Quad Cities’ Running Man are the local antithesis to aging out. These guys have been steady putting work into the QC DIY scene, playing in bands like Meth & Goats, Lord Green, Tambourine, The Multiple Cat, Mondo Drag and more. The group formed when ex Dead Kennedys and The Wynona Riders front man “Skip” Greer came to the QC and wanted to continue making music. Now, a little over a year since their first shows, their debut album resonates with a punk ethos formed from decades of experience.
“Kismet Gold” opens the affair with its toe-tapping classic punk aura, setting the tone for the album. Running Man are classicists in the punk and alternative landscape. Guitar solos, bass breakdowns, sneering vocals, Beach Boys-esque backing vocals all make appearances here, eschewing the modern post-punk trend in favor of a series of homages to sounds that have shaped the punk scene over the years.
“Chosen One,” for instance, opens with a synth swell before shifting into a motorik beat and jabbing guitars that Gang of Four would be proud of. The delivery of the song, while touched by post-punk classics and krautrock sensibilities, plays out like a soundtrack to a doomed road trip. “Fatal Flaw,” likewise showcases nods to Television and Elvis Costello.
There are many artists that can be picked out as inspiration for Running Man, but even as the album unfolds each new foray into distinct sounds, the band moves in their own way, crafting a sound that is as familiar as it is exciting. The bouncy Meatloaf-meets-Richard Hell “Second Skin” would sound corny in less experienced hands. Album closer “The Art Of Letting Go” is the standout track, capturing the perfect mix of nostalgia, lamentation and resolve to move forward from the past. The chorus is a hooky earworm complete with “whoa-oohs” while the bass line counters the upbeat guitars like a nagging memory that you could smile about before moving on.
The album feels familiar musically, but its production is a big part of that, sounding like a vintage punk record lost in the crowd of late ’70s and early ’80s releases. In some ways, this is like a warm hug, a nugget of the past tempting you to reminisce about your punk days. However, as thrilling and bright as their musicianship is, this vintage feel nullifies some of the more thrilling parts. The addition of synthesizers is almost lost in some of the tracks, the drums and the backing vocals could shine a bit more as well. Despite this minor complaint, Running Man have released a collection of thoughtful, catchy and endearing songs, at home in today’s world as much as they would be 40 years ago.
This article was originally published in Little Village’s December 2024 issue.
