Dropkick Murphys’ timeless message
Alt/Celtic Punk band Dropkick Murphys are rebellious as ever and impassioned against social inequity on their new album, “This Machine Still Kills Fascists.”
Known for mixing traditional Irish music elements such as accordion, bodhran (drum) and bouzouki lute (a newer customary instrument since the ’60s) with Punk Rock, Dropkick Murphys have been stirring up the Boston area since 1996.
The sextet is led by Al Barr (lead vocals) and Ken Casey (lead vocals, bass in studio) with Matt Kelly (drums, bodhran, backing vocals), James Lynch (rhythm guitar, backing vocals), Tim Brennan (accordion, mandolin, bouzouki, keyboard, piano, tin whistle, backing vocals, guitar) and Jeff DaRosa (banjo, mandolin, bouzouki, guitar, keyboard, piano, harmonica, tin whistle, backing vocals).
They usually serve up rowdy, anti-authoritarian jams with a blue-collared perspective chaser. Stylistically, “This Machine Still Kills Fascists,” strays slightly, opting for acoustic guitar-driven Americana, i.e. Folk and Country. An obvious deviation, this album is also the first not featuring Barr, who is on hiatus due to a family illness.
Recorded in Folk legend Woody Guthrie’s home state of Oklahoma, in a studio once owned by Leon Russell, the Dropkick Murphys’ (DM’s) project wouldn’t have come together if not for Casey’s friendship with Guthrie’s daughter Nora.
The band incorporated his lyrics in their songs in the past, but around 10 years ago, Nora Guthrie began compiling some of her father’s unfinished work with the Dropkick Murphys in mind. Released on Jan. 13, the title of DM’s new, 13th overall album is familiar to Woody Guthrie fans who will note as shown on the ofrenda-like cover, that the slogan was handwritten on his guitar.
Songs in the DM’s catalog such as “James Connolly” (2021), “Rude Awak
enings” (2007) and “Worker’s Song” (2003) established that akin to Woody Guthrie, they belt out their relatable tunes about injustice and the American Dream with sincerity.
Opener “Two 6’s Upside Down” is a forlorn gambler’s lament seeped in love, loss, murder and judgment. Expressed with Casey’s menacing vocals, the band asserts for those who don’t know: unplugged songs can still be tough and edgy.
Let it be mentioned one more time that the absence of Barr’s gritty vocals is noticeable but Casey manages his overtime singing well.
The lighter-themed “Talking Jukebox” has a dusty feel and driving beat. Working up the emotion throughout the song, they apex in a stomp with lively vocals, ”There’s a million human skulls in here fighting a war/ Now let me tell you what they’re fighting for/ For a better what? Better people?/ House, car, ship, plane, business? Maybe so.”
Best suited for the party atmosphere of their live shows, “Ten Times More” is a calland-response shuffle. Adding to the fray — the fiery singalong, laborer’s anthem, “All You Fonies” and the Rockabilly attack of “Cadillac, Cadillac” revamped in DM’s style, suggests that Woody Guthrie is an unrecognized originator of the Punk movement.
Found later, “Where Trouble Is At” and the Woody Guthrie duet, “Dig a Hole,” are examples of timeless rebellion, still relevant to current society.
Aside from the obvious Punk debauchery “This Machine Still Kills Fascists” indulges in, the balancing of softer detours makes for a satisfying journey.
A duet, “Never Git Drunk No More” featuring Nikki Lane, is poignant. Lastly, the piano-heavy “Waters Are a’risin” and modern anthem against division and oppression, “The Last One” featuring Evan Felker of Turnpike Troubadours, are sure to boil blood in the spirit of change.