Get Dead – Bad News

A quick sampling of San Francisco’s Get Dead and there shouldn’t be any question that the roughneck quintet feel right at home on the Fat Wreck Chords roster.  The only shocker is how long it took for them to get picked up (the band has been kicking around for over five years).  That being said, their third full length, Bad News, is a great way to break into the spotlight.  The band’s signature acoustic style remains the driving force, but this time meshes with various plugged in elements.  While these elements existed independently in past albums, Bad News marks the band’s first hybridization of the two, and Get Dead nails it.

At its core, the band’s acoustic bias makes Bad News a lean listen that succeeds in its simplicity.  Get Dead exist somewhere between Sundowner and various Brendan Kelly side projects – a stripped down guitar remains the constant while vocalist Sam King’s whiskey laden throat croaks to the melody.  “This One’s For Johnny” is about as bare bones as they come, pummeling their strings without the percussion of neighbouring tracks.  “Take a look around, we’re all the same, problems and pain, we’re all the same” belts King with an echoing chorus of accompanying shouts and hollers.  The pleasing rasp of it all begs for a contemporary Swingin’ Utters reference minus the country twang. 

From here on out songs integrate all sorts of instrumental extras that distance Get Dead from other likeminded projects.  “Kerouac’s Teeth” comes lifted from their prior effort, this time envisioned with subtle production marks.  Plenty of overlapping vocals, possibly a faint mandolin, and the slight chime of bells leading into the sing-along chorus means the band’s authenticity cannot be denied.

Variety of tempo and vocal clarity help to distance tracks from one another and prevent the pitfall of repetitiveness characteristic of many chiefly acoustic albums.  The lyrically dark “Welcome To Hell” invigorates the senses with a lurching get-up-and-go rhythm and a mid-song Mexican horn cameo that would make this a candidate for Day Of The Dead festivals south of the border.  Meanwhile, “Burn Out” features a heartfelt acoustic solo typically absent from the punk scene, challenging their audience to acknowledge a more tender side.

With an overwhelming amount going for them, there are still a few minor footnotes in addition the clear praise.  For one, Get Dead’s lyrics mostly frame this as a lifestyle piece about the down and out, not unlike that of Morning Glory, but with less reflection and consequence.  Booze and poor life choices frame most songs; and while they are fairly conscious of cause and effect, they don’t take too many chances here either.  Speaking of chances, the band plays it somewhat instrumentally safe, even if they do have a good number of fairly original sparks – even a first listen will sound familiar.

Safeness aside, Get Dead’s Fat Wreck Chords debut is sure to catch the ear of fans of gruff acoustic punk.  With plenty of tuneful melody and a healthy dose of sing-along anthems, Bad News plays like a rowdy crowd pleaser even with the mellow focus.  Outside of solo projects, quality acoustic punk is a rarity these days, making getting to know Get Dead well worth your while.