Music

Rock Kills Kid, Are You Nervous? (2006)

June 16, 2007 by Raymond Blanton

In the 1970’s, there was a young depressed and isolated man, a film critic, who wrote a screenplay which resonated personally with an up and coming movie director. Together they put on celluloid one of the more unique and controversial films in the last quarter century. The critic was Paul Schrader; the director was Martin Scorsese and the film, Taxi Driver (1976).

The reality is that depression and isolation are often catalysts for meaningful and necessary reflection. This rings true for Los Angeles based Rock Kills Kid frontman, songwriter, and guitarist Ryan “Hermit” Tucker. “Many of the songs tackle the same theme…which is just me dealing with isolation. For several years, I was alone, alone. I didn’t go out at all. So I had a lot of time to reflect on who I was.”

Tucker, along with guitarist Sean Stopnik, bassist Shawn Dailey, keyboardist and vocalist Reed Calhoun, and drummer Ian Hendrickson are a living homage of sound to the great bands and music of the mid to late 70s to mid 80s. From The Cure, Wire, Joy Division, Depeche Mode and U2 to more modern comrades in post-punk rock Interpol, Franz Ferdinand and The Killers, they are a hybrid of sound. For what it’s worth, Rolling Stone has declared Rock Kills Kid as one of the “10 Artists to Watch in 2006”.

Signing with Fearless Records in 2000, they released a five song Rock Kills Kid EP in 2001 but never really got off the ground. Reduced to living in Fearless’ studio and cleaning up with baby wipes, Tucker found ample time and valuable stimulus to write, a salvation of sorts. “I didn’t have anything else to do and writing became my cushion. I got used to it. Then I got addicted to it.” Before it was all over he had written upwards of 150 songs. Their debut album, Are You Nervous?, was recorded in February at Hollywood Sound in L.A. and comprises vast synth-rock edge and nervy rhythm resounding zeitgeist of both a generation past and present.

The highlight of Are You Nervous is the poignantly simple and resonating voice of their lyricism, which conveys a most basic human condition, isolation. It’s not merely the music and the lyrics but the backdrop which catalyzes and shapes both the identity of the band and their “fans”. It’s the story behind the stories. It is after all that most basic of human realities, emotion and experience, that generally encapsulates and defines ones identity.

Or is it? What does one typically utilize to help shape the identity of self? Is it relationships, education or a successful combination of both? On one hand, Tucker’s end could have been much like their predecessors frontman Ian Curtis of Joy Division , who ironically in 1980 just prior to his suicide sang “Isolation” on their second album Closer . Yet, he went a different route. It’s perplexing to consider how or why these routes are chosen or perhaps choose, but nonetheless it speaks to a sense of shrilling despair and hopelessness that seems to have enchanted our frustrated culture.

Reflections
Albert Camus notes in the opening line of The Myth of Sisyphus, “There is but one truly serious philosophical problem and that is suicide.” This in many ways encapsulates the angst of our culture’s existential cynicism and relates so well the walkabout, or wandering lost, mentality of our culture. Yet, in the same breath I must utter that though wandering, the Creator isn’t amuck in slumber and that the good news of the gospel of Jesus Christ offers hope where human behaviorism is impotent. We ourselves and our culture are in desperate need of compassion and grace.

Rock Kills Kid’s lyrics tend to hover in and around this theme of isolation and thus identity. What defines you? Is it the digits in your bank? The sewn patches on your high school jacket? The “success” of work? Essentially, the gospel declares that one is truly defined in light of the person and work of Jesus Christ and we aren’t going to overtly see this portrayed well in our popular culture. It seems intangible to state such an ideal for identity, like a Sunday paper cartoon, robotically predictable, yet it’s the gospel truth. It is here that our efforts to embrace common grace in our culture, integrated with honest gospel reflection that is at the heart of the Church’s calling. The apologia (see 1 Peter 3:15) or defense, of Peter’s urging implies that we be actively engaged and aware of not only our Christian position but our depraved condition from which we both stem in heritage and also to declare such gospel from. Now, keep in mind the context of Peter’s letter was one in which they’d been given an imperative question to consider, i.e. apologia for the hope which is, not merely in you, but that has been clearly discerned by another. In other words, do people notice a distinguishing difference in us? Do they sense hope of do they sense continuing despair? Regardless, it is the gospel that reverses all sense of logic and brings purity and healing to that which has no hope in itself. Rock Kills Kid has captured the attention of young people and closet isolationists all over and on this fertile ground we should consider their voice.

From their top 15 US chart track 1 “Paralyzed”, which is tattooed all over MTVU, and embodies the impetus of motivated reflection that set off this musical tremor of influence. Their memorable “ Don’t Want To Stay ” oozes with eighties flair leaving me feeling as though I’ve been cheering Cru Jones over Bart Taylor in the movie Rad (1983) having just taken the Pepsi Challenge and eaten a Whatchamacallit candy bar. “Hideaway”, along with most all enclosed tracks, provides a tumultuousness of toe tapping tarry, especially in “Raise Your Hands”, which is what you’d get if musicians Depeche Mode and Dick Dale got together in their best Hawaiian shirts. Overall, they convey their isolation with audacity and welcome honesty. Yet, it is here that the gospel steps up and where humanism hits a brick wall.

I know I’ve had my share of isolated moments. You? The Psalms come to mind and the vast reflections and honest introspections that generate meaningful perspective. I recall Psalm 73. It isn’t until after a long hard look at the world and some honest questioning that there is a conclusive sense of understanding: “…I envied the arrogant when I saw the prosperity of the wicked. They have no struggles, they are free from the burdens common to man. When I tried to understand all this, it was oppressive to me till I entered the sanctuary of God; then I understood their final destiny.” (v. 3-5, 16-17) It is here that music has such common grace and power. In a way these postmodern psalms of inquisitive wonder as to who we are and why we endure such suffering and isolation are true and genuine opportunities for us and the gospel to soothe. The question is, will we and how so?