Ballyhoo! returns with their tenth studio album, Bad Summer (Right Coast Records), just in time for summer’s end. I’ll admit, this record is my first experience with the band, and it came to me like a breath of fresh air.
The entire experience reminded me of an act I’d see in an all ages punk rock venue I haunted back in 2003. Lyrical themes of nostalgia helped reinforce the youthful glow that makes this record special.
Accurately described as having a “beach pop punk” sound, Bad Summer took me back while offering modern production techniques that made it shine.
Produced by John Feldmann, who has worked with Blink-182, Goldfinger, and Avril Lavigne, I observed the enthusiastic rush of youth through a lens that was designed just for looking back. Ballyhoo! makes me feel young again.
“Sixteen Forever” starts the record with an uptempo track that focuses on a longing for carefree times. Distorted guitar hooks and quick aggressive drumming make for good clean fun in spite of the lyrical subject matter.
The second song is title track, “Bad Summer,” and the use of cowbell is smile inducing. The hooks and background vocals is the epitome of top shelf pop punk rock. It’s pure fun, and a guitar solo at the bridge fit perfectly in the mix.
“Blood Money” rails against a music industry, denouncing the glimmer of fantasy in the face of an authentic lived experience. Lines like, “I’m tired of spinning my wheels,” is a relatable line that shows once one gets to that peak, it becomes a job like any other, prompting burnout and other struggles just to keep afloat. A lyric mentions a ‘call coming from inside’ and has a muffled phone ringing effect that is a nice touch, production wise. The electronic reggae bridge has a tonal vibe that feels like the listener is underwater, while feeling completely appropriate with the rest of the track.
“Thunderstorms” starts with a guitar riff that sounds like it’s coming out of an old AM radio, coupled with electronic drums before the weight of heavier instruments turns it into a full on rock song that examines a turbulent relationship, urging the other partner to work together. The rhythm guitars are super heavy in the chorus that again takes me back to the kind of bands who’d play at that all ages venue on any given weekend.
“Happy” (feat. SAxl Rose) has a 90’s alt feel with distortion on the bass. The mingling play between the bass and drums are fantastic, but it’s the saxophone solo that swept me off my feet. There’s so much ear candy in the production, but it all serves the mix without being egregious. This is one of my favorites on the record.
“Cali Girl II” offers more reggae stylings to compliment Ballyhoo’s range. The use of horns is rich and the rhythmic feel of this one will have fans swaying in the crowd. Another high quality song coupled with high quality production has me hooked.
“I Guess I’ll Go Fuck Myself” speaks on the toxicity of internet troll culture, and is a fun track that calls out the jerks online who have nothing better to contribute to the conversation.
“Slowly Dying” is a high energy track that is fun and bouncy in spite of the lyrical content. The lyric, “But in your eyes,” comes with a musical movement that reminds me of musical theatre. The intricate drums are flashy and tight. Much like the next track, “Long Weekend,” there’s perfect pop sensibilities with the rebellious edge of rock.
The album concludes with “Ruby Drive,” returning to form with uptempo rock. It ends where it started, with a nostalgic look back at the carefree nature of youth, what was lost, and the value of cherished memories.
Even with the modern production techniques, Bad Summer feels like a time machine to me. A time and place to which I cannot return is brought to the present day via musical reflection, and Ballyhoo! takes me there. This record is worth a spin!
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https://badsummer.ballyhoorocks.com/
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Photo: Dennis Pike
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