Mad Caddies – House On Fire

Long running California ska-punk band Mad Caddies has been a career-committed Fat Wreck Chords staple since the mid-90’s, with 2020 marking the band’s twenty-fifth anniversary.  It’s not exactly an optimal year to be involved in any sort of celebration, with live venues being shuttered and touring landing out of the question due to each subsequent wave of COVID-19.  But that hasn’t prevented the band from gracing fans with a new EP to mark the occasion.

Their latest effort, House On Fire, was mostly tackled during quarantine alongside Thom Flowers (Lagwagon, the Ataris), so the band tends to stick with its tried and tested formula.  This is echoed with the songs originally being written between 2014 through 2017 but never quite making it to fruition.  As a result, the songs span a fairly diverse sonic palette, feeling much like a sampler for the Mad Caddies diverse talents.

“Let It Go” is a strong opener, showcasing the band’s knack for laid back, smooth landing upstrokes.  While the track doesn’t capitalize on the brass, it does weave them into certain areas alongside an atmospheric uptick enhanced by the steel drums.  This is the most reggae influenced of the bunch, with follow-up “Waiting For The Real Thing” opting for a almost doo-wop feel.  The band’s “vintage” New Orleans inspired roots feel strongest over the EP’s first half, with “Strange Times” wrapping up the style with an alt-leaning brass heavy tune.  The track boasts the album’s most memorable and socially conscious line with the passage, “I’m looking at people I pass on the sidewalk / connected to something but walking alone / ten millions eyes staring down at a piece of glass / but there ain’t nobody home.”  It’s a sobering scenario for a society that craves connection, forcing listeners to take a moment to reflect and ask the question of how the line applies to them.

The tail end of the EP feels far more alt-rock informed and a little less characteristic of the Mad Caddies brand.  “Dogs of War” feels like a slow burning Head Automatica song, which is a bit of an odd and somewhat out of place throwback.  Chuck Robertson’s vocals get a little nasally during the chorus, channeling a sort of pop-punk falsetto.  It may turn off some fans, but it’s an interesting shake-up nonetheless.  “Wake My Baby” infuses a sense of acoustic alt-rock that on the one hand goes down easy, but on the other, arguably loses some steam during the chorus.  While it still maintains a tight feel, the track might have fit better mid-album as it doesn’t quite have the “punch” of an album closer.  These are minor gripes that serve as more of a statement as to the album’s origin than anything else.

House On Fire marks a brief but enjoyable celebration of twenty-five years with the Mad Caddies.  The band offers fans a diverse EP, and while the front end feels more intuitive than the latter half, it’s still wholly appreciable for filling the space between LPs as well as a welcome escape during the pandemic.  So while House On Fire won’t completely satisfy fans’ anticipation for Mad Caddies’ next full-length, it’s a welcome stepping stone along the way.