The Bombpops – Death in Venice Beach

The Bombpops have been gaining some serious momentum since signing with Fat Wreck Chords only a few short years ago.  Their infectious brand of bubbly but hardened pop-punk is an easy fit for anyone that enjoys female fronted punk rock with a healthy dose of attitude.  Their second full length through the label, Death in Venice Beach, presents twelve fresh and catchy takes of chorus heavy punk that is unapologetically singable while still feeling decidedly on point for those that typically enjoy something a little rougher around the edges.

The album starts on a somewhat dark note, rattling off a list of deceased celebrities in “Dearly Departed” amidst a backdrop that is equal parts fast and melodic.  As far as an opener goes, the track sets a tone that can’t easily be dismissed, and quickly and unapologetically lodges itself to memory. “Zero Remorse” follows soon in a grand fashion, aggressive enough to reference The Distillers yet poppy enough to point to The Dollyrots for likeness.  The distinction between Death in Venice Beach and prior efforts rests in songs like “Blood Pact” and “In The Doghouse,” which capitalize on the infusion of greater levels of rock over pop while still maintaining that undeniable catchiness, not unlike Tsunami Bomb of yesteryear.  

For those that lend a close ear beneath the allure of a catchy melody, there is a lyrical foundation of intelligent songwriting that marries complex ideas and experience with the right level of entertainment.  For instance, “Double Arrows Down,” is a personal exposition shedding light on Poli van Dam’s struggle with type 1 diabetes, grappling with the implications of her lifelong lifestyle. There are some undeniably powerful lines like, “In another cold pharmacy chair / Standing by / While they suck my veins and wallet dry I can write all these defiant songs / But my life is still reliant on machines / And all I do is bleed.”  Dark humour also plays a key role in finding a balance, with songs like “House on Fire” rounding out the album in a description of Fat Wreck Chords roster-filled house parties with cleverly name drops featuring Yotam and Fat Mike. Generally the album’s darkest tracks reside within the first half or so, making way for sunnier days upon the album’s final run. As echoed in the press release, this is reflective of van Dam’s path to recovery and rehab during the initial writing of this album, with “13 Stories Down” marking the low point of hitting rock bottom.

Despite the heavy content running though and context surrounding Death in Venice Beach, The Bombpops maintain their knack for writing energizing and uplifting melodies that straddle the line between punk rock and pop punk with little falter.  These are singable, toe tapping tunes with infectious chorus lines and instantly alluring hooks. Yet, it’s the depth and promise of something more – hope, humour, and just keeping one’s wits – that defines Death in Venice Beach from past efforts, and sets The Bombpops up for a meaningful career that fans can look forward to with each new release.