The Black Pacific
The Black Pacific

All stories, even the most enduring, the most successful, and the richest in achievements, inevitably come to an end. In 2009, after over twenty years with the legendary Pennywise, Jim Lindberg left the band he helped propel to worldwide fame. He left, with a bitter taste and slamming the door, after multiple clashes with his companions from countless adventures, especially with the volcanic guitarist Fletcher Dragge. After nine studio albums, after selling four million records, after winning the hearts of generations who take on life on a skateboard, a snowboard, or even a BMX. Yes, sir, try engaging in these activities while listening to “Fuck Authority” or “God Save The USA” in your headphones. If you’ve never done it, know that you’ve missed a pure adrenaline injection that only the lethal hardcore punk-action sports combo can offer…

At forty-four, with a beautiful family and a consistent career behind him, the Punk Rock Dad seemed destined for a long period of rest, if not a comfortable retirement.

But those who truly know Jim Lindberg, especially his hunger for music and his desire to challenge himself, couldn’t have been surprised by the birth of the Black Pacific, his second musical life. Just enough time to recruit the first members, and by the summer of 2010, the self-titled debut of the new entity was already complete. And what an album, folks! Talking about “The Black Pacific” is like discussing the liberating scream of a man whose creativity had been truly suppressed in recent times within Pennywise. The ten songs on the CD, all written by Jim, are a clear demonstration of how the charismatic frontman is also and importantly an excellent songwriter, capable of creating a breathtaking sound, of finding simple yet brilliant solutions, of not being tied to repetitive and tested patterns (an accusation often made against his old band), of producing music full of style and personality without sounding redundant or too attached to genre-imposed standards. Certainly, there is ample room for improvement, and not all the songs are memorable hits, but the premises are excellent, and above all, JL is not easily satisfied…

The first track, “THE SYSTEM”, delivers a punch with no escape, energy and simplicity are put at the service of Jim's now legendary voice, resulting in a truly convincing piece, destined to be remembered for a long time! Power is also the strong point of the second track, “WHEN IT’S OVER”, where, however, the melodic component is overshadowed by a structure that is, in this case, overly simplistic, focused on a hammering rhythm that doesn't elevate the track beyond just being a good couple of minutes to get moving and slam to. The third song, however, is nothing short of a melodic hardcore masterpiece, with an irresistible chorus, a truly inspired solo, an incisive vocal line… in short, the punk rock anthem that all bands wish they had written: we're talking about “LIVING WITH GHOSTS”, the high point of the entire album and—without fear of exaggeration—one of the best punk songs written in the past ten years. Driving, overwhelming, you'll listen to it until you're sick of it!

Excellent, and really adrenaline-pumping, are “TIME IS NOT THE REASON” and “ALMOST RISING”, which, if listened to at the right volume, do nothing less than astound, relying, as mentioned, on a truly robust, granite-like sound: demonstrating that even punk can be well-produced and that a good sound further amplifies a song's strengths:
"KILL YOUR IDOLS" settles on more subdued tones, typically rock, and Jim's voice further highlights its softer instincts. The track is not to be dismissed, but it clearly represents a slowdown compared to the destructive force of the previous ones.
But no worries: "RUINATOR" and "DEFAMER" are built on heavy and fast riffs and solid eighth-note rhythms, not allowing the listener to relax for even a second; "PUT DOWN YOUR WEAPONS" maintains this tension and even pushes it to the highest levels thanks to the best vocal performance of the entire album, combining melody and explosiveness. The track, presenting some pop accents, wouldn’t look out of place alongside the masters Undertones and Ramones.

It closes with "NO PURPOSE", a decidedly experimental track, with dreamy backing vocals and an overall enigmatic atmosphere, still rooted in the classic punk framework. The song doesn't genuinely deliver a dazzling punch, but Jim has clearly shown that this album—and probably all future productions of the Black Pacific—is not sticking to the usual clichés of “three chords for two minutes” which still today represents the most reliable formula for the majority of punk bands.

Ultimately, “The Black Pacific” is indeed on one hand a typical skate punk/melodic hardcore album, where many elements common to the genre's giants can be found (Pennywise, certainly, but also Black Flag, Descendents, and the “usual” Bad Religion); on the other hand, it highlights new and much less predictable influences (the overwhelmingly heavy and compact sound is undoubtedly due to Jim's love for Pantera) and a certain desire to experiment with different approaches (the typically rock cut of certain tracks).

However you want to see it, a big round of applause goes to Jim Lindberg, an artist never satisfied, a symbol for thousands of fans, and a person who can translate all his charisma and inimitable style into music. If you see him sing, play guitar, or mention in a recent interview that he cracked two ribs skating, you then understand why he has produced—and continues to produce—great punk for over twenty years.
KEEP UP LIKE THIS, PUNK ROCK DAD!!!