Brokencyde, 'I'm Not a Fan But the Kids Like It': Another Take
4 Aug 2009, 03:37 by Lev_Bronstein
'Please Please Me', 'Led Zeppelin I', 'Black Sabbath', 'Kill 'em All'; revolutionary debut albums that took the rule book and set it ablaze. Well, it's 2009 and we're lucky enough to have a band who took one look at the harsh confines of not just rock music, the direction in which it was heading and said, 'rules, nuts to the rules'. These trailblazers, these mavericks are none other than Brokencyde, a group of young men bursting with talent and integrity. These guys don't care about fashion; they have an unconventional style, wearing their jeans super-tight of all things and rocking epic across the face fringes. An image of their own design, this could be bigger than 'Beatlemania'.
Lyrically, it is clear that Brokencyde are admirers of Bob Dylan and Neil Young at their most incendiary as they tackle such issues as the failing state education system in the US (Yellow Bus), Cartesian dualism (PlaySchitzo) and the nature of addiction (Get Crunk, Tipsy). Brokencyde never rely on outmoded cliches or use meaningless platitudes, instead crafting stories that provide real insight into the human condition. It is testament to the maturity and talent of Brokencyde that they managed to produce such a cerebral debut album; it took Radiohead three albums to reach a comparable level as 'I'm Not a Fan But the Kids Like It' and then this is being generous to Radiohead. Compared to this, 'OK Computer' sounds like a chorus of howler monkeys smashing up banjos to whale song. Bad.
'I'm Not a Fan But the Kids Like It' could be considered a concept album as each track fits into a larger narrative that acts as a damning indictment of capitalism. The title itself refers to the inevitable intergenerational transference of intellectual hegemony; a proclamation of a new order if you will. They are obviously fans of Queensryche's 'Operation Mindcrime' and Rush's 'Hemispheres', the influence of the latter is particularly clear as Brokencyde sketch out a modern portrait of the struggle between the Apollonian and Dionysian. The literary genius of Nietzsche's 'The Birth of Tragedy' has been woven through the tracks to exceptional effect. Just listen to 'Booty Call' and '40 Oz.'. Haunting, yet life-affirming stuff; this is the 'Schindler's List' of electro-tinged screamo rock.
Musically, Brokencyde have myriad influences but never sound like they are aping their heroes. The epic final track 'I'm Sorry' is as emotive as anything Pink Floyd produced whereas 'Freaxx' could quite possibly be this generation's 'Smells Like Teen Spirit'. A firebrand combination of memorable hooks that showcase the lyrical content that muses upon the way in which women can be objectified as a result of the breakdown of the family unit. There is a noticeable appreciation of be-bop and free-jazz in particular the work of icons Charlie Parker, John Coltrane and Miles Davis. Their musical vision is congruent with that of Brokencyde; unwilling and unable to conform they have carved their musical niche from granite to create something spectacular and timeless. Icon is but four letters and Brokencyde are but four men. Coincidence? I think not.
After just over an hour, the album wraps up. Will they be able to match this with their next album? I think so. Let's just hope that Se7en, Mikl, Phat J and Antz do not experience the same mental anguish as Kurt Cobain and Brian Wilson and are able to return with their magnum opus. We have witnessed the genesis of something very special, something very special indeed.
(The 'Bizarro World special edition digipack' was used for this review, which has 3 bonus tracks (LOLed, Major Pwnage and Suxx it Dry) and is packaged with a series of poems written by Phat J as well as video highlights from Se7en and Antz's electrifying commencement speech at Harvard in 2008.)