Buskers of the Day: Judgement Day; Berkeley's Busking Brothers

Loud, sensational, and classy, the group “Judgement Day” does what few musicians can- merge genres and styles with aplomb and brilliance. “Judgement Day” is by no means a household name. But while replacing pop conventions with snappy instrumentals, upbeat tones with the dark and brooding, and guitar-rock flair with violins and cellos, “Judgement Day” finds a tender uniqueness all their own.

I first caught Judgement Day opening for the progressive rock group

“dredg.”

Dredg cull comfort in the excessive, painting musical landscapes with bright multi-tiered palettes, and use brushstrokes to almost literal levels of musical clarity. Their sweeping album “El Cielo” from 2002 reached one of the greatest pinnacles of musical art. My expectations for the opening group were high, noting that any band that tours with dredg should be formidable enough to hold their own in such company and good enough to want to watch and listen to.

It’s interesting to see their contemporaries, and find a predictable pattern instrumentally and stylistically that teeters on monotony. And yet I remained in the small club, watching “Judgement Day” with fresh eyes, feeling like a virgin in a history of music delving far beyond my years. Their eclectic style and ground-breaking performance reminded me of exactly what “epic” meant before it was thrown through the mud and overused at every possible moment when something was considered mildly “large.” So like any good musical supporter, I bought “Dark Opus,” the groups’ debut full-length album, for a modest $10. Of course I enjoyed dredg’s set, but it was r “Judgement Day” that made the lasting impression. Who was this mysterious vocal-less trio, and how did violins and cellos suddenly become so enthralling?

To explain “Judgement Day” in a few words fails to “describe” much of anything. I have to implement the use of a cliché “you have to see it for yourself.” There is a liberal touch to “Judgement Day” that is encapsulated in their live show, by omitting traditional instrumentals of rock and metal. The group includes brothers Anton and Lewis Patzner, on the violin and cello, respectively. The trio is rounded out by a slightly more rock traditional drummer in the form of Jon Bush.

The classic sound doesn't sound classic at all. “Judgement Day” follows the scope of ‘Explosions in the Sky’ more than the baroque. Their earlier material is short yet sprawling, doing more in 2 and a half minutes than many artist can do their entire career. With more stylistic speed and adrenaline-fuelling licks, their song “Pitfires of Hell,” accomplishes in one tune, what most “rock bands can achieve through a whole career. Yet, “Out of the Abyss” uses the violin to full effect, delivering us into an ethereal undertaking of what may quite possibly sound like Hell itself, expect with more screaming banshees and less fire.

With critique comes natural hyperbole but let’s establish this quickly- “Judgement Day” finds new ground, and not just in their respective choice of instruments but in their song structures, aesthetic, and tendency to bend the rules.

“Dark Opus” remained circling in my record player for months following my first live performance of the group. I found myself detailing what exactly made “Judgement Day” so wild. The album was short and the songs weren't revolutionizing music. But there was something about their energy, vitality, and liveliness, that allowed each song to bleed into the other, making for a classic punk rock metal version of a roughly 30 minute jam.

Their blistering style made for a superior live performance. Around the time Judgement Day released their second full-length album, “Peacocks/Pink Monsters", I caught a street performance of the group busking in Southern California. Was it destiny? I guess. I’m not immune to beliefs of spirit-enhancing predestination, but upon discovering their music, I felt drawn to visit “Judgement Day” (among other things) and view their performance in a new and equivocally foreign environment.

Peacocks/Pink MonstersDeath MarchTo prepare, I purchased “” seemed to take the brooding near-doom approach to a literal extreme. The song frightens.” on CD, and played it on my modestly large and forever indebted record player. The energy was unrivaled. “Judgement Day,” in their 3 year break from releasing a proper full-length, somehow got heavier. Their songs were longer, but the adrenaline and escapist nature remained intact. “Cobra Strike” sounded like an incoming apocalypse and “

The album sounded like trying to break away, someone trapped and bent on seeking revenge. Whether a concept was pre-written into “Peacocks/Pink Monsters” largely vocal-less affair, or was extraneously drawn from fans and spectators alike, the fact was that “Judgement Day” increased their instrumental skills and focused on what made them special in the first place.

The closing track “Genosha”, proved that in long-form, the trio was on top and sensational. Gone were the brief interludes that, though charming in their own right, lacked a concise song-like rhythm. Replacing them was a cohesive collection of 12 tracks that justified a whole lot more than the band ever really needed to in the first place.

It’s unfair to deem “Judgement Day” as a gimmick group. I’ve heard it before, and it’s not something that should be shied away from. Their inclusion of a violin and a cello, over a guitar and bass, makes for a uniqueness that allows them a contemplative edge. Yet, it isn’t really their instrument choice that makes them unique. Their songwriting would work brilliantly in almost any form, because at the core of “Judgement Day", there exists a creative outpouring of well-structured songs, infused with soft balladry, whimsical soothing breaks, and punk rock adrenaline. Through it all, the group craft the hard to find and rare art of “catchiness.” The songs not only stick, but they attract.

“Judgement Day” is currently creating their third album, “Polar Shift.”

As far as I can tell, the album is aptly titled. They make an effort, whether conscious or not, to move away from their “metal” roots into a more African tribal direction. I expect fans to, at first, be outraged at the change to their sound as they move along in their career (blasphemy!). Yet, “Judgement Day” seems to always hold onto their true nature as musicians. It is not about the pressure to change, or to appease fans, or to constantly grow as musicians. The idea of being a musician is to craft music that makes sense to the author, and in many ways, making music is a selfish outpouring of your inner emotions as well as a selfless act of giving yourself to the music for those to listen to. It’s an odd duality. If that wasn’t the case, “Judgement Day” would release songs to their own email addresses and keep them there. The point being, “Judgement Day” is not a gimmick act, nor an act that has anything to prove. Their validity as musicians was already substantiated when they graced a performance stage or continued busking a trio. Performance art? Sure. Great songwriters? Indeed. But what “Judgement Day” represents is an inherent desire to write music that has a purpose and relevance; to write songs that remain appealing and everlasting. Of course, there’s no pressure. There never was. “Judgement Day” just is.

#buskers #Turntable