This is a re-issue of the getting-hard-to-find debut LP by Canada’s Statues. It’s firecrackery power pop and I stand by my previous (hugely positive) assessment that they’re the best Dilbert punk band on the planet. But I’d like to augment that with two other reference points. William Golding’s Lord of the Flies and The Who’s Quadrophenia: two well-known works that are examinations on class and, ultimately, indictments of greed and avarice perpetuated by that class structure. Piggy gets murdered. Ace Face’s Vespa is ghost ridden into the sea. Right below the surface action is a structure that has been in England for centuries and adopted by Canada. (They do share the same Queen.) It’s the mundane stuff that all slowly adds up to a boil, and the Statues have got its pulse: Standing in lines, separating fences, processing orders, satellites monitoring movements, bosses monitoring mistakes, the inability of technology itself to make human connections, telemarketing prompts during dinner, being forced or coerced to rate your own productivity on a scale of one to ten, and middle management scapegoats. It’s the death by a million little bites of modern middle class life preoccupied by the illusion that the ladder to a more fulfilling life is through making more money. And like both Lord and Quadrophenia, in New People Make Us Nervous there’s this tension, this impending snap; for the storm, for rebellion, for revolution, for the return to a natural state that doesn’t involve corporations in collaboration with the state. And that’s what the Statues sing about, so bouncily that you might miss it if you’re pumping your fist and spilling your beer. And that’s part of what makes The Statues so fuckin’ great.