Pennywise
About Time

Right after the unreachable Bad Religion, the throne of 90's Melodic HC undoubtedly belongs to the Californians Pennywise, produced and launched by none other than mama Epitaph. 

Light-years away from certain fooling around of NOFX memories, pop-punk chick chants like Billie Joe, and worn-out slogans distributed left and right, Pennywise stands out, from their convincing beginnings, as an alert and sincere band, strong of that intelligent and committed lyricism, on the tracks of the much-loved Bad Religion, that has accompanied them throughout their now decades-long career, in a genre starting to suffer from the first symptoms of commercialization/decline, thanks to the worldwide success and the positive feedback that mediocre bands like Offspring, and indeed, Green Day, are achieving. Returning to the comparison mentioned earlier - which will be necessary to repeat later -, we can confidently liken this third album, About Time (1995), to Greg’s masterpiece, No Control, a milestone with which the reviewed item in question has much in common, both from the musical standpoint, with short fast-paced and cutting compositions, supported by the typical pronounced flair for memorable and captivating melodies, and thematically, in the case of both albums, much closer than one might believe.  

Before dissecting such a work, it is important to remember a curious anecdote: before About Time was released, Jim & company, who in the meantime had begun to gain appreciation with their first good works, live shows, and appearances on Punk O Rama, received requests from various major labels for a contract, to replicate the successes of mid-90's Offspring and Green Day, requests and interviews systematically refused by our guys, who remained faithful to Epitaph, (which back then did not yet have absolute monopoly in the melodic sector along with Fat Wreck), an interesting factor that contributes to giving them a good reputation, and credibility, in a genre now flooded with bands for teenagers that focus more on image and radio airplay than passion in delivering certain music and concepts.

Away from the lukewarmness and mediocrity of post-90 works, here we find the Californian band in splendid form, with the late bassist Jason Thirsk (who after a long struggle with alcoholism, would die a year later, accidentally suicidal) providing a final (as always excellent) contribution to the cause, shaping a compelling and complete work like few others. [Jason will later be honored on the poignant "Bro Hymn" in the subsequent album, a standout track of the band to this day]. Consequently, a decent commercial success follows (the album will enter the prestigious Billboard chart) that, besides the indisputable musical quality, and the usual typical Pennywise melodic imprint, offers excellent songwriting, from nonconformity to the usual and composed social criticism, highlighting the desire to change the rules in a society now paralyzed, massified, and dogmatic, themes always finding more than fertile ground in the works of Bad Religion colleagues.

Tracks like the powerful and engaging "Peaceful Day", (the highest peak of the record), impress for the extraordinary energy they manage to release, adding to successful chant-alongs easily assimilable, but with the significant advantage of never descending into the banal, supported also by noteworthy lyrics shedding light on the flatness of contemporary society. Power and melody are even more present on "Waste Of Time", a decisive stance against religion, where Jason's excellent work and Fletcher's guitar emerge. Significant and determined, "Perfect People", with its vaguely fusion-flavored intro, erupts into a great energy concentrate, thanks to the drummer Byron's masterful support; here, the lyrics highlight how, in today's society, too much importance is given to outward appearance, and how perfect people, as such, find and easily obtain what they want, (I’m not obsessed with Bad Religion, but many of these pieces seem like they really came out of their ‘89). Still at high levels in the relentless "Every Single Day" (remarkable chorus), the beautiful midtempo "Searching", (here a particularly inspired Jim in the vocal lines), and the overwhelming, "Not Far Away", which then, along with "It's What You Do With It", is the episode where all 4 members give 110% (not that they do any less on the rest of the album, but the pleasant solos, the more-than-effective drumming-riffing combination, and a grace-still shining Lindberg, make sure their full potential shines on these occasions). Byron maintains very good levels also on "Freebase", where he covers what is perhaps the only episode where Jim takes too weak an approach on the microphone (an approach that in the 2000s will almost be by default), though compensated by good accompaniments and intense songwriting, zooming in on a trivial and superficial topic, yet thorny, like losing a loved one to addiction, (chilling, and damn prophetic, given the end reserved to poor Jason just a year later •  an end sadly known to all • •

• while the rest of the band was engaged in a tour, he got drunk at a party, undressed and accidentally shot himself in the stomach. • • Despite the ongoing legal battles, the band and the family have not managed to prevent the photo from spreading on the internet, where it is still visible on some sites.

On the super-fast "Try", "Killing Time", and "I Won't Have It",  the BR shadow becomes even more marked, and from their early furious works, the speed rises exponentially, Byron's rolls are always dynamic and precise, the wall of sound made by riffs is always impressive and sustains the vocals, here particularly fiery, of Jim. A single with a nice skate-oriented video and a nod to Black Flag, for "Same Old Story", the only point slightly below average.

32 minutes x 12 tracks, high level production and recording, for this great album that, after so many citations, can be elected as the worthy 90’s heir to Bad Religion's gem "No Control", fortunately with their lesson, they didn't just ignite the fuse for the rise of 1000 clones of questionable quality (Lagwagon, Millencolin, Rise Against & co, often produced by them), but they well influenced determined and well-talented youngsters, like in case of this Californian band in question, which with this album, brushing perfection, reaches the highest peak of their career.

Unmissable if you appreciate powerful and fast melodic hardcore, two very present traits on About Time, and in much of Pennywise's early productions.