Bad Religion

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Out of all of the Southern Californian hardcore punk bands of the early '80s, Bad Religion stayed around the longest. For over a decade, they retained their underground credibility without turning out a series of indistinguishable records that all sound the same. Instead, the band refined their attack, adding inflections of psychedelia, heavy metal, and hard rock along the way, as well as a considerable dose of melody. Between their 1982 debut and their first major-label record, 1993's Recipe for Hate, Bad Religion stayed vital in the hardcore community by ti...[more]

 

 

The music has the furious beat and driving buzz saw guitars of classic punk rock, but when a vocal chorus cuts in, it is surprisingly harmonious and emotionally evocative, reminiscent of The Beatles or The Everly Brothers. This is a sonic contradiction that works to stunning effect. It is also a sound that has come to define one of the world's most original rock bands, BAD RELIGION. To call Bad Religion simply a punk band is akin to labeling the Who a mod band, or Pet Sounds-era Beach Boys surf mu   [ read more ]

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?The third in a flurry of releases that followed Bad Religion's 1988 reunion, Against the Grain found the band's edge honed sharper than it had been in years. Epitaph's 2004 remaster respects this. Increased clarity between mouthpiece Greg Graffin, guitarists Brett Gurewitz and Greg Hetson, and the rhythm section of Jay Bentley and Pete Finestone increases the inherent melodic tension and amplifies Graffin's righteous lyrical anger.My path renewed/Against the grain/That's where I'll stay --    [ read more ]

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?The remastering for this 2004 version of Bad Religion's 1989 LP greatly amplifies the album's volume. It might also strip away some reverb from the instrumentation, but the latter observation is mostly theoretical, as this new No Control really just sounds louder. This is welcome, as it makes the band sound that much more direct on principal cuts like I Want to Conquer the World, Automatic Man, the aggressive title track, and Progress. Suffer had already wound the meter on Bad Religion's Cali hardco   [ read more ]

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In a world ruled increasingly by superstition and intolerance, Bad Religion's rousing wall-of-sound punk seems about as necessary now as ever before. It is the impassioned sound of reason, anthems of a bittersweet idealism and a guarded hope set to propulsive guitars and charging drumbeats. And while most groups with even half the artistic output have long ago morphed into stylistic self-parody, Bad Religion is currently surging forward with a renewed creative intensity. Their fourteenth album is both a nod   [ read more ]

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Generator demonstrates an improved sense of melody from Greg Graffin, which doesn't mean Bad Religion have abandoned their blistering hardcore inclinations. Instead, the band has managed to incorporate melody wi   [ read more ]

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In a world ruled increasingly by superstition and intolerance, Bad Religion's rousing wall-of-sound punk seems about as necessary now as ever before. It is the impassioned sound of reason, anthems of a bittersweet idealism and a guarded hope set to propulsive guitars and charging drumbeats. And while most groups with even half the artistic output have long ago morphed into stylistic self-parody, Bad Religion is currently surging forward with a renewed creative intensity. Their fourteenth album is both a nod   [ read more ]

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Listening to Bad Religion's 1982 debut , How Could Hell Be Any Worse?, is like cupping your ear against the garage door of their practice space. Greg Graffin's vocal style isn't fully formed here, nor is his lyrical agenda, but the building blocks are significant a   [ read more ]

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Another title for All Ages might be The Best of Bad Religion Before Recipe for Hate. Which makes sense: Since the band's last two LPs, Recipe and [ read more ]

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In early 2004, Epitaph released remastered versions of four Bad Religion LPs, as well as a tour film dating from 1989. Suffer was always one of the band's strongest albums, marking the reunion of its original lineup, tighter playing, and the blazing erudition of cuts like [ read more ]

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Based on only one or two listens to The Process of Belief, one would be tempted to retitle it The Process of Backsliding. It's like a batch of outtakes from their 1988 comeback LP, Suffer, or the amazing juggernauts that followed, No Control and Against the Grain. But successive immersions into the new LP's brute, lashing power and wild honey melodies disarms such critical impulses as efficiently as a martial arts master. Regression rarely feels this fresh or this welcome. For anyone who forgot how much had   [ read more ]

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