Berthold City – Where Did We Go Wrong?

Where Did We Go Wrong? is Berthold City’s third consecutive release of the last three years. Following 2023’s A Moment In Time (a compilation of the band’s first two seven-inches plus previously unreleased material and B-sides) and 2022’s When Words Are Not Enough, the band’s sophomore LP showcases 12 unrelenting tracks of pure velocity. Released on vocalist and primary songwriter Andrew Kline’s label, WAR Records, this collection of songs perfectly encapsulates the band’s evolution as a force to be reckoned with in the modern hardcore scene.

Berthold City wastes no time in going for the gold by strategically placing the record’s title track first up. A commentary on the dystopian reality in which we are currently faced, “Where Did We Go Wrong?” expands the band’s palette to more melodic hues not previously explored in the band’s music. Chants of the song’s title placed over a tribal groove with a nasty, yet funky bass line send the song off in a manner that is no doubt a nod to the NYHC greats, Judge. 

“Against The Odds” stays in familiar territory for the band—fast, no gimmicks hardcore with a tough as nails breakdown. Spitting in the face of age and time, this song raises a middle finger to the grim reaper of hardcore that seems to beckon many away due to the fear of judgment, calling upon the strength to prove nothing to anyone but yourself.

If any song on Where Did We Go Wrong? belongs on the latest installment of Tony Hawk’s Pro Skater, it’s “X-Ray Eyes”. This is the record’s catchiest little bop that comes in with a Fugazi-esque bass line that is immediately transformed by the accompaniment of the guitar and vocals. A lyrical narrative ala John Carpenter’s They Live, “X-Ray Eyes” is an inside look into the bullshitters, the fakes, the dead weight that deserves nothing more than to be cut off. The dichotomy of the anger found in the lyrics with the sunny feel of the music makes this composition an interesting one of juxtaposition. This stands out as one of the record’s most memorable tracks.

Track four “To New Lows” really shows what the band does best–a marriage of anger and intensity present in both word and riff. A highlight of this track is the superior drumming by the band’s latest edition, Todd Henning (formerly of Death By Stereo, Heckle, and Love Equals Death), which is present throughout the record, but truly showcased in “To New Lows” where his fills carry sections of the song where the other instruments are sparse. The lyrical content of this song reads as poetic, filled with similes, descriptive landscapes, and motifs that leave the listener with chills. Just when it feels that hope is lost, the declaration “there is a spark that will never go out” echoes through the closing moments of the song.

“Outside The Lines” is indicative of the DIY nature of hardcore—a community of people who choose to live by their own rules, despite society’s conventions. This song almost acts as a direct reaction to the dystopia described in the title track, as “Outside The Lines” by acknowledging the underlying pain with a vow to break free from monotony and be true to oneself. This is one of the record’s most youth crew-inspired tracks, holding space for epic singalongs, crucial two steps, and posi jumps galore. Closing out Side A is “No Way Out”, a mid-tempo head bobber that ventures into Lockin’ Out-style Boston hardcore. 

“World In Pieces” is far and away Berthold City’s longest song to date, clocking in at 4 minutes and 17 sections. Complete with a piano intro, played beautifully by Dutch pianist Wotienke Vermeer, the track is concise in every second it uses, giving the listener to pause and reflect prior to resuming the second half of the record before a crushing build up ushers in Kline’s naked cry—“SCREAMING AT THE WORLD, CAN’T TAKE IT ANYMORE”. A commentary on the global climate crisis, the song’s lyrics describe a disastrous state of the planet, paired with urgent and vicious guitar riffs elevating the catastrophic conditions described. While most hardcore tracks are known for their speed and efficiency, with each listen of “World In Pieces”, it’s hard to fathom that such an immersive listening experience has taken up two to four times as many minutes as the average hardcore anthem. This could be the greatest four minute hardcore song.

Still coming down from the high of “World In Pieces”, its follow up “Time Won’t Change” is classic Berthold City through and through. Carrying you through the final stages of the record, this song could have easily fit on one of the band’s first two seven-inches, making it a cohesive piece in the puzzle that is Berthold City’s catalogue. The quick paced drums, ripping power chords, echoing gang vocals, and a fucking sick Mouthpiece reference (“Can’t Kill What’s Inside”), the song ends up kicking you in the teeth until the very end. And HOLY SHIT, the “BUST IT” right before the final breakdown? If you see me in the “Time Won’t Change” pit, it’s curtains for you, bub.

The final third of the record begins with “Lights Go Out”. After being emotionally crushed by “World In Pieces” and pummeled by “Time Won’t Change”, “Lights Go Out” breathes new life into the record’s sequencing, similar to “As Wicked”’s position in the track listing on Rancid’s …And Out Come The Wolves—a personal favorite that shrewdly speaks to the impeccable placement of each track. This operates in a similar way. The injection of melodic leads, Todd’s section carrying fills, and a guest vocal appearing halfway through the song from Strike Anywhere’s Thomas Barnett—it’s all coming together.

Track ten, is “The Cost”—the album’s lead single. Noticeably absent from this version of the song is an excerpt of Raybeez’s iconic introduction to Warzone’s “Don’t Forget The Struggle, Don’t Forget the Streets”, which can be found on the lathe cut seven-inch and digital single versions. However, in conjunction with the entire record, the choice to omit the soundclip is fairly unnoticeable and understandable, as the meanness of the song cuts in right away with no time to think about what’s missing. The song is nearly over before it even starts, when the caveman breakdown hits. A couple of repeats of “who pays the cost?” followed by a shredding solo by Warzone’s Jay Lehrhoff, and the song fades out like a memory. 

“N.W.O.R” (New Wind of Revolution) is the record’s paragon of punk. Resplendent with visions of revolution, the new wind of revolution is a humanitarian anthem carried by octave chords, images of raised fists, and sets the stage for an optimistic future, which contrasts from the title track. If it weren’t for the band’s angrier tracks, this one would peg them as a posicore band!

Finally, the record closes out with “Fight For Life”, which features a drum beat not seen previously on the record and once again speaks to the skills of the man behind the kit. The vocal effect in the verses makes the sound of the struggle absolutely monstrous. The fight for tempo between the song’s two main riffs—one fast, one slow—really speaks to the feeling of wrestling with a mixture of high and low emotions, which is often true of the struggle with self worth. “Fight For Life” closes the record on a succinct note that feels complete and satisfying. 

The typical hardcore trajectory has historically ended for most bands after the first LP. It is difficult to maintain listener interest within a genre of so many templates. Too often, a band will succumb to any number of musical pitfalls that render their legacies all but over in a short period of time. The unique ability to continue to create engaging songs with lasting value is exactly what is found on Where Did We Go Wrong?. Berthold City are true masters of the art of hardcore and the proof of that is found in the very etchings and grooves of this record. Take a listen for yourself. You won’t be disappointed and you’ll remember it long after it leaves your ears.