You hear it all the time. That same phrase. ‘They don’t make music like that anymore.” Honestly, they do. Whatever it is, whatever you like, there is a band out there somewhere doing your thing, you just have to look for it. The Casualties are a hardcore punk band, and they have made a hardcore punk record. If that’s what you’re looking for you need to check out ‘Detonate’.
Take a look at the album cover. It depicts a white skull with a mohawk on a black background. It fits in with the finest punk tradition, bringing to mind imagery of bands like the Misfits and literally the band’s favoured clothing. Again, it is clear where this belongs and where you’d find it in a record shop. The music is presented in the style of bands like Biohazard or Agnostic Front and Sick Of It All – heck, it’s a new record from a band who have been releasing music since the early 90’s, it’s in the tradition of The Casualties. Not only are bands doing your thing, this band is literally still doing your thing. Importantly, they’re still doing it well.
Some people hate surprises. They will give you very specific instructions at their birthday. ‘Detonate’ is much like that; like a gift you’ve specifically requested. The songs are built around chord riffs that are raucous and punk. You know exactly what’s under the wrapper, but that’s okay, if it’s exactly what you want.
Back after eight years, the band has a mission. The record is very clear about what it is and what it’s doing. Guitarist Jake Kolatis puts it simply when he says: “We’re tired of this division” – that’s it. That’s the record’s raison d’être. It tries its absolute best to do just that.
Firstly, it uses music’s ability to bring people together. Secondly, it allows David Rodruigez to avoid the tired lyrics that can drag down this type of music. Put simply, if you’re playing generic hardcore, yelling a stock phrase does you no favours. There are already hundreds of other songs with that same sentiment, probably better ones too. Last year’s Biohazard album put an interesting twist on the idea of “F*ck The System” but that didn’t stop it feeling tired. This mostly sidesteps that pitfall and while it’s not going to win any literature prizes, it does have a theme and a solid approach that is damned effective.
While ‘Brick By Brick’ is actively political, the theme of togetherness unites songs like ‘Now and Then’ or ‘Few The True’, and is an active part of their choruses. It’s an undercurrent throughout the album, except comically, with the closing track ‘Wake Up, Kill, Repeat’, which doesn’t quite share this sentiment and arguably undermines the message.
That sense of community is enhanced by the carefully deployed ‘Woahs’ on songs like ‘The Empire Falls’ or ‘Now And Tomorrow’. Again, the trick – one that makes the record so strong – is not over-using it. By spacing out the ones that do, it keeps things feeling fresh.
Subtlety is not one of the band’s calling cards and the whole record has the same momentum as a cavalry charge. There is one reason for this – the drums. The entire record is powered by Marc Eggers’ rapid pounding, a sound that crackles with energy. Songs like ‘Ashes Of War’ or ‘Streets Of Hatred’ also feature turbulent breakdown sections which give him the chance to thrash around, stirring things up even more. Helpfully, the mix leans toward a bassy sound rather than a snappy one. The thub-thub-thub of toms and bass drums sits low, leaving space for the other instruments to cut through at higher frequencies, making it feel slightly dangerous. It’s a great choice.
Maintaining a straightforward hardcore punk sound requires working from quite a limited toolbox. There are only so many tricks they can use. Wisely, they deploy each element sparingly. This means that you get a neat bit of shredding on ‘The Empire Falls’, a long expressive yell on ‘Detonate’, and a huge pick scrape across ‘People Over Power’ – and yes, when written down, these might appear to be a little hackneyed. But combined with strong song structures, they add a little spark each song needs.
The song ‘Eye For An Eye’ makes great use of repetition. It’s a fist-pumping song that’s designed as a sing-along. Using the same statement again and again functions as a kind of hook, and it lasts for just long enough to make its point without getting tired. Each instrument drops in and out to add variety, which is a neat, understated songwriting trick. Similarly, on ‘The Empire Falls’ and ‘Ashes Of War’, they use a marching sound to reinforce the lyrics’ military themes, another neat trick.
All the songs linger around two-and-a-half minutes in length, with only ‘Few The True’ creeping past the three-minute barrier, and for good reason. It’s a song that shifts the tone somewhat, taking its foot off the gas for just long enough to feel different. Sitting eighth in the track listing at just over halfway, it breaks the flow without throwing a broom through the spokes – another wise choice.
Other than the songwriting, the album’s greatest strength is the production. Put simply, it sounds great. It’s a simple approach, gutsy and unobtrusive. The guitars bite, the rhythm section rumbles and the vocals sit neatly on top. You can practically taste David Rodruigez’s snarling, slightly snotty voice as he rips through the songs which is – quite something.
The Casualties know exactly what they’re doing. The only way to make a mark on a well-trodden path is to wear heavy boots. ‘Detonate’ is a consistently great hardcore punk record. As its name suggests, it goes off.
IAN KENWORTHY
Some bands need no introduction; somehow, Lion’s Share do. Hailing from Sundsvall, Sweden, guitarist Lars Chriss and keyboardist Kay Buckland formed the group in 1987 and, between 1995 and 2009, cranked out a smattering of respectable, high-octane heavy metal records before seemingly falling off a cliff. Lion’s Share were never condemned to obscurity,
