Much as I love Fishbone they are a band that doesn’t have too many huge commercial moments in their smooth and sophisticated career, rather just consistent quality adored by those that don’t need any chart bothering fireworks! New album ‘Stockholm Syndrome’ is the same in that whilst it’s a wonderful and smooth soundtrack that is a joy to listen to there are no absolutely monster moments. And that I think is why Fishbone remain a very guilty pleasure for many but never really bothered the mainstream.
I mean who couldn’t love the trumpet solo on the funky ‘Last Call in America’ or the frenetic Ska opening to the ‘Adolescent Regressive Behavior’?
This is a ‘new’ era for Fishbone though, and I quote Wikipedia here…
“In January 2024, Steward left the band for a second time. Then in April that year the band made a vague post on Facebook, indicating a major lineup change for upcoming live dates. The very next day, Dowd revealed that Fisher and Kibby had left the band due to disagreements over songwriting and recording schedules. Dowd and Moore vowed to continue, alongside new musicians to be announced, as Fishbone. This left Moore as the only member who has been with Fishbone throughout its entire history; Dowd was also a founding member but with a lengthy hiatus before rejoining. New members Aroyn Day, Hassan Hurd, and JS Williams were added. Guitarist Mark Phillips left the band four months later, and was replaced by Tracey “Spacey T” Singleton who had previously left the band in 2003.”
As it stands the new lineup so far has released the single “Racist Piece of Shit”, and ode to Donald Trump. Then in April 2025, the group released the single the opening track here “Last Call in America” which features George Clinton. Both are on the new record due for release on June 27, 2025. The band’s first new studio album in almost 20 years – or since 2006’s rather wonderful ‘Still Stuck in Your Throat’.
‘Dog Eat Dog’ has you wanting to dance as the horns lead the way to the sweet soul sounds then out again, and ‘Suckered By Sabotage’ adds an almost vaudeville high octane opening before falling back into some cool swinging reggae and harder chorus. It’s all wonderfully eclectic and whilst ‘Secret Police’ broods, you begin to realise that this is an insanely and wonderfully diverse record.
Deeper in: ‘Gelato the Clown’ is completely and brilliantly unhinged ragtime that reminds you of what DLR used to do, only more starkly original. Then there’s the wonderful counterpoint of ‘Why Do We Keep on Dying’ and its reggae lament, whilst ‘Hellhounds On My Trail’ is a bubbly SKA number rather than an update on the Robert Johnson classic.
I loved the Trump inspired ‘Racist Piece of Shit’ when it came out last year and sat here it’s just as powerful, and much as I tend to dislike politics in music these days (mainly because it’s so ‘pat me on the back, look how enlightened I am‘ this is borne out of real frustration and real issues that continue to divide the States. ‘Living On the Upside Down’ is one of my favourites here, beautifully constructed and addictive and ‘All About Us’ bubbles along nicely hitting a great groove and brimming with swing laden horns.
The last word goes out to love! ‘Love is Love’ that rounds out a new era could well be my favourtite here, a gentle ballad that has both message and melodies. The perfect last though to leave us with. A record to cherish for all the right reasons.
8/10