Dropkick Murphys - GoingOut in Style

Mon 20th Jun, 2011 in Music Reviews

With flourishes of synthesizers, gorgeous four-part harmonies and a brilliant guest spot from Lil Wayne, Boston’s Dropkick Murphys have completely reinvented themselves on their brand new…sorry, it’s pretty much impossible to keep that up. Ahh well, that was fun while it lasted. Welcome to Going Out in Style, the Dropkick Murphys’ seventh album, in which the poster-boys for “if it ain’t broke, don’t fix it” continue to roll on wheels of the strictly non-reinvented variety. It might sound dull – and it certainly will be to anyone who’s not already a fan of the band’s riotous. Make no mistake, however – the Dropkicks are no slackers. They do what they love and they love what they do, and Going Out is a rock-solid demonstration of this.

All the calling cards, traits and distinguishing features of the Dropkick Murphys’ sound are out on parade throughout the record. Whether it’s Al Barr and Ken Casey screaming themselves hoarse through the verses or thirty-odd of the band’s closest drinking buddies roaring through another bar-room chorus, these tracks are unmistakably owned by the Celtic punks. From the rollicking chants of Hang ‘Em High to the punky throwbacks of Sunday Hardcore Matinee and Memorial Day, it’s clear that Going Out in Style is a collection of variations on a theme. Unlike the rest of the band’s albums, however, a loose attempt at linear storytelling is made here – the main character, Cornelius, spends the album looking back on his life and deciding to race, rather than walk, to the finish line. “I don’t really give a shit!” he roars on the title track, easily the album highlight, amidst wailing tin whistle and double-time drumrolls. “I’m going out in style!” Although you’ll more than likely forget about the concept somewhere around the halfway mark, kudos to the band for the extra effort, at the very least.

There is a distinct split between the two styles that the Dropkicks spend their time between. There’s the proto-punk influences that rip and tear their way through mostly every track below the three-minute mark, and there’s the reflective slow-waltz numbers that layer on the accordion like nobody’s business. The former side maintains at least some elements of interest – the barnstorming Climbing a Chair to Bed and the bluegrass stomp of Take ‘Em Down comes to mind – but the sense of deja vu on Going Out is, at times, a little too overbearing. The slower numbers, in particular, such as the dreary Broken Hymns and dishwater-dull 1953, will surely deter most casual fans.

There’s nothing explicitly bad about or wrong with Going Out in Style. It contains some fine tunes amongst the tracklisting, and the band’s never-say-die attitude is one to be admired. With this in mind, you’re much better off with one of the band’s earlier releases to obtain a proper aspect of what makes them worthwhile. Or, better yet, see them live, where even the sappiest of Irish ballads with have their audiences going apeshit. Unless a die-hard fan, proceed with caution.