Up until this release, you knew what you were getting with a Bad Time Records’ release; a band on the cutting edge of the fourth wave of ska poised for wider recognition in the alternative music scene. Much of the ska revival has been centered on their roster which has been forging a new reputation for the genre over the last two years thanks to breakout success of Kill Lincoln, a renewed We Are The Union, and the ska-pop sensibilities of Catbite. Their releases have broadened the spectrum of what ska can accomplish in mainstream circles. That’s why Dissidente’s new album – and the 28th official release for Bad Time Records – is a welcome addition to that spectrum weighted in the heavier end, in topic and sound.
When you think of heavier ska bands, groups like Leftover Crack, early efforts from The Suicide Machines, and Against All Authority are sure to come to mind. Dissidente follow in those footsteps but with a healthy appetite for metal influences, songs in Russian, and a socio-political consciousness. The War on Two Fronts is easily the heaviest release of the Bad Time Records discography surpassing the likes of Grey Matter and The Best of The Worst.
The opening punches of “45,” “A Nation of Wolves,” and “Colossus” straddle the melodic hardcore of the 90s Epi-Fat sound with galloping drums, shouted ‘whooas’, and metal guitar influences. But even in these ragers, Dissidente set themselves apart by incorporating nods from across the reggae to skacore spectrum. The bells and strings that pepper “45” give way to something akin to Propaghandi’s take on thrash, but still distinctly ska. One of the key drivers of Dissidente remaining rooted in the genre is bassist Vadim Panteleev. He brings a virtuoso touch to his instrument in between the fret burning of guitarists Rhett D’Souza and Chris Ruckus. These are all somehow mashed together by Iggy Freeman’s fast as fuck stick work.
In addition to “Colossus,” two other songs off Dissidente’s first EP Frontline are upgraded for The War on Two Fronts. “Black Bloc” most noticeably with organ additions gives the track new dancehall undercurrents. It’s in parts like this that you see to get the bands influences melded together to create something wholly original blending the skills of each individual player. Even the midway interlude of “…” seemingly combines elements of greater ambition than the normal punk band to transition the album to its back end.
One of the more notable additions to The War on Two Fronts is the inclusion of full tracks sung in Russian and backing vocals mixed in for songs sung in English. The track “Куй Железо Пока Горячо” translates to ‘strike while the iron is hot’ and while a quick Google search brought me to that, I’m sure the lyrics to the song continue the album’s expansive class war themes. It’s certainly not a coincidence that they chose The War on Two Fronts as the album title given two of the band member’s immigrant roots in Russia. “Поколения” or ‘Generations’ hints at that even more so with burning sun imagery alluding to the petrol industry that dominates Russia’s economy. It brings a uniquely global perspective to the album that shows how solidarity cuts across mainstream connotations of the political economy of the United States and Russia.
The album ends with “10/27/18,” referencing the mass shooting at the Tree of Life synagogue in the band’s hometown neighborhood of Squirrell Hill in Pittsburgh, Pennsylvania. The track uses Rabbi Jeffrey Myers powerful words in calling for a worldwide stop to words of hate and how that work starts with each of us individually. It ties the The War on Two Fronts back to the individual from the global perspective. We may not have the power to change the world, but we do have the power to change ourselves. It’s a somber ending to an album that never lets up allowing the listener sit in their discomfort and grapple with what they just heard. The War on Two Fronts may not change the world, but it will certainly grab those individuals who it’s meant for.