Review: Mark Murphy and the Meds – “Monochrome”

Bloated Kat / Brassneck / Waterslide / Kezy P / Cat’s Claw Records, 20 Jan 2022

Monochrome is high energy and highly infectious, good pop punk done right.

Mark Murphy and the Meds (featuring Mark Murphy of Crocodile God, a band I came to far too late) have been kicking around for a bit, previously releasing the very good On The Brink in 2021.  That one was a really good time, and having been mostly dumb on Crocodile God, it was a welcome outta-nowhere hit for me.  But Mark Murphy can’t sneak up on me anymore.  He’s got my attention this time and thankfully he does not seem to know how to disappoint.  

On Monochrome, Mark Murphy and the Meds play a bunch of great songs that run the gamut from high-energy power pop to coma-inducing sugary pop punk to great results across the board.  The lead-off title track has this absurdly catchy descending guitar riff before breaking into something more traditional, mixing in some awesome lead guitar along the way.  The song structure is shifting throughout, too, keeping the song feeling fresh.  The next song, “Bees and Honey”, opens with even more head-turning lead guitar before sprinting forward in a rush of palpable energy, and I’m getting reminded of the opening salvo on The Ergs dorkrockcorkrod – it’s a 1-2 start that leaves me gasping a bit.  Then, “Doing It Right” takes the foot off the pedal a step to something almost slow enough to be called mid-tempo and the overall delivery is a bit more measured and still highly effective.  “64 Watt Amplifier” is another power pop number with good energy and a-okay hooks thanks to the vocal delivery and the backing vocals on the chorus – the vocal interplay down the stretch of the song hits particularly right.  “Hardcore Four Part 2” is an interesting close to the first half.  Playing up to its title, the verses tear through in hardcore fashion with a speed to the drums and a chug to the guitars while Murphy’s vocals carry the melody as they do on the other songs (no hardcore bark or growl to be found).  When the chorus hits, everything slows to something approaching sensible and guitar leads fire off over top.  It’s cool, though maybe my least favorite on the first side (and, I think, on the album).

On the back half, Monochrome doesn’t let up.  “Ceci N’est Pas Une Chanson” has a fantastic vocal hook (on the “you’re just another punk song running around my brain” part) before simmering and blasting, and simmering and blasting some more.  The lead guitar is some of my favorite on the record and the song is spot-on.  The next, “Ocean Soup”, has more crazy-high energy and a guitar riff that sticks well – and to the song’s credit, it stops quicklike and leaves me wanting more.  “Indiana Jones and You” is an insidious contagion masquerading as a pop punk song.  Watch out for this one, it’s got maybe my favorite chorus on the album – pretty instantly singalongable.  That brings us to the closing pair.  “You Again” is a blisteringly fast pop punk song that rampages without apology.  I especially love where the song goes during the closing quarter as Murphy sings “I don’t wanna see your face again” repeatedly – the melody is really endearing.  Closer “We Are the Meds” is maybe a sort of mission statement.  The song has another terrific chorus that’s almost infuriating in its simple-yet-perfect catchiness.  Good to know that there’s pay-off all the way through the end.

Monochrome is a buzzing good time.  I’ve fallen for Murphy’s vocals, the music is played, recorded, and mixed so well, and most importantly, the songs are a bunch of catchy nuggets.  I know I mentioned this comparison earlier in the review, but I feel like it needs reinforcing – there’s a real vitality to this music that reminds me of the rush that The Ergs brought to the table.  Don’t miss out on this one.   

• Favorite song: “Indiana Jones and You”
• Favorite moment: the descending guitar riff that opens “Monochrome” sets the stage for the charge that runs throughout the rest of the album
• Favorite whatever else: the vocal hook on the chorus of “Ceci N’est Pas Une Chanson” is a destroyer