Wormburner draw a lot of comparisons to Bruce Springsteen. Like the Boss, they play anthemic, four-on-the-floor meat-and-potatoes rock narratives with great lyrics (we’re talking the Nebraska and before-era Springsteen, ok?). And they’ve got an infinitely better singer in charismatic frontman Steve “Hank” Henry. They play respectable midsize venues and get good gigs, often as a supporting act for artists from the Springsteen era. They’ve got an especially intimate one coming up on Sept 26 at 8:30 PM at the Mercury, which will be the release show for their long-awaited third album, Pleasant Living in Planned Communities. $12 advance tix are very highly recommended since it’s a good bet that this show will sell out.
The album title is characteristically sarcastic. It’s a collection of character sketches among the down-and-out – again, the peak-era Springsteen comparison. The A-side of the first vinyl single from the album, released last year, was Today Might Be Our Day. At the time, this blog called it “on the Celtic side of anthemic 80s rock, U2 without the strident vocals and empty slogans. And it’s got a story, in this case a smalltime hood on the run from the law. Is that a swoopy synth solo or a guitar running through a wah? The band has both. The B-side, Parliaments on Sundays, is a wry janglerock anthem like the Figgs at their most tuneful, told from the point of view of a guy who likes his liquor but only smokes or does the other stuff if it ‘helps to dull the edge, and anything to keep you off the ledge.’” Those two are a good start, and it gets better from there.
Over drummer Jim Spengler’s percussive, stomping Clash City Rockers beat, Hopscotch Gunner has Henry relating a tale of airborne combat gone horribly awry, with his usual intensity, against a backdrop of burning guitar from Paul McDaniel and Alex Senese, bassist Terry Solomone taking flight on the chorus. Somewhere Else To Be nicks a very, very familiar New Order riff and hitches it to a shiny Stiff Little Fingers-style punk-pop drive; it’s the first appearance of Daniel, a lapsed Catholic and gay prostitute who will appear later on.
Drinks at the Plaza Hotel opens with a morosely crescendoing, goth-tinged theme that brings to mind Ninth House, two would-be scam artists gloating about how clueless their marks are…or are they? Made-for-TV Movie (an original, not the Twin Turbine classic about the Columbine massacre) contemplates bridge-and-tunnel alienation and anomie, over blazingly anthemic, insistent powerpop. The band starts out with a strut and builds to a stomp on Dolores, If You Please, an angst-fueled 21st century depression scenario.
The band evokes the Jam circa Setting Sons with Catherine, the searing tale of an Iraq War vet: the chorus is a clinic in how to take an anthem as far up as it can possibly go. The Sleep That Never Comes offers the point of view of an even more shellshocked veteran, this guy from the Vietnam era: the sarcastic faux-martial brass is a neat, Phil Ochs-like touch. The final veterans’ tale is Doxology:
That’s the thing about sin
First the clouds roll in
Then it’s like the world’s about to end
And somebody’s guessed
What you won’t confess
Least of all not then,
Henry explains. It’s sort of the album’s Jungleland, but a whole lot less romantic. There’s also a brief instrumental titled Billy’s Topless, which may or may not be a shout-out to a Flower District space that once housed a notorious titty bar but which is now a deli and reputedly better off as one. Memorable stories, brilliant tunesmithing, what more could you want? The album’s not out yet, hence no Spotify or Bandcamp link, but should hit the interwebs shortly.