On April 13th, Montreal punk veterans Ripcordz released their 24th (24th!) record, More Songs You’ll Never Hear On Spotify Because Fuck Those Guys. As illustrated by the Maxell tape ad-inspired cover, this album is a sonic trip through catchy riffs and simple yet effective lyrics, tied together seamlessly by frontman Paul Gott’s throaty vocals. Not ones to shy away from topics like police brutality, corporate greed and political disingenuity, Ripcordz delivers a message of solidarity, unity, and resistance, while balancing the record with more reflective tracks about love, life, and the scene. Punchy, political, fearless, fun, honest, and contemplative all at once, the Montreal trio’s latest album truly cements the group’s mainstay status as longtime local legends.
Ripcordz pulls no punches when it comes to talking politics, and opening track “All Gods Must Die” is a prime example. Kicking off the record with a rip-roaring blast of energy, the driving, unrelenting main riff underscores the urgency of the message, repeated like a rallying cry in the chorus – “all gods must die!” – and reminding us of the necessity of remaining united in the face of violence. No self-respecting political punk project is complete without a good anti-cop track, and this album has a few – “Bob’s a Cop Now” and “Bang Bang” decry in no uncertain terms the senselessness of police violence against nonviolent individuals and peaceful protesters. Ripcordz tells it like it is – politicians are vicious liars on the simple yet scathing “Three Lies” (and after last Thursday’s Canadian federal leaders’ debate, “just give us a yes or no please” and “falsify, deny, deny” are lyrics that feel more relevant than ever) and catchy “Manifesto” is a fierce, no-holds-barred indictment of billionaire oligarchy and corporate greed, as well as a rallying battle cry for the working class with lyrics like “we have the tools for victory” and “all your work belongs to you”. On “It Begins”, we are painted a bleak portrait of the stagnant drudgery of corporate life and the suppressed rage that such a lifestyle begets, but are reminded not to give up the fight. Across all these songs is a common message: a call to action to find unity, build up strength and resistance, and fight back against oppression.
After four decades in the scene, it’s hardly a surprise that these veteran punks want to share their thoughts on punk subculture and life as well as politics. A standout track in this respect was “The Gatekeeper”, a surprisingly nuanced and poignant reflection on who exactly has access to the scene, from the question of gatekeeping our underground institutions (“Are you not worthy?”/ The gatekeeper is gonna let you know”) to the inevitable changing of the guard (“You don’t owe them anything (…) / “Don’t let the old guard run the show”). Personal favourite “Now Revolving” captures, at least in my mind, the delirious joy of spending the night moshing and spinning around your favourite venue, two-stepping and throwing elbows with all the other punk freaks in the pit, while its darker, slower counterpart “For The Love Of Ivy” with its slow, driving bass and evil layered vocals, suggests that perhaps the punk club you’re in is also Hell, and you just might be dancing with the Devil. Finally, “Not Ready To Say Goodbye” feels like a wistful track about growing up (and maybe growing old) in the scene. These songs, suffused with nostalgia and reverence, remind us that Ripcordz themselves truly are a testament to the longevity of the punk spirit.
The record is rounded out with a few more romantic (or romantic-adjacent) songs for good measure. The Ramones-y “Take You Home Tonight,” with its chanting chorus reminiscent of the Clash, is an instant I-saw-you-from-across-the-bar classic, made for dancing joyfully beside the jukebox with your crush. If “Start Again” is a bitter ditty about regret for a life not fully lived, that regret is forgotten on later track “Two,” a cheerful tune about liking someone and simply not caring what the consequences are.
Every album needs a funky track or two, and Ripcordz delivers some fun ones with the (mostly) instrumental surfy, Nervous Breakdown-esque “Ripcordz Are Go Flying V” and trippy “Eno” (which I realized only after was simply closing track “One” played backwards.)
A reflective album spanning punk, politics, and love, More Songs is the natural next product of a band that has lived, loved, and breathed punk since 1980. The group is taking their sound across Canada in July and August on the Ready…Set…Punk! tour, so be sure to check them out if they make the trip over to your city.
More Songs is available for streaming and download on Bandcamp (not Spotify, for… obvious reasons). What are you waiting for? Go give this album a listen!
