Politics. Hatred. Endless war. We doomscroll as our rights are stripped away. Bombings.

Kidnappings. Mass shootings. The nightly news is a litany of brutality. Assassination.

Subjugation. Deportation. We argue with each other while the rich get richer and cruelty

is normalized. These are just a few of the reasons why the title of The Casualties’ new

album is Detonate.

“It stems from being overloaded,” drummer Marc “Meggers” Eggers says. “You feel like

your head is about to explode, which I think is what everybody is feeling these days.

You’re pounced on day by day with terrible news and social media, and you just feel like

you’re going to snap.”

“Not too long ago, we were stuck in COVID,” guitarist Jake Kolatis adds. “Now we're

trying to get back to normal life, and the world has gone crazy. There are continuous

wars and internal political battles here. Everybody's tearing each other apart. Detonate

is saying we’re tired of all this division. With this record, we have a chance to say

something and promote some type of unity.”

Detonate is the second chapter in a new epoch for The Casualties. As their second

album with David Rodriguez at the mic, it solidifies the vocalist’s partnership with

Meggers and Kolatis. “It’s like a new era for the band,” Meggers says. “It solidifies that

Dave is here to stay.”

As the follow-up to 2018’s W ritten in Blood and their first record for Hellcat

Records—the Epitaph subsidiary curated by Tim Armstrong of Rancid—Detonate sees

this new version of The Casualties locking into place. “We were in the studio for W ritten

in Blood about eight months after I joined,” Rodriguez says. “With this new record, we

really grew together. For me, it’s the proud moment where we clicked the three Legos

together.”

“We’re really proud of this new record,” Meggers adds. “On the first record with a new

singer, you can get a little bit of leeway, but on the second record they’re really going to

judge you.”

With the unblinking eyes of the punk world on them, The Casualties pulled the blinds

and did what they do best. “There was a degree of pressure, but not from outside

sources,” Rodriguez says. “We just wanted to do the best record that we could that

honors The Casualties name and history without playing the same song over and over.

But it wasn’t that we even had to go out of our way. It felt natural to write this new

music.”The title of Detonate’s first single, “People Over Power,” speaks for itself. “We’re getting

kind of smushed by the world, by government, by the bad news,” Rodriguez says. “We

want systemic change, total transformation, degradation to the state. ‘People over

Power’: It’s as simple as it sounds. You keep pushing, and something really bad is going

to happen that none of us want. We’ll burn it to the ground eventually.”

“It’s a protest song through and through,” Meggers says. “We want the vibe to be: You

listen, get angry, get your gang together, and get out on the streets.”

Speaking of the streets: “Brick by Brick” features a cameo from Agnostic Front guitarist

and all-around NYC legend Vinnie Stigma doing some spoken word. “His voice is the

embodiment of New York City, the Lower East Side, where the Casualties are originally

from,” Kolatis points out. “So, it made all the sense in the world to have him do that. But

just having him on there was fun because we're great friends with Agnostic Front.”

“The song has a very New York hardcore kind of sound to it, so I knew Vinnie would be

perfect,” Meggers says. “Agnostic Front just happened to be in LA two days after we

came up with the idea, so Jake and our engineer went down to the show and gave

Vinnie the lines to record. It just fell into place.”

Native American punk band 1876 contribute guest vocals and percussion on “Ashes of

War.” “As long as I’ve been listening, I’ve felt like The Casualties always spoke up for

people in society that didn't have as loud of a voice,” Rodriguez says. “The Casualties

have always had some Spanish in songs, but it just seemed like such an important time

to have loud Native voices. You don't hear it that often. We were out on the road with

1876, and the more we spoke together, the more we really found out.”

1876 flew down from their home base in Portland, Oregon, to perform on the track.

“Their sacred drum had to be out in the sun—it was a whole ritual,” Rodriguez explains.

“It was a very serious moment.”

Meanwhile, “Pigs on Fire” is a trilingual track sung partly in Spanish, partly in English,

and partly in Portuguese. “My dad was very involved in the Chicano movement, and my

wife is Brazilian,” Rodriguez says. “When I would go down to Brazil, I would see another

side of what's going on. Just like the United States, it was colonized and had a large

slave trade. And a lot of people don’t realize that it’s the only South American country

that doesn’t speak Spanish. It was another piece of the puzzle to speak loud for voices

that aren't as loud as the mainstream voices.”

In fact, Rodriguez visited Brazil right before The Casualties recorded the album. “When I

was down there, I kept seeing this graffiti: ‘Set the fascists on fire,’” he says. “I thought

that was such a cool line. I took my notebook everywhere I would go and I just put thepieces together. I would listen to some news that was going on here and news that was

going on in Brazil, and it came together with some really cool imagery.”

“Because it’s in Spanish, English and Portuguese, it’s in the languages that Chicanos

and Latinos speak,” he adds. “It’s about us coming together against the powers that be.

But for the people that don't understand, we're just telling them it's a barbecue song.”

Ultimately, Detonate amplifies the punk ethos that The Casualties have embodied since

1990: A raised fist in the face of oppression. “I want people to feel empowered when

they hear this record,” Rodriguez says. “I want them to feel like they have a voice. I

want them to feel like they’re with like-minded people when they come to a Casualties

show. They can be themselves and not watch the show but be part of the

show—scream with us, jump off the stage. We want them to feel like they’re part of

something.”