Samiam
Stowaway

In a liquid society like today's, where everything seems to become obsolete in the blink of an eye and technology pushes ever further, breaking down unimaginable barriers, twelve years represents a leap into the unknown, a significant gap to bridge. We live on rumors of previews; better a single every three months than an album every three years. Time management has become a decisive factor. The consumption of listening on streaming platforms is a significant reality to contend with.

The Samiam are a well-known name in the American punk rock scene, even though they never made large numbers among the bands that emerged from 924 Gilman Street in Berkeley. A venue frequented in the early Nineties by people like Jawbreaker, Operation Ivy, Green Day, and Offspring. Names with whom they shared the scene.

Noteworthy are the works from the second half of the Nineties, “You’re freaking me out” and “Astray” above all, where they effectively crystallized that special way of expressing themselves to the world. Moods that go far beyond simple melodic punk, creating a formula where the gentle side of punk marries the more visceral and emotional one. And it is this dual spirit, along with Jason Beebout's voice, that makes them recognizable from so many other copycat bands that you forget after just a few hours.

And “Stowaway” released by Pure Noise Records returns to us the usual and beloved Samiam, with their rhythms and their stories, but who finally, after many vicissitudes, managed to complete the work.

The explosive start “Lake speed” serves as a pleasant wake-up call, with its sprinter rhythms that don’t really surprise those familiar with their style. From “Crystalized” onwards, we return to more reassuring territories. If there is a track that exudes passion and sweat, it is “Lights out little Huster,” the imprints of Jason and crew remain distinctly recognizable even after almost thirty years. The DNA doesn't lie, 100% Samiam, the continuous flow of notes speeds up the heartbeat.

And the rides on the carousel and emotional up and downs continue relentlessly with a handful of excellent numbers, including “Shoulda Stayed” and “Monterey Canyon,” which deserve mention for their remarkable freshness, while “Something” turns out to be more canonical. The notes with a melancholy aftertaste of the title track are the final twist.

The melodic vein, including some enjoyable solos, has not diminished at all. The prayer is that another twelve years need not pass before we can listen to new music.