Good Riddance
Operation Phoenix
[Fat Wreck Chords]
Rating: 6.8
Not one to invest too much in astrological thought, I am nonetheless
proud of my particular zodiac designation: Libra. The equalized
scales represent what I perceive to be a fundamental truth in life: the
need for balance. It is with this mindset that I have been able to
powerfully embrace the work of Good Riddance. For the past six years,
they have consistently struck an effective balance between melodic
songwriting on the one hand and raw hardcore intensity on the other, a
talent I feel was most fully realized with last year's Ballads From
the Revolution. Alas, with Operation Phoenix the scale has
tipped in favor of the latter, a change which dampens the overall effect
while still providing potent results.
Throughout their career, Good Riddance have attempted to separate themselves
from their predestined fate. When they first appeared on Fat Wreck,
they were immediately aligned with post- pubescent geared pop- punk bands
with a penchant for scatological humor-- that brand of rockers who, for
good reason, are rarely taken seriously. Good Riddance have much in common
with label- mates, Propagandhi, in their attempts to rise above the sludge
of vacuous thought demonstrated by so many of their contemporaries, but
whereas Propagandhi has accomplished this through more militant means, Good
Riddance's method seems to be incorporating hardcore influences into their
music.
A close relationship with the likes of Sick of It All, Ensign, and
Ignite have paved the way for Operation Phoenix. One of the most
observable differences in this album compared to the band's back catalog
is the significantly darker perspective offered by the lyrics. This
strain was always apparent in previous work, but in the past these
ruminations were balanced by other viewpoints (nostalgic, bittersweet, even
downright uplifting). Gaze upon the harrowing, partially- decomposed visage
portrayed on the album's back cover and consider some song titles: "Shadows
of Defeat," "Heresy, Hypocrisy, and Revenge," "Shit- Talking Capitalists,"
and "Yesterday Died, Tomorrow Won't Be Born."
The accompanying music is equally crushing. Russ Rankins pushes his vocal
muscles to the maximum for nearly the entire album; his high- range, take-
no- prisoners attack is reminiscent of By the Grace of God's Rob Pennington.
Many of the musical intricacies which occasionally peppered previous works
have been shelved for the sake of a straight- forward, visceral assault.
The attack is often impressive, but ultimately leaves one feeling exhausted.
Music is a reflection of the times, and as such, shouldn't be condemned
on the basis of a recurring emotion or feeling-– a casual consideration
of world happenings provides insight into why the band is angered and
lashing out. However, as suggested in "Blueliner," music is therapy,
and through it, inner turmoil and conflict can be resolved. Hopefully,
Good Riddance will find salvation in their music so that their next
offering might provide the all- embracing sense of balance we've learned
to expect from them.
-Kevin Ruggeri