Bad Religion
The Dissent of Man

The thing that most makes you appreciate any Bad Religion album is, paradoxically, the certainty of not listening to anything new. On the fifteenth studio episode of the now famous and monumental Californian band, in fact, the formula has remained unchanged, completely, irreparably. One should not appear skeptical or bored by such news. Yes, because in a decade in which the term "punk-rock" was never more overused to designate a scene now completely absorbed into the mainstream, names like Bad Religion, Social Distortion, Flipper, Nomeansno, Jello Biafra, Bob Mould, represent a tonic for the ears and mind of those who are not satisfied with what dozens of identical bands with insipid and absurd roots offer.

"The Dissent of Man," released three years after that good record "New Maps of Hell," flows with great naturalness for every listener who is an old fan of Greg Graffin and company, but the ease (and speed) with which one moves from one track to another is such that it cannot be ignored by newcomers. Brooks Wackerman's fast-paced and pressing drumming (recruited way back in 2002) blends excellently with the riffs of three violent and powerful guitars, respectively belonging to good old Brett Gurewitz (co-founder of the group and owner of Epitaph, the historic independent label that also brands this work), Greg Hetson (formerly of Circle Jerks), and Brian Baker (Minor Threat, Dag Nasty). Greg Graffin, on the other hand, has not lost the ability to create extraordinarily melodic vocal lines on a raw and distorted sonic carpet, while Jay Bentley contributes significantly with a bass with a fluid and constant sound. The result is fifteen songs in full B.R. tradition, with highly politicized lyrics, never predictable, that sound like a pleasant energetic mix, often melancholic and painful. It is surprising, and perhaps not so much, that the discomfort sung in tracks like 'The Resist Stance,' 'Pride and the Pallor,' and 'Wrong Way Kids' is the same that has characterized thirty-one years of career and social reality. A reality explicitly targeted, through shrewd metaphors with historical-scientific references characterizing Graffin's songwriting (damn influenced by his role as a university teacher), completely devoid of humor. Too serious and too involved, Bad Religion, to venture even a hint of irony in their personal but incredibly lucid view of American and international society.

As always, the tracks of the Los Angeles group become the ultimate representation of a perverse mechanism of commercialization of which, it is known, the music industry is an integral part. It is no coincidence that even the songs on "The Dissent of Man" do not last more than three and a half minutes; like every factory product, they implode on themselves through a cycle of "produce-consume-rot" so dear to the modern world. 'The Day the Earth Stalled' becomes emblematic of this process, rightfully constituting one of the band's best 'explosive' open-tracks, while tracks like the single 'Devil in the Stitches,' 'Won't Somebody,' and 'I Won't Say Anything' represent more relaxed episodes with more pronounced "pop" undertones. If not too valid, at least pleasant. A special mention should be made to 'Cyanide,' featuring special guest guitarist Mike Campbell (Tom Petty & The Heartbreakers!), who already authored the solo of the 2004 single 'Los Angeles Is Burning'.

"The Dissent of Man," given thirty-one years of references, will certainly not be listed among the group's best works, but I find it so reassuring that in a music scene dense with 'revival' persists the original work, almost entirely unchanged, of veterans like Bad Religion. These militant 'oldies' teach us what it really means to compose "hardcore punk," whether melodic or old-school: it's not just mere social criticism woven into four chords, but an ethic and humility that is simply human.