B-Side Guys

In the hallowed halls of Americana, a new voice emerges, not with a whisper but with a rebellious roar. The Great Disappointment’s debut album, “Apocalypse Pickin’ Party,” released today, October 15, 2024, is a 39-minute manifesto that redefines the boundaries of traditional string band music. This Bay Area collective has crafted a 12-track odyssey that is as much a political statement as it is a musical revelation.

From the opening notes of “Baby Bro,” it’s clear that The Great Disappointment is not here to placate or pander. The song’s driving rhythm and biting lyrics serve as a scathing indictment of tech industry nepotism. Patton Price’s vocals cut through the mix like a rusty saw, perfectly complemented by Rowan McCallister’s frenetic mandolin work. It’s a bold opening salvo that sets the tone for the entire album.

“John Henry” follows, reimagining the folk hero’s struggle against mechanization for the digital age. The band’s take on this classic tale is both reverent and revolutionary, with Adam Lord’s thumping bass providing a solid foundation for the group’s tight harmonies. It’s a perfect example of how The Great Disappointment manages to honor tradition while pushing it firmly into the 21st century.

The album’s standout track, “Caterpillar,” is a masterclass in political songwriting. Here, the band takes aim at corporate greed and environmental destruction with laser-like precision. Chris Barnes’ percussion work shines, driving the song forward with an urgency that mirrors its message. The addition of Ryan Scott’s mournful trumpet adds an unexpected layer of depth, creating a sound that’s part protest song, part New Orleans funeral march.

“Landlord Special” and “Saint John Brown” form the heart of the album, showcasing the band’s ability to blend humor with hard-hitting social commentary. The former is a sardonic ode to slumlords, while the latter reimagines the abolitionist John Brown as a modern-day activist. Both tracks benefit from the stellar guest performances, with Chad Manning’s fiddle work on “Saint John Brown” particularly noteworthy.

The album takes an unexpected turn with “God of Time,” a psychedelic journey through string band territory that wouldn’t sound out of place on a Grateful Dead record. It’s a testament to the band’s versatility and their willingness to push genre boundaries.

“Bob Stack Rag” and “Algorithm” form a one-two punch of instrumental prowess and lyrical wit. The former is a breakneck fiddle tune that allows each member to showcase their chops, while the latter is a tongue-in-cheek exploration of digital-age alienation. Joe Goldberg’s clavinet performance on “Bob Stack Rag” is a highlight, adding a layer of traditional authenticity to the band’s modern sound.

As the album enters its final third, “Angel of Love” and “Own Stupid Way” provide a moment of reflection amidst the political firestorm. These quieter tracks demonstrate The Great Disappointment’s ability to craft tender, introspective moments without losing their edge.

The penultimate track, “Nerds,” is a rollicking takedown of tech industry culture that manages to be both scathing and infectiously danceable. It’s the kind of song that could ignite a mosh pit at a bluegrass festival, a feat few bands could hope to achieve.

“Apocalypse Pickin’ Party” closes with “Roots of the Redwoods,” a haunting ode to California’s ancient forests that serves as both a love letter to nature and a call to arms for environmental protection. Ted Kuster’s banjo work here is particularly evocative, painting a sonic picture of mist-shrouded giants under threat.

What sets “Apocalypse Pickin’ Party” apart is its unflinching commitment to both musical excellence and political engagement. The Great Disappointment has managed to create an album that is simultaneously a celebration of American roots music and a searing critique of American society. Their sound incorporates elements of bluegrass, old-time, country blues, and new acoustic music, creating a sonic palette that is both familiar and refreshingly novel.

The production, crisp and dynamic, allows each instrument room to breathe while maintaining the energy of a live performance. This is particularly impressive given the diverse array of guest musicians featured on the album. From Joe Goldberg’s subtle keyboard work to Nate Garbacz’s driving drums, each contribution is thoughtfully integrated into the band’s core sound.

“Apocalypse Pickin’ Party” is more than just an album; it’s a statement of intent from a band that refuses to be boxed in by genre conventions or political niceties. The Great Disappointment has delivered a debut that is by turns incendiary, introspective, and irresistibly fun. They’ve proven that it’s possible to honor the roots of American folk music while using those same traditions to challenge the status quo.

For fans of politically engaged folk music, “Apocalypse Pickin’ Party” is essential listening. It’s an album that demands engagement, inviting listeners to think critically about the world around them while tapping their feet and singing along. The Great Disappointment may have come together for a one-off project, but based on the strength of this debut, let’s hope they continue to disappoint us for years to come.