A Thunderous Punk Blast Raging throughout All of Life's Good and Bad:
Like A Motorcycle's Dead Broke
Review by Dusk Arts
In a review I did not too long ago, I spoke of a kind of art critique faux pas: referencing an artist’s name or the name of their work in the substance of the critique itself. I thought it was petty to go for such low-hanging fruit. Even then, I realized that there are exceptions to every rule, and Like A Motorcycle is teaching me that that rule may have to be changed altogether. Oftentimes, a band will name itself something meaningful—whether it communicates their sound, their other aesthetics, or their message. Being a band in the punk milieu, it would seem that the name Like A Motorcycle conveys exactly what it says, and let me assure you: Like A Motorcycle sounds more like a motorcycle than ever!
Even supposing they did choose the name just because “it sounded cool,” sometimes, that fits just as well. Does their music sound cool? (Dead Broke is definitely very cool at the least.) Perfect. It fits. Either way, such directness and immediacy in presentation is all too fitting for a punk band, and Dead Broke is a whirlwind of urgency that’s gone almost as quick as it comes. Such tasteful concision only makes me want to spin (with) it again.
True to their name, Like A Motorcycle charges on with a powerful, driving sound. They make sure you can hear the distorted roar of their pumping bass guitar and the clear crashes in every cymbal. In particular, the way the bass is pushed up in the mix to support the explosive drums and cymbals creates an impressively massive, booming, thunderous effect. Call me a storm chaser.
This isn’t to say that their bass-heavy sound is necessarily all downtuned. The rhythm guitars scaffold each song with jolting electricity as the vocals—whether clean or unclean—soar through the clouds above it all. There’s a huge crunch to them, both the rhythm guitars and the less clean vocals, and they’re played off of by a wetly yet equally distorted lead like a finger's swipe on a rain-slicked windowpane.
In a review I did not too long ago, I spoke of a kind of art critique faux pas: referencing an artist’s name or the name of their work in the substance of the critique itself. I thought it was petty to go for such low-hanging fruit. Even then, I realized that there are exceptions to every rule, and Like A Motorcycle is teaching me that that rule may have to be changed altogether. Oftentimes, a band will name itself something meaningful—whether it communicates their sound, their other aesthetics, or their message. Being a band in the punk milieu, it would seem that the name Like A Motorcycle conveys exactly what it says, and let me assure you: Like A Motorcycle sounds more like a motorcycle than ever!
Even supposing they did choose the name just because “it sounded cool,” sometimes, that fits just as well. Does their music sound cool? (Dead Broke is definitely very cool at the least.) Perfect. It fits. Either way, such directness and immediacy in presentation is all too fitting for a punk band, and Dead Broke is a whirlwind of urgency that’s gone almost as quick as it comes. Such tasteful concision only makes me want to spin (with) it again.
True to their name, Like A Motorcycle charges on with a powerful, driving sound. They make sure you can hear the distorted roar of their pumping bass guitar and the clear crashes in every cymbal. In particular, the way the bass is pushed up in the mix to support the explosive drums and cymbals creates an impressively massive, booming, thunderous effect. Call me a storm chaser.
This isn’t to say that their bass-heavy sound is necessarily all downtuned. The rhythm guitars scaffold each song with jolting electricity as the vocals—whether clean or unclean—soar through the clouds above it all. There’s a huge crunch to them, both the rhythm guitars and the less clean vocals, and they’re played off of by a wetly yet equally distorted lead like a finger's swipe on a rain-slicked windowpane.
Like A Motorcycle is often described as a punk band, but their sound goes well beyond that; it’s modern punk that takes much from the guitar tones and dissonance of 90s alternative rock and even grunge, yet there are still occasional subtle notes of surfy garage rock in the drums and the backup vocals. They’ve always been a band that effortlessly balances the tough and serious with fun, and Dead Broke continues both the maturation of the band and the refinement of their sound—a trajectory begun on their first full-length album High Hopes.
On their latest album, however, Dead Broke has many tricks up its sleeve: just two are the globular, sliding guitar leads on songs like “Satan Does the Numbers” and “Swept Out,” and the vocals sung and screamed by all band members—not to mention layered multi-voice vocals (sometimes stacking clean on unclean) on many of the tracks. There’s even a hint of keyboard to add a clearer dimension on songs such as “Swept Out” and “Paranoid.” On the compositional front, “Back Burner” proves their creativity by subverting an initially upbeat chord progression during its chorus. “Paranoid” illustrates its eponymous subject with spurts of dissonance and screaming. The alt-rock influence shines on many tracks such as these.
On their latest album, however, Dead Broke has many tricks up its sleeve: just two are the globular, sliding guitar leads on songs like “Satan Does the Numbers” and “Swept Out,” and the vocals sung and screamed by all band members—not to mention layered multi-voice vocals (sometimes stacking clean on unclean) on many of the tracks. There’s even a hint of keyboard to add a clearer dimension on songs such as “Swept Out” and “Paranoid.” On the compositional front, “Back Burner” proves their creativity by subverting an initially upbeat chord progression during its chorus. “Paranoid” illustrates its eponymous subject with spurts of dissonance and screaming. The alt-rock influence shines on many tracks such as these.
