ALBUM REVIEW: Get Dead – Dancing With The Curse (Fat Wreck Chords)

Get Dead are a punk band from San Francisco, California, who have been around since 2007, and this is their fifth full-length album.

They started out combining raw punk and acoustic folk, but have gradually plugged in until this album is virtually all-electric – and to say it suits them is an understatement.

It’s their first album since 2016’s Honesty Lives Elsewhere, and their third for Fat Wreck, and it sees them blending many styles, often with the framework of the same song.

There’s lots of ska and punk, and they dabble in everything from hip-hop to hardcore, with the result an angry, engaging album, perfect for such troubled times.

Vocalist Sam King, guitarists Mike McGuire and Jeremy Korkki, bassist Tim Mehew, and drummer Scott Powell have plenty of melody, but also pack quite a hefty punch, thanks to King’s distinctive rasp – a voice which sounds like it could strip paint..

They remind me in places of bands like Against Me! and Leftover Crack, but they’re also distinctly different enough to make them worth your time.

Opening track Disruption, with its half-spoken intro, betrays King’s hip-hop roots, while Nickel Plated sees the band go full throttle, with a furious onslaught of a chorus.

Pepperspray, written long before the Black Lives Matter protests of summer 2020, is about standing up for yourself, while Fire Sale is frenzied ska-punk which should appeal to fans of bands like The Filaments.

Stickup slows things down a little, but by the time we hit the chorus King is bellowing: “This place is collapsing/Hordes of incontrollable bastards/They are coming for you!”

The mainly-acoustic Glitch is a bit of a throwback to their old sound, but Confrontation sees the band in full-on raging mode, King spewing: “Knock a swazi off a Nazi/Kill your TV, go kamikaze/Throw a rock, Start a riot/ Fight a cop, light a fire.”

Get Dead show they can do riff-laden rock with Hard Times before it settles into a reggae rhythm with a great prominent bassline while they try their hand at call-and-response vocals with impressive results on Green’s Girl.

If there’s a mode they keep reverting to it’s jaunty ska-punk, and the closing Take It is another good example. It’s a record with never a dull moment, however, as they switch genres with ease, and are good at them all. 7/10.

Gary Welford owner