The fact that Cleveland’s hardcore homies Harvey Pekar titled their recent release Paris Green solidifies their genus and complexity.
Paris green is a highly toxic insecticide and also entertains the masses as it is an ingredient used in fireworks. Was there hidden meaning in their selection of words for the album’s title? I would like to think so.
I should disclose I have been a fan of Harvey Pekar since 2011 when they dropped the impressive Thirty Ghosts. I remember seeing them at a hole-in-the-wall Akron bar and becoming instantly down with their tunes.
Fast forward 8 years with a couple of changeups, Elliott Frank, Ian Douglas, Nick Kratsas, and Nick Schmitt still kick severe ass. They are also all some of the best dudes I have ever have the privilege of getting to know over the years
Enough of the chemistry lesson and personal memoir, it’s time to talk about Paris Green, Harvey Pekar’s third full-length release that recently was put out by Steadfast Records.
Produced and engineered by the one and only Ryan Foltz at Cleveland Audio (Dropkick Murphys, Rancid), Paris Green was everything I was hoping for in new Harvey Pekar material and a whole lot more.
The album started off with the ripper “Predation in Shadow Position” with Kratsas talking helm with his poetic lyricism while the rest of the band supported him in full-force.
“Drag Hesitations” was brutal as all hell and I loved everything about it. That breakdown though is what did it for me. I felt a little tougher than normal while listening to this one.
“Glow Aplomb” carried on a with little more melodic approach than I would have expected, but it worked so well. It’s full of gruff and force, but was carried with a toned down sound at times that really just was proof how far this band has come along and how they do their own thing without worry. In fact, this was one of the tracks I have gone back to a few times now.
I am fairly sure “Slash Centre Unison” has got to be insane live. I can just envision everyone losing their shit while the band blasts this on stage. I adored the shift midway that just involuntary asked for everyone’s participation to sing along.
“Forever the Follow” finished things up on this release with memorable bass playing and furious drumming. Best part about the track was the ultimate buildup halfway in with Frank playing away that had me nodding my head in all sorts of approval only to have the band collectively lose it with Kratsas almost sounding like fired off ammunition screaming to his heart’s content.
I was left wanting so much more after this album ended. My blood was boiling, heart was pounding, and thoughts were scattered all over the place. It was a nice distraction, that is for certain.
After a few listens, I am convinced this is the best material they have put together to date. In keeping with their hardcore/punk ethos, the band stretched things out some making for a likable change in style I personally saw as maturing and evolving. Think about that Gallows sound right before Frank Carter jumped ship and went completely rock and roll or when Cave In slowed it down because they felt like it. That is what stuck in my head the most but please do not see either as a direct comparison.
I can’t help to think what’s to come by these guys down the road based on what I heard. All I know is that you really should make yourself privy to them so you can share the excitement I hold.
“Little Kid” was a somber track Ray wrote about his brother who, as most of you reading this are well aware of, passed in 2015. This track was tough to listen to but just so important and I am glad Ray did it. I hope it gave him, and the band for that matter, some well needed closure.