Opening song “Punk Two” references the album’s title in its lyrics and accordingly laments the anxiety-inducing problem of simply not having enough money to live (in effect, being "dead broke"). Appropriately, it’s followed by “Work,” which again succeeds in using the paradox of addressing the current economic situation (dead-end jobs being a primary one) of so many of their listeners while being a timeless refrain that has echoed throughout the history of capitalism. You have the "freedom" of two choices: work or die.
“Wide Awake” closes the album on a similar note, expressing hopelessness about the state of the world. Thematically, it’s a fitting companion piece to the opening track as it brings us full circle in our existential struggle—both physical and philosophical—to survive in this harsh world, and perhaps worse, try to make sense of it. I can only wonder if the lyrics are a pun on being “woke” during a time of much social unrest where nothing good seems to come despite all of our efforts. Global warming, economic hardship, racial injustice—too much to list. I hear the last words of Eric Garner and George Floyd in the lyric “I’m unable to breathe,” but the song continues from an incredulous survivor’s point of view: “hard to believe / I made it this far.” If not even by hope, we are kept living, kept fighting, by something. The human experience must necessarily be a journey to find what that is and never let go of it.
I interpret “Tanner” as a stark, but confessional look at drug addiction. It’s a devastatingly real admission that drugs can, if only in the most self-destructive of ways, provide a perversely comforting escape from the hell described in so many of Dead Broke’s other tracks. Just as it is a struggle to hold on to our livelihoods in this world, it too is a struggle to let go of the tenacious vices that drag us down with their false promises. This song isn’t just about drugs.
“Wide Awake” closes the album on a similar note, expressing hopelessness about the state of the world. Thematically, it’s a fitting companion piece to the opening track as it brings us full circle in our existential struggle—both physical and philosophical—to survive in this harsh world, and perhaps worse, try to make sense of it. I can only wonder if the lyrics are a pun on being “woke” during a time of much social unrest where nothing good seems to come despite all of our efforts. Global warming, economic hardship, racial injustice—too much to list. I hear the last words of Eric Garner and George Floyd in the lyric “I’m unable to breathe,” but the song continues from an incredulous survivor’s point of view: “hard to believe / I made it this far.” If not even by hope, we are kept living, kept fighting, by something. The human experience must necessarily be a journey to find what that is and never let go of it.
I interpret “Tanner” as a stark, but confessional look at drug addiction. It’s a devastatingly real admission that drugs can, if only in the most self-destructive of ways, provide a perversely comforting escape from the hell described in so many of Dead Broke’s other tracks. Just as it is a struggle to hold on to our livelihoods in this world, it too is a struggle to let go of the tenacious vices that drag us down with their false promises. This song isn’t just about drugs.
Perhaps a healthier form of release can be found in songs like “Sick Children” (ironic, considering the name) and “Strange Adventures.” Like A Motorcycle concocts some menacing fun in both, as they feature screamed vocals and overall aggression, yet neither wallow in negativity. On the former in particular, the way the snare hits makes it an evil punk dance party courtesy of the beat’s subtle garage and surf influence. I can just imagine the partiers singing along too.
Like A Motorcycle shows that a band can take itself seriously while injecting a healthy amount of fun into the mix. Dead Broke is yet another example of their ability to encompass a range of tones, both lyrical and instrumental, as they address the exigencies of working class drudgery lived in (near) futile pursuit of meaning, fulfillment, and ultimately, freedom. Their music has no trouble firing on all cylinders. Likewise, the band shows no signs of stopping either. The lesson here is to keep moving despite all setbacks; certainly not to drown or merely tread water, but swim through the pain. In doing so, we may find inside ourselves an indefatigable strength that pushes us ever onward.
Recommended for those who want a blast of meaningful feeling and fun while speeding the down the terrible, uncertain, and yet equally exciting highway of life.
Like A Motorcycle shows that a band can take itself seriously while injecting a healthy amount of fun into the mix. Dead Broke is yet another example of their ability to encompass a range of tones, both lyrical and instrumental, as they address the exigencies of working class drudgery lived in (near) futile pursuit of meaning, fulfillment, and ultimately, freedom. Their music has no trouble firing on all cylinders. Likewise, the band shows no signs of stopping either. The lesson here is to keep moving despite all setbacks; certainly not to drown or merely tread water, but swim through the pain. In doing so, we may find inside ourselves an indefatigable strength that pushes us ever onward.
Recommended for those who want a blast of meaningful feeling and fun while speeding the down the terrible, uncertain, and yet equally exciting highway of life.
"Dead Broke" now available to stream on the platform of your choice!
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