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Detroit’s Suicide Machines by Will K. Shilling |
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The decade that produced platinum punk/pop should have been the ‘70s. Instead, it took another twenty years -- until the void of the post-Cobain ‘90s -- for the industry to shove melodic, snotty powerpop into the mainstream and down millions of GenY throats. Still, whatever one’s opinion of these blink-in-the-pan testostedrones. . . hey, at least they ain't the Eagles. Suicide Machines may fit that shoe, but it’s doubtful they’d wear it. Inspired by old-school bands that practically bled integrity -- Bad Religion, Black Flag, and especially Operation Ivy -- the quartet first formed in 1991 as Jack Kevorkian and the Suicide Machines. The name was shortened before their rep for hyperkinetic performances inked them a deal with Hollywood Records. The band’s 1996 debut, Destruction By Definition, turned critical heads and was followed by 1998's Battle Hymns. Utilizing a roster of drummers, the core trio of Jason Navarro (vocals), Dan Lukacinsky (guitar), and Royce Nunley (bass) has built a steady following ever since. Their latest timekeeper, Ryan Vandeberghe, adds both youth and experience to the mix. Vandeberghe may be the band’s baby at 22, but his roots go back to the origins of proto-punk and the seminal Motor City scene. "Kiss, Iggy and the Stooges, MC5 -- that's what I grew up listening to," he says, giving props to his pops. "I was lucky, my Dad was pretty cool. The first records I played were. . . bands my dad listened to around the house." His dad’s work in the very music scene which inspired him "never really went anywhere," and consequently Vandeberghe’s father warned him against pursuing a music career. "It was kind of a burden, he didn't want me to do it," he laughs. "He knew how tough it was. But now, he's totally proud. . . Of course, he says he should do the lighting and sound for our shows."  Suicide
Machines have paid their dues as foot soldiers in punk/pop’s colonization
of the TRL-infested airwaves. They’ve toured the legendary, all-ages
circuit blessed by Green Day, the Offspring, and Rancid and garnered such
recognition that longtime fans may be hoping against any more success
for the band.
The irony of the punk/pop hybrid is not lost on them. Musicians understand the pragmatics of having Bad Religion open for blink-182. Having toured with hardcore heroes like Suicidal Tendencies and bubble punks such as No Doubt, Suicide Machines recognize that punk purism ain’t what it used to be. They usually avoid burning any bridges by dissing their contemporaries, be they big or small. Usually. But on the latest disc for their Disney-owned label (more irony, anyone?), they do pray for the euthanasia of one rock trend. "I Hate Everything" takes a swipe at the rap/rock phenomenon. Vandeberghe says the overpaid, overplayed Korn clones and Limp Bizkit impersonators are an obvious target. "It's becoming the exact same thing as the Backstreet Boys and 'N Sync," he observes. "Now, anybody who's got a D-tuned guitar and turntables can get signed to a major label. Which, if anybody can do that, great, more power to 'em. It's just amazing how many of these bands sound exactly the same. "It's sad, ‘cause I think the first Korn record is one of the best ever made. They were one of the most important bands to follow in Rage Against the Machine’s footsteps and establish that style of music. But none of these others are original at all. It just makes rap look bad and hardcore sound. . . silly." |
