The debate has raged on; can artists plying their trade on major label grounds be true to their anti-establishment, revolutionary causes? It has indeed been subjects greatly debated. From the days when Rage Against the Machine carried the flag for a disenfranchised generation (while handsomely pocketing large wads of cash) to when Bad Religion trumpeted off into the Atlantic seas with a head full of bright ideas (but with little to no means of urgency), the battle to maintain integrity while venturing off into these unknowns has been a sore subject amongst the many. And the argument presented by these artists for their decision lies with the idea that perhaps the only way to get the message out to the masses is to shake hands with the devil; an argument that does little to salvage the mediocrity that both descended into. And while Bad Religion have managed to resurrect themselves from burning out, Rage’s story of self destruction just goes to show that perhaps, words of revolution can only truly disseminate through the hearts and minds of the people, and not machines.
Much talk rose from Rise Against signing to DreamWorks. And there were no more ominous foretelling of the turbulent landscape they had landed in than when their label was swallowed by Geffen shortly after and their big coming out party was put on hold before it even started. Sure enough, once Siren Song of the Counter Culture saw release, critics descended upon it like vultures, just another easy target of the pitfalls of an indie-to-majors career path. Now months after the initial release, enough time has lapsed for some to casually forget about the pre-release discussion, and one can see that for making a push in the big time, Siren Song… is not exactly some lame, half-hearted attempt. It is for the most part, as blistering and potent as 2003’s Revolutions Per Minute; rumbling forth in a heavy barrage of up-tempo punk, monster riffs, and the kind of blistering melody Good Riddance made famous in the mid-to-late 90s. From the blasting ferocity of the opening track, “State of the Union,” to the consistent barrage of “The First Drop,” little seems to have been lost in their transition.
Lyrically, they’ve once again tapped into much of the instability of life. From the uncertain future we seem to find ourselves in (“Life Less Frightening”), the isolationist nature of heartbreak (“Anywhere But Here”), to the ills of modern society (“Tip the Scales”), there is still a great deal of lyrical potency that Tim McIllrath’s grating voice releases. The album, largely reflective, is a welcome change from the painfully indifferent tone set by the majority of bands hawking their crappy merchandise on the Warped Tour every year; not so much that the subjects matter discussed are all too different, but because McIllrath and company drill home their content with a kind of spirited emotional resonance unfelt by America’s unfettered youth.
The album’s single greatest moment comes with “Paper Wings,” a deft combination of melodic heartache and sonic destruction (and a pretty bitchin’ solo) reminiscent of the material found on A Comprehensive Guide to Moderne Rebellion. With its undeniable choral statement; “and I can’t tell if you’re laughing / between each smile there’s a tear in your eye / there’s a train leaving town in an hour / it’s not waiting for you, and neither am I,” the song rises high above the rest and is a handy reminder that punk influenced music with soaring harmonies need not sound so painfully untried.
Undoubtedly there are flaws, and like much of their kind, the genre can be restrictive on what someone can do within the confines that bind them. In “Swing Life Away,” they strip away all the charge for plaintive acoustics and the results sound rather lifeless; a hokey acoustic song that should have stayed on that awful Punk Goes Acoustic mess. In “Rumors of My Demise Are Greatly Exaggerated,” there is a great deal of melodic wavering (and some cheesy lyrics) but little forceful intensity, making the track nothing more than a muted closing. There really is so much they can do with the genre tools on hand. As we’ve seen with the host of spectacularly dreadful bands in the past few years, one really needs to do the basics well, and thankfully, this Chicago outfit does exceptionally so.
For Rise Against, their bold step into this territory could have easily spelled disaster. But while seeking fortunes in greater landscapes, they have not forgotten the fires from where they rose. The debate it seems will go on, but Siren Song for the Counter Culture is proof that at least during the initial stages, ascendancy into popular culture can go hand in hand with integrity. However, like their predecessors, translating early success into longevity is indeed the greater challenge; and now, there is very little room for error.
Like a Hurricane: An Interview with Year of the Fist
Year of the Fist are a much needed short in the arm of rock music. We chat to vocalist/guitarist Squeaky.
Oakland based rock n’ roll band Year of the Fist are the kind of the rock n’ roll band you can’t bring home to meet mom. Evoking the sounds made famous by labels like Sympathy for the Record Industry, Year of the Fist are “a hurricane of swirling rock n’ roll poundage”. Unrelenting and visceral, their music is the unforgiving wave in a sea of safe rock music; a sentiment best exemplified by their brand new full-length album, Revive Me. And like the title itself, Year of the Fist are a much-needed shot of energy; raw, no-frills, and urgent.
We caught up with guitarist and vocalist Squeaky, who, along with the band, have just returned from a short trek through California and Nevada to showcase their new album. We talk about the history of the band, their fantastic new record, Oakland, small-town shows, and rock n’ roll.
Congrats on the new record- reception has been positive to it (we loved it)- how do you all feel?
We are all very happy with the way the album turned out. The last year and a half working on felt like an eternity but it’s done and I am stoked.
How did the writing and recording for the record go? It sounds fantastic- did you self-produce or work with someone in the studio?
The album is self-produced and the recording was a multi-step and studio process. We were lucky to work in some amazing studios with some terrific engineers.
Do you have a favorite song from the new record? Or maybe one you all love playing live in particular?
I believe I can speak for everyone when I say “Ghosts” is one of our favorites off this album to play live. And speaking for myself, “Red Lights Flash” is another one I really like playing.
Revive Me is your third full length; what were some of the things you wanted to get done with this record- things maybe you learned from the two LPs prior?
