The third largest city in America is known for its tourist attractions, expensive shopping strips, and view of Lake Michigan. But underneath the glitz and glamour is a dark world ruled by crime, and divided by race and class. Chicago is a violent, grim city with a history of corruption- the perfect setting for Gotham City in the newest “Batman” movies. But this gloomy empire of the Midwest is also full of thousands of working class individuals whom labor for hours on end within the Industrial Corridor on the west side. The punk scene in Chicago provides the perfect soundtrack for this weary life lived by the working class who struggle to provide for their families. Bands that formed in the 80’s and early 90’s, like Naked Raygun, The Effigies, Apocalypse Hoboken, and Pegboy used their dirty aggression as inspiration. But that was then- this is now. Who can now provide the music for Chicago’s hidden hostility? Enter The Arrivals, a band socially conscious and brutally honest. With familiar sounds echoing of Chicago’s first punk rock uproar, and a new, sophisticated spin on the genre, 2007’s Marvels Of Industry provides The City That Works a new anthem.
The album begins with a quiet tweet of one guitar suddenly interrupted by the thunders of innovative distortion. “I’m Sorry For Saying I’m Sorry,” the first song off the CD, gives no apologies for the startle, and continues with a personal, howling description of disappointment. With lyrics like “There’s no hope when you’re dancing in a steady wind,” you can’t help but scream along in excitement with a band that finally understands your Midwestern-woes.
Marvels Of Industry proceeds with constant profound and melodic vocals provided by Lil’ Dave and Isaac, the band’s two guitarists. Each song screams with passion as the lead guitar contributes backing vocals, hitting notes to create a harmonic equilibrium. With songs like “Quiet American,” the lead guitar can’t help but sing along with the lyrics, while the back up guitar makes sure to provide the grittiness of punk rock. The bassist, Paddy (who is also a member of Dillinger Four), gives the band its backbone with constant walking-bass lines. And the drummer, Ronnie, not only holds the beat, but also ensures to play with the music in a spontaneous manner- a punk rock persona of Keith Moon.
The evolution of Marvels Of Industry is quite profound as well. The album provides plenty of traditional punk rock tunes, like “Open Faced” and “Why You Talk All Shitty?,” which are conveniently followed by the untraditional guitar driven ballads “Toni-I-Hight” and “White Hero Type.” But the two most intense tracks are placed strategically in the middle, one after another.
“Company Of Salt”, the longest song on the CD, clocking in at just under five minutes, begins with a crescendo of drums hinting at something large. The song depicts an adolescent negatively impacted by the world around him, causing cracks in his spirit and psyche:
“At seventeen years old there’s no fast track to salvation. For a kid that’s filled with holes there’s no special rights.”
The instruments, on the other hand, compliment a hard day of breakneck work thanks to the rising rush of a beginning, and a heavy, tiresome end. “The Company Of Salt” leaves the listener wondering how can the working class defeat this mentally and spiritually exhausting day with dignity and reassurance?
Following “The Company Of Salt” is “Fat Of The Land,” an melodic, upbeat, fist in the air number that encourages blue-collar workers to keep on trucking. The song denounces the obvious separation of classes in Chicago, but acknowledges the humane fact that we need each other to live. In the end, the chorus for “Fat Of The Land” bestows an anthem for mankind, encouraging cooperation:
“Did I smell anger, anger? Don’t let it be my undertaker. No, thank them, thank them, for keeping me alive. They’re welcome to their dollar, they’ll have their cake and we’ll have ours as we drink on their dime,”
Marvels Of Industry supplies the listener with an intense tour into the rough side of Chicago. The music throughout the half-hour album perfectly illustrates Chicago’s tone, while moving punk rock forward into a new era. Overall, Marvels of Industry is poetic, intelligent and innovative both lyrically and musically. The Arrivals superb masterpiece will forever be embedded in the dark and raw punk scene of the Windy City.
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