhouse drumming and of course incorporates three-part vocal harmonies. The song sounds like classic Bad Religion, but still manages to seem inspired after all these years. Track three, “The Resist Stance”, retains somewhat of a ‘90s alternative vibe and sounds as though it could have plausibly been included on Stranger than Fiction. It’s built around a hypnotic and memorable guitar solo that translates even better in concert. “The Devil in Stitches” is the first single and by far the band’s catchiest song since “Los Angeles is Burning”. Its driving rhythm and sunny chorus are custom-built for commercial rock radio and why it wasn’t a huge smash is plainly unexplainable. “Pride and the Pallor”, “Wrong Way Kids” and “Someone to Believe” are additional melodic entries that are worthy of praise. The residual songs favor more classic rock and folk-like influences, and aren’t as striking as the abovementioned tunes. The Dissent of Man isn’t going to convert many new Bad Religion fans, but it’s significantly better than their last two albums. Those who’ve ever enjoyed the band in the past owe it to themselves to give this a spin.
Riot Fest, 2010
All photos by Katie Hovland. Click on a photo to enlarge.
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