Review: The Brokedowns – “Maximum Khaki”

Red Scare Industries – 20 Jan 2023

Sacrcasm, Cynicism, and Swinging For The Fences With A Sound That’s Undeniably Unique!

This lovable and quirky quartet from the Suburbs of Chicago is anything but ordinary and they’re back at it again with the same old songs on their seventh full length. There’s something outstanding and special to be said for that: If it ain’t broke… When it comes to The Brokedowns, it’s clear they’ve found a fantastic formula and charted a course in crafting a sound all their own, and Maximum Khaki is a an album that expresses exactly that. They may have taken direction from many a source along the way but they’ve managed to draw their own map of magnificence. They’re sometimes difficult to describe, but it’s as if John Fogerty started a Fest band with Jack Dalrymple and John Joseph to play a Dillinger Four cover set.

Coming out swinging on “Obey The Fumes” and sending dingers to the spectators in the stands as they watch the pyramids get built from the nosebleed seats, it’s everything I’d hoped for and come to expect. The lead melody shines in the spotlights with an aggressive lyrical delivery and, from a performance aspect, a refreshingly energetic approach. I may have had high expectations as I’m a massive fan of their previous work, but they definitely deliver and continue to do so. “Ernest Becker At Costco” is the first of a few that show slight similarities toyGuitar, heavily overdriven guitar melody with a storyteller singing style and subtle backing vocals. “Chakra Updates” increases the tempo and intensity with a Mean Jeans meets Cro Mags feel. It’s gutsy garage sound with a heaping serving of hardcore that dissipates into a pocket session with drums and bass before coming full circle. 

They start throwing changeups in “UK 82 Pt. 2: The Olds Are Not Alright”, showing a slightly softer side of singing, reminds me of Paddy from D4 on the microphone. It’s another number that’s as short as it is sweet but they still know how to swing at a fastball. With “Man Graves (Masculine Caskets)” the velocity continues to increase briefly before they bring things down with another example of how well the rhythm section proves it’s competency in the pocket. It’s certainly the longest song at 3m00s and feels like an orgcore opus compared to its counterparts. There’s a soft spoken aspect which seems to be a theme in their songwriting that’s difficult to describe, but it conjures an image of a sarcastic and sinister version of Sesame Street singalongs sans the alphabet and abacus. It’s feels playful and petulant at the same time like a punk rock version of Avenue Q! 

One of my favorite things about the band is their ability to be progressive and experimental which is apparent in “Samurai Sword Decontrol” with a smidge of 60’s psychedelia and a candy coated chorus, and “Stay Calm Stay Cruel” which is centered around the snare, disappearing momentarily before punishingly returning, all in 3/4 time with a chaotic wit and a brief reprieve before final blow’s delivered. They’ve shown you their softer side before but this is anything but. Another side of the band that’s always stood out is their chronic use of comedy. “I’m Sore” is pure rock n’ fucking roll with a not so subtle cheeky spelling mistake, classic comic relief. The humor continues to hang heavy and spills into “Honk If You’re Horny” complete with gang vocals, palm mutes, a subtle lead riff, and a sarcastic take on misogyny. 

If the songwriting is anything, it’s consistent, at least in the musical world they live in alone. “Cinnamon King,” with a grimy blues riff and a staccato snare beat that feels familiar, and could have appeared on any of their previous records, has a few triplets thrown in for good measure alongside pounding power chords and another throat throbbing vocal delivery. One and done. Drums and bass get buried back in the pocket under a cloud of chalk and dust with screeching strings in “Satan I’m Quarantine” before it’s brought to an abrupt ending. It’s certainly has a hellacious quality, while “Kony 2022” starts off strong but the vocal delivery is strikingly softer in the second half of the song,  is that Chicken? From Dead To Me? 

It’s the bottom of the 9th and “Osama Van Halen” is eying the win with a four chord foundation that flows into a two chord chorus, the dynamics diminish as the song draws to a lengthy end in contrast as they slide into home plate with Khaki Majesty as of saying “here’s one last banger as we bid you adieu…” 

With a majority of the musical compositions coming in under a minute and a half and only a handful surpassing the 2 minute mark, at 14 tracks in under 22 minutes it’s like batting practice with a pitching machine, rapid fucking fire. The guitar tones range from twinkling to turbulent and everything in between. There seems to be quite the collection of analog effects in their tool box and they’re not afraid to brandish them. Coupled with a rhythm section that can be as subtle as it is astounding and song structures that keep things inherently interesting, the coating on the Cracker Jacks is the song titles themselves. Strange and somewhat abstract, deciphering them is half the fun and I find them intriguing, just another piece of the complex and peculiar puzzle. This isn’t your shitty little league, these fellas are professionals.