Beat Alley

Punk rock has had an undeniable influence on the genre that spawned it. I believe its influence infiltrates most of popular rock today; from the radio friendly bubble–gum pop to the more underground independent alternative, the steady and solid backbeat still holds true and the angst driven lyrical protest is ever present. To play an authentic, spiked-collar-dyed-pink-mohawk punk rock song, you need a few chords, a fast drummer, a singer that doesn’t necessarily need to know how to sing, a creative bass player that can keep time with the drums, about two minutes, and enough attitude to make milk spoil. It is this core that is a catalyst to an eventual transformation that becomes the interwoven intricate influence that has permeated pop culture over the past few decades.

There is a common fiber running through the above described style and the folk rock of the ‘60’s and ‘70’s Both have frequently been utilized as a platform for social and political protest. On a much simpler level, they serve as catchy tunes that ignite a listener’s passion and provoke an emotional response. Additionally, both were generated by social outcasts living in the streets with nothing more than the company of friends and the prospect of some beers or some change from a passerby. It is this poignant genesis that holds a deep significance for many people.

Many bands, or the individuals involved, have morphed into something more than a punk rock band or a folk singer. Some may see this as selling out; I see it as maturing or moving forward. I love the gritty griminess of a raunchy, puke crusted punk catharsis, I also love the dirty, tangle haired hippie telling everybody to stop (Hey! What’s that sound?) and urging everybody to look at what’s going down. This being said, I equally love to hear a musician evolve from grime to genius. In many cases, a band will stick to their origins, but the individuals mature and incorporate learned influences in their tangent projects and imminent growth is reflected.

Chris Barker and Chris Head from Anti-Flag have teamed up with Roger Harvey from Dandelion Snow and Tyler Kweder from American Armada to form White Wives, a form of alt-punk folk rock fusion, exemplifying the afore described similarities. Their debut album Happeners was released June 28th.

The coy and authentic declarations instantly disarm the listener, and produce intriguing notions: "I found my true love in the sky above back roads / and we will follow her down in my head, the unknown / the music comes into our mind and helps up grow / the things we substitute to let our sorrow go / I'll always listen to the ones I love the most / our wires crossed, their absolutes turn into smoke." (Let It Go). These lyrical sensibilities drag nostalgic memories forth that might not even be your own. You are left feeling a pit-of-the-belly warmth that is only present when you recall a particular pleasant reminiscence. "I wanna sing for you / the way you sang to me / on milk crates in our garage / when I was only fifteen...it meant everything." (Hallelujah, I'm Mourning).

They create a full sound that leaves no corner of the musical spectrum obscured. Starting with a skeleton of punching percussion and drifting string picking, momentum builds and the bass driven musculature is held taught with the consistent drums and persistent guitar, finally the thoughtful lyric and stylish jam is added to flesh out the bit to form a living, corporeal arrangement. By the time they reach second verses, these songs are fully developed and active, yet there is still a surprise bridge segment that delivers you to another plane. The songs are immaculate and well thought out, from the catchy and fantastic bass flip dripping into the chorus of Hungry Ghosts to the guitar distortion on Let It Go that sounds as if the instrument is being played underwater.

I think the overall message of this album is that times are forbidding, but we have our lives and our good times to persevere. It is a snapshot of what it is like to be alive in this era. This is a fantastic album, for those who enjoy a little aggressive scratching dissonance and those that like a floating acoustic groove, this is a mixture of all of that and more. It is a stunning concoction that will remain with the listener after the final feedback squeal has faded at the end.