It is actually of 2nd full length. In between the two, we released a 4 song EP. To be honest, I always have an idea in my head on how I am going to approach something and it never works that way. There is always a curveball, an emotion, a gut feeling that pulls you a different direction. So I am trying to get better at going into something with no direction to be honest ….. we’ll see how that works out.
You are based in Oakland- are you guys all from the area and how did Year of the Fist come together?
Our lead guitarist, Katie, is the only member from the Bay Area. I am from the East Coast. Our drummer, Hal, is from the Mid-West and our bassist, Serge, is from Russia. Hal & I met on tour in different bands, I believe sometime in 2006. He lived in Washington and I was in California. Hal eventually moved down to Oakland and we started YOTF in 2011. We anticipated it being a 2 piece band but after writing the first few songs we knew that wasn’t going to be the case. I knew Katie from playing shows throughout the Bay Area, so she jumped on board, then skip ahead 8 years, we found our bassist, Serge. We played with several bass players over the years but now I feel we have found our fit. Serge was one of us within minutes of meeting him.
Do you remember what your first experience with rock n’ roll was? Was it a show, something on the radio, a record, or a band?
I was raised in a rock n roll household so I don’t recall a 1st experience, my upbringing was the experience. As far as going to punk shows, I was living in Richmond, VA and I went to my first punk show at 12 or 13. I was immediately drawn to the energy. I was already playing guitar but after seeing a hundred punks packed into a tiny, sweaty club and feeding off the energy coming off the stage I knew I wanted to be the one on the stage.
What makes Oakland a good place for a rock n’ roll band? Is it the venues, the community?
Oakland has its ups and down with good punk venues to be honest. It seems we will have a ton of good rock venues for a few years and then it takes a nosedive for a few years. It’s tricky like that. Oakland is such a diverse city it keeps every band from being full of a bunch of white straight men. It’s a breath of fresh air.
And some of you pull double duty in multiple bands?
We sure do. Hal & I are in a 2 piece rock band called Cut-Rate Druggist while Katie has a solo project that goes by her name, Katie Cash, and a rock/funk band called Skip The Needle. Serge is the only smart one by not burning the candle at both ends.
You played a bunch of shows in July- across California and then to Nevada- what are some of the things you enjoy most about being able to play these songs live?
We just wrapped up that quick 4-day run and it was terrific. There is nothing like seeing people singing the words you wrote, seeing their body move to a particular part in a song that makes your body move the same way, to have someone tell you how much a song means to them. It is so therapeutic. It is the best shrink that I have ever had.
I used to live in Stockton; it was a tough place when I lived there. But it was always exciting to know bands stopped by (when they did)- how important it is to you guys to find new cities and towns to play in each tour?
Really? You lived in Stockton? What a small world!!
I really enjoy playing smaller cities/towns. The crowd isn’t as jaded as big cities. I don’t mean that as an insult, hell, I am probably one of those jaded people. Living in a big city you can see awesome local and touring bands any day of the week, it gets taken for granted. When you go to a smaller city that has 2, maybe 1 rock show a month, people appreciate that you drove 4-6 hours to get there.
What are the plans for Year of the Fist for the rest of the year and beyond?
We have some light US touring in the fall along with playing FEST in Gainesville, FL. And maybe getting some rest!
Year of the Fist’s new album Revive Me is available now via Heart On Records.
Pretty Vicious – Beauty of Youth
Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype
The perils of industry hype and stardom have been unforgiving for many young bands. The brutal nature of the rock n’ roll whirlwind is both an inescapable thrill, and the overdose that has claimed the scalp of many. Welsh rock band Pretty Vicious are no stranger to the often destructive nature of record label glory and lofty expectations. The band members were mere teens (15-17) when they signed their mega-deal with Virgin EMI in 2015. What followed was a roller coaster ride of failed recording sessions and the burden of unmet expectations that come with signing big-money deals at such a young age. But the remarkable truth is, Pretty Vicious seem to have come out of the industry slog having survived their initial foray into the fire with an album that is quite a remarkable achievement.
Initially touted as the “next Oasis”, Pretty Vicious have thankfully shunned that tag and done away with writing the next Definitely Maybe for something more visceral. Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype. If Beauty Of Youth is a record signaling Pretty Vicious’ convalescence after their initial break down, then please, feed this medicine to all the bands.
There is no Oasis, but rather the furious, feverish unpredictability of rock music that we had seen with early Biffy Clyro, early Idlewild, packed with the dangerous uncertainty that came with The Libertines. It’s immediate too; from the raucous riff-heavy opener “These Four Walls” to the vagabond “What Could’ve Been”, much of the album channels frenzied palettes of distortion and beautiful noise. “Force of Nature” is a little Josh Homme, while “Someone Just Like You” is what Dave Grohl sounds like when he’s trying, but the album’s best moment is perhaps the gorgeous, slow-burning “Playing With Guns”. A song that’s composed of great wistful melodies that slowly incinerate the ears with infectious songwriting that makes Beauty Of Youth sound massive while being personal at the same time.
You can’t go past songs like “Move”, with its buzzsaw guitars and wall of energy, without thinking of all the best rock bands we’ve heard over the past decade. It’s got it all- to a T- but its urgency and hectic nature make it feel all the better. “Something Worthwhile” has got the bright lights and big stages of Glastonbury written all over it. And while their 2015 stint at the festival saw them on the “Introducing…” stage, this song is headlining main stage material.
It is quite an achievement to be as accomplished as Pretty Vicious at such a young age. Even more remarkable that they’ve survived the industry machine to release such a damn good debut album. Beauty of Youth is a composed, compelling, high energy debut that answers the question, “what became of the likely lads?”. They went on to write one of, if not the best, rock records of 2019.