If you were one of those writing Pennywise off after the departure of Jim Lindberg, then you’d probably be in good company. Though not the dominant personality of the band, Lindberg’s vocal set heavy on their sound and, similarly to Gallows, they’re a band that everyone assumes will struggle without that distinctive vocal. For that reason, the arrival of Zoli Teglas from Ignite (arguably one of the definitive punk rock vocalists of the last 20 years), seemed to fall a little flat initially.
Early reports of his fronting of the band seemed to suggest that it was a bit of a Pennywise karaoke affair, and as the band’s tenth full length ‘All Or Nothing’ was announced, people were ready to suggest they sink the ship there and then. One reserved judgement later, and we can happily report that ‘All Or Nothing’ should blow that idea right out of the water.
We were all but ready to call ‘All Or Nothing’ the same turd with different polish after the recent output of the band was so much less than inspiring compared to the early stuff, but Zoli being at helm really seems to have revitalised the band:
The instrumental work is still that Pennywise sound at the core but there’s new ideas and inspiration running throughout the record, and though they’d likely get a much fairer deal had they just started a new band, that’s their choice and it’s instantly a case of “fair fucking play”.
‘All Or Nothing’ should shut a lot of people up (it certainly did us), and it’s stamp of authority from the new line up, showing that they’re still very much going strong. The standout tracks are the Offspring/Sum 41/Bad Religion/Ignite reminiscing mash up ‘Let Us Hear Your Voice’ (that seems to have been scientifically constructed to induce mosh pits), the straight up political party banger ‘Tomorrow’ and the fist in the air anthem ‘We Have It All’, but Zoli seems to have been such a positive influence on the band and their style in generally that you can’t help but feel that the last thing they want to do is call it a day any time soon.
It’s an album that probably isn’t destined to inspire a new wave of skate punk (we definitely hope we’re wrong here, though) but it is a spectacular and surprising return to form for a band that seemed to be in swift decline. If you’ve ever enjoyed skate punk and/or Pennywise, then drop those preconceptions and give yourself a swift sonic kick in the balls for ever doubting them.
TOM AYLOTT