Propaghandi has always held a place in many people's hearts for their impassioned and political stances that they take on their record, and I always respected that political basis of much of their lyrical content and overall message of the band. Musically though, they had always been missing something for me. Every genre of punk and or hardcore has had those types of bands (a la Chokehold in hardcore circles). When I saw that Propagandhi had released a new album, I took note that I would check it out.
Potemkin City Limits is that latest and long awaited album. Allow me to start off by saying that some people have been hyping this record with immense praise, and I started listening to this unusually excited to hear it. As the first songs started, I must say that I was repulsed. The first three tracks sound like a wishy- washy hardcore band making a poor attempt at being "heavy". The overly slick production turned what I am guessing is supposed to be heavy parts into weak filler parts of the songs, and it really took apart from the emotional level that sounded like the band was going for in the first place. In fact, this is the case throughout the album. The production makes the whole album sound sterile and the only good dynamic levels captured were in the vocals, which are well recorded here. The fourth and fifth songs are actually excellent, as they sound markedly different than the first three cuts of the album. Upon hearing these tracks back to back, a renewed sense of excitement gave me a better look on the record, even the sixth track starts off well, but then it dies off and sounds much like the first three songs. From this point, I have to be honest and say that Potemkin City Limits never really recaptures that feel of the previously mentioned two superb tracks.
I think, or rather I hope that the production can be singled out as the reason for the lack of diversity in the emotive quality of the music, especially with the vocals having a highly emotional dynamic that is well recorded. The lyrics also are extremely funny, sarcastic, and intelligent (Although there are some old hackneyed phrases like "When the chickens come home to roost" that were unnecessarily scattered throughout the album).
Overall, Potemkin City Limits has its high points (vocal sound, lyrics, and tracks four and five), but the low points really weigh it down. The members of Propagandhi definitely have their hearts in the right place, but their execution on the album is just lacking. In the end, if I were to listen to political punk rock, I would rather listen to Aus Rotten, Human Investment, or even throw on a Crass record or two. Hell, I think that Against Me! is doing this a bit more interestingly at this point. Fans of Propagandhi will be into Potemkin City Limits for sure, but if you are not a fan or undecided about them, than this new album is not the record of theirs that is going to change their minds.
The time is 7 a.m. as I pace frantically across empty parking spaces towards a vacant Tower Records. I know I'm three hours early, but after waiting patiently for four long years my heart is about to catharsis all over the asphalt if my ears aren't satisfied ASAP. All week I had been ranting on about the new Propagandhi album Potemkin City Limits to anyone who would stay in one place long enough for me to expel feelings of overwhelming anticipation to them. The song "Die Jugend Marschiert" was available to preview before the album dropped, illustrating the new, and more mature sound that Propagandhi has adopted. Amazing. Potemkin City Limits feeds you a melodic meal of political vegan brute force, reminding us that Propagandhi aren't straying far from the cynically sarcastic jargon they've become so popular using. From the artwork, to the clean-cut quality, and up until the final musical confrontation on "Iteration," Potemkin City Limits met every need my body was starving for, and will pleasantly do the same for you.
Let's put the lyrics aside and focus on the music. Potemkin City Limits has a much more developed sound. The songs are longer, which helps convey the lyrics more passionately, and the band is able to fuse a newborn melody into every song making the album flow perfectly. If the slower, more dramatic songs such as "Cut Into The Earth" and "Life at disconnect" don't float your boat, they're still a grip of songs on the CD that drive home the raw sounding guitar bits you would hear on How To Clean Everything or Less Talk, More Rock. But don't read me wrong, both of the aforementioned songs are amazing in their own.
To accompany ones journey through this album, the CD booklet is entertaining enough by itself. It's filled with quotes from influential books, powerful messages from the band, and an illustrated pwnage of farmer john. Although this could make your average vegan pit-boss happy, I can't personally agree with some of the stances they take. If you're in anyway turned off to a bands music by their presented message, Potemkin City Limits, or any Propagandhi album for that matter isn't for you.
"Fixed Frequencies," "Iteration," and "Rock for Sustainable Capitalism" are kickass songs. There's no other way to explain it. These songs have married both the lyrics and the music blissfully. Potemkin City Limits injects its catchy song narcotic into my vein, leaving me in a musical trip of my own where I am forced to sing the songs over and over again. The only problem with this drug is when I come down off of "Name and Address Withheld," "Superbowl Patriot XXXVI" leaves me in a gloomy dismay.
I can't think of anything else to say to convince you to go out and purchase this as soon as possible. So, if you're looking for something that's not too rough, and not too smooth, but just right--here's your answer. It's not perfect, but what is nowadays? Potemkin City Limits is politically delightful and fun for the kids.
