Joel Hoekstra’s 13 Reanimate an Extinct Breed of Dinosaur Metal
In olden days, before Odin delivered the runes which ordered the gods of metal to fixate on Viking regalia, pagan myths and the apocalypse, there was a strain of heavy rock that was pretty goofy. It was party music: catchy pop melodies played with loud guitars and a lot of winkingly comedic flourishes. Joel Hoekstra’s 13 come out of that late 70s school. He’s a great pop tunesmith, he loves volume and he knows this music inside out. His latest album Running Games – streaming at Spotify – is a prime example.
It’s a concept album about – gasp – a breakup. Who knew these leather-clad rogues had hearts that might not have been totally blackened, whether in a deal with the devil or by flying too close to the sun? The central metaphor is a race: themes of escape and the sobering possibility of a crushing loss permeate these otherwise very upbeat and adrenalizing tunes.
Guitars play ridiculously fast tapping solos over the steady gallop of the bass and drums. Divebomb effects, the occasional acoustic passage or grandiose keyboard break pop up in places. Hoekstra’s vocals have the requisite bombast, sometimes edging toward fullscale operatic drama. Don’t take this the wrong way, but the choruses on this album are straight out of Blondie, Bachman-Turner Overdrive or…Abba. No joke. Meanwhile, you half expect David Lee Roth to come swinging down to the stage on a couple of guidewires, wAAAAAAAAoooooh, wearing a yellow jumpsuit.
Serious fans will dismiss this as a parody, self- or otherwise, or 7-11 parking lot music for the under-15 crowd who haven’t discovered Sabbath or Led Zep yet. Yes, this is comic-book rock…but it’s a well-drawn comic book. Dare you to spin the tenth track, Cried Enough For You, without laughing at the faux-Floyd and faux-Zep touches…and then when Hoekstra takes a solo, he takes your breath away. And makes you laugh again. In the grimmest year in human history, we still need to smile sometimes.