Suburbia, with its rolling green, well-manicured lawns and pretty little flower beds, is considered a “paradise” by many. Suburbia, where locals pretend that apartments, much like crime, does not exist. It is a land of teenage rebellion financed by daddy’s money and a land where angst finds a way to permeate every corner of every housing development. Where acting and looking identical to everyone else is the expectation and being anything but soccer-mom-acceptable is cause enough to be shunned as if one has the Plague. Suburbia, honestly, there is nothing special about you. That is…until you considerer the music you inspire. 

Upstate New York may appear to be comprised of hundreds of Levittowns, but the State can claim a stocked roster of eclectic bands. One such band is Rochester’s own, Polar Bear Club. The hardcore punk quintet has quickly made a name for themselves since bursting onto the scene back in 2005. With the release of their third record, the appropriately named Clash Battle Guilt Pride, the group is poised to convert even more fans to their brand of hardcore tinged pop-punk. 

“Drove up to Beacon Hill for the first time tonight // It’s us against our will // With Neil Young and Catholic guilt,” vocalist Jimmy Stadt croons on “I’ll Never Leave New York.” Polar Bear Club, like many of their contemporaries, harnesses the energy, environment, and frustration of suburban life. The vibrant “My Best Days” and the “Kneel On Nails” are honest nods reminiscent of Title Fight. Stadt’s delivery is similar to that of Tim Mcllarth without sounding like a knock-off. His gruff vocals are the shining light of Clash Battle Guilt Pride; “Life Between The Lines” shows off his range while “Slow Roam” displays his ability to control his voice for the better of the overall product. 

Coming off the critically acclaimed Chasing Hamburg (2008), Polar Bear Club needed to produce an equally relatable and passionate follow-up. Clash Battle Guilt Pride accomplishes this feat. The raucous one-two punch of “Killin’ It” and “Screams In Caves” are two of the best tracks PBC have every created. The former is a barn burner of a song, finding drummer Emmett Menke destroying the kit. The latter shows off Stadt’s range while highlighting the twisting guitar play of Chris Browne and Nate Morris. There is a certain level of confidence heard in PBC’s playing that balances nicely with their authentic, fervent lyrics and musicianship. 

Yet, the real treat of Clash Battle Guilt Pride is tucked away at the end of the eleven-track album. “3-4 Tango” is a brilliant piece of punk and pop writing. With a chorus written to be screamed by hundreds of sweaty mosh-pit dancers, “3-4 Tango” is a narrative about two individuals, Arthur and Sarah, who seem to have gone in separate directions, losing everything they hold dear. Songwriting like this is trespassing on Bruce Springsteen territory. It serves as the perfect ending to a record so honest, so passionate, that even the most rejected suburban kid will find comfort and support. Perhaps the young city slickers, too. Clash Battle Guilt Pride is a success.

★★★.5/★★★★★

*This review was composed by Mike Meeze