{"id":65065,"date":"2018-06-27T15:36:49","date_gmt":"2018-06-27T14:36:49","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=65065"},"modified":"2018-06-29T12:38:34","modified_gmt":"2018-06-29T11:38:34","slug":"review-the-interrupters-fight-the-good-fight","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-the-interrupters-fight-the-good-fight\/","title":{"rendered":"Review: The Interrupters – Fight The Good Fight"},"content":{"rendered":"

\"\"<\/a>Ska-punk has never been an inherently cool genre, but there\u2019s still a number of bands who\u2019ve been awarded plenty of clout within the scene. There\u2019s Rancid, for one, and by association, the acts signed to Tim Armstrong\u2019s Hellcat Records, arguably the most prominent being The Interrupters<\/b>. But as both of their albums up to this point have proven, their status has been down to far more than simply goodwill. They\u2019ve often proved themselves to be a fairly solid band in their own right.<\/p>\n

And while \u2019Fight The Good Fight\u2019<\/i> continues with that, it\u2019s hard not to think at this point that ideas are beginning to cycle around again. Both their own and those of the ska-punk scene at large. It\u2019s definitely what you\u2019d expect from this genre \u2013 bouncy horns and weedling organ lines to take emphasis away from lighter guitar work \u2013 but with a very Green Day-esque sensibility coming into \u2019Gave You Everything\u2019.<\/i>\u00a0Amy Interrupter clearly tries to emulate Tim Armstrong\u2019s slurred throughout, and the comparisons become too close for comfort. It stops feeling like The Interrupters<\/b> as an individual identity and more of a composite of bigger acts they\u2019ve earned their stripes around.<\/p>\n