One day, ska will be recognized as a scene that isn’t only very active but has only become more vital with time. When people call for the comeback of ska—and yes, somehow, people ARE still asking for its resurgence—too often they’ll mean the reforming of Goldfinger, Reel Big Fish, and Mighty Mighty Bosstones (the latter of which went horribly wrong with one…timely music video). Mainly, they’re just asking for the old gang back as opposed to welcoming the new ones. All this aside, plenty of things happened to kick off the resurgence of ska music.
Gainesville, Florida’s YouTube sensation Skatune Network covers multiple songs in the style of ska, Long Island punk vet Jeff Rosenstock turned his No Dream album into a ska album, and bands from Ann Arbor’s We Are the Union and New York’s Mega Infinity emerged out of the ska revival scene ready to kick ass while kicking feet at the same time. Hell, Michi Diglo of the latter band is a “PR Mom” for Ska Punk International. Ska was never really a fad; it’s a scene for those who want good trumpet-heavy bangers to skank to and good vibes emitting from good people. For those looking for another worthy contributor, meet Boston’s own PINK SLIP.
Suck City, PINK SLIP’s 2024 EP, may not be the most standout ska project on earth, but when the band bounces, they bounce high, when they sway, it is a breeze, and they offer good times, even in bad moments. Singer, part-time podcaster, and regular Boston music scene participant Heather Mack is a powerhouse crooner who lifts the songs’ energy and emotional power to great heights, even at her most cutting. For example, they burst out of the gate with “Play Nice,” a song boasting lyrical middle fingers at personal insecurities. Mack stresses in the song her disinterest in “bending over backwards to be liked” with a voice passionate and powerful enough to lift the most tired spirits who listen. Over a summery bounce sure to inspire a smile on your face, you’re inclined to not only relate but celebrate. This doesn’t mean Heather is any bit of a slouch when she also sings about the hell of suffering from Imposter Syndrome on the more explosive and nervous “Imposter.”
PINK SLIP also claims the tightest band with Ben Stein on Trumpet, Austin Arroyo on Trombone, and Fatigue/The Only Humans’ Lilz Martin on drums. If the previous two bouncers don’t demonstrate a band that will force your soul to do cartwheels, then I don’t know what will. “Bury Me on the Beach” is one of two slower tracks while the rolling bop of “Another Bullshit Night” finds the band firing on all cylinders with music leaning more towards the speed of punk than ska, and with it, threatens to crash upon the chorus without ever doing so.
Suck City is a collection of songs refusing to match its lyrical downer nature with anything but jittery and fun music—that’s what ska is mostly for anyways. The world is on fire and shit hasn’t been working out the way we want it to, but we always have a collection of friends (perhaps, bandmates) that can help us work through it and turn such energy into its own party. Suck City is another solid piece of proof that ska never lost its juice.
