Hailing from New Jersey, Bad Case of Big Mouth had more than a struggle getting their debut album, Straight Up Bad Luck, finished. The band are one of few up and coming easycore band, and the combination of harsh vocals and catchy hooks makes this album both one you can rage and dance to. The album will be released on August 19th via Eulogy Recordings, and is a force to be reckoned with.
Good Luck, We’re All Counting On You opens the record with a radio-style announcement, before riffs and percussion takes the control of the track, and half-sang lyrics, “I still hate you”, give way to various other vocals – harsh and spoken – before the song falls to an abrupt close, as the song drains out. There’s so much in this short opening that it’s hard to know what to make of it, not matter how many times you hear it, and it manages to give nothing away about the rest of the album. I Have Got To Get Me One O’ Deeze is a title as difficult to comprehend as the previous song, opening with a rather standard drum intro, which becomes more choppy as the vocals are roped in. Catchy hooks of the chorus contrast with the harsh vocals in the verses, and best part of the way through the track it seems to drop into a sort of dance track – it’s not something easy to make head or tail of.
The percussion that closed the previous track opens Governer Street, with fast melodic vocals to later layer with the harsher side of the track. While the sound created isn’t something that appeals to me, it’s not hard to appreciate the unique style of the record, with the altered vocals becoming signature throughout. Most recent off the album to hold it’s own music video is catchy fourth track Elmer And The Man That Feeds Him. Lead singer, Tyler Drama says the track “is really the best representation of what we’re trying to go for; the perfect combination of Hardcore and Pop-Punk music. John (co-vocalist/screamer) and I switch on and off to give the music some diversity, but it all flows really well together.” It’s most definitely a song that sums up the album.
Sweet Chin Music continues the strange naming strategies the band employ, with a longer instrumental breaking into the harsh vocalist’s solo, and catchy hooks of the chorus . At a live show, you can imagine the crowd switching between a circle pit and gang vocals, among the general frenzy. The electric riff of The Fastest Headbutt This Side Of The Mississippi commences the second half of the album and seems to settle the band more comfortably into the genre, with the vocals mixing better and instrumental responding more tightly to the point where it’s a stand out track in its excellence for me. Despite being so far down the record, it feels like the perfect track for another single.
She Could Have Made Gorey Love hints at the grungier undertones of the musical influences, and although at point the guitar distract from the vocals mixes, it’s another solid track. Eighth track, A Fistfight With Bambi, makes it as my favourite off the album. What begins as a rather typical electric lusty track is built up with the harsh, rockier side, before an almost Busted-esque angst prevails in the chorus with impossibly addictive hooks and simplistic rhymes that make for crowd-surging sing-a-longs.
Penultimate From The Shallow End Of The Gene Pool (which sound like it’d make for a great insult) allows the harsher vocals to lead the record and the riffs to take a driving part of the record, slipping to a backseat where the catchy vocal chorus links itself into the track, before final I Still Believe In Ghosts makes a show of forefronting the percussion in the intro. With its fair mix of vocals and instrumental, its a solid way to close the album, finishing up with the radio-style static that opened the record.
If you’re looking to expand your music taste, this is a real must-listen, as if the easycore genre intends to unfold as this record does, it’ll be a thrill ride you’ll want to be a part of.