Megan Froehlich
Promoting an overwhelming amount of empathy, Badflower’s 2019 rock album OK, I’M SICK maintains a quality that gets people listening past a point of emotional exhaustion. The album ravages through Josh Katz’s head in a way so detailed and thorough that it would be considered extremely intrusive if the lead singer didn’t write the music himself. The band never appears to consider self-censoring and rather, seems to be on a mission to make people uncomfortable, even if the true goal is to normalize certain conversations. Covering topics such as panic attacks, sexual abuse, self-harm, and suicide, OK, I’M SICK takes a multitude of situations and answers the question “What does this sound like?”
The album comes in at full swing with “x ANA x,” a high-energy song about panic attacks that gets the heart pumping overtime. With epic guitar solos that have the tempo of a racing pulse and vocals that at times resemble screams, this track tests out every way to mirror anxiety. Yet, with so many sections to the track, it also evokes joy and creates a high from questioning “what comes next” on this unpredictable ride.
The lyrics are organic, especially the second verse that seems like a monologue in which Katz calls himself sick. By “sick,” he means mentally ill, as he goes on to explain in the following lines and upcoming songs. This confession is authentic as Katz has been very open with the public about his panic disorder and depression. He describes “Ghost” as the hypothetical story of him living out his fantasy of killing himself. The song demands attention, both lyrically and musically. “Ghost” isn’t an easy listen, it might even be considered a painful one. Yet, the song has identified Badflower as a safe space for so many fans, many of whom have said the song has saved their lives. The context Katz has provided for each track gives each lyric more value and allows fans who relate to him to feel less alone and more supported.
Not only is Katz willing to be vulnerable with his fans, but he seems to be so open with them that he doesn’t care about what he says or how he says it. “Daddy” explores the topic of sexual abuse and holds back nothing. Details like “she shakes at the sound of jingling keys” spark anxiety and discomfort. But no matter how disturbing the subject matter, the story is compelling, and the quiet verses allow for anticipation of the chorus’s release. Here, the volume surges, and the vocals are so melodic and satisfying.
Despite the incredible energy that “Daddy” closes with, the next track, “24,” is depressing and slow, exhibiting the lack of liveliness that Katz must have been feeling when he wrote it, a truth that tugs at the heartstrings as he repeats “I’m too afraid to be alive.” The record doesn’t rest. Every song highlights some type of intensity: a song about a toxic love affair, “Heroin,” is followed by a song about the band’s intense hatred for Donald Trump, called “Die.” The song is so electric that it can heighten someone’s bit of resentment towards the Trump Administration to a point of them screaming “let’s kill them all!” with the band at the bridge. These transitions work because each song is so immersive it steals all the focus from the previous track.
Badflower cares about much more than making good music. It cares about social issues, transparency, mental health, having fun, and giving its audience a good time. It is a powerhouse without an off switch. This record is not one to put on and be forgotten about; it demands you to sit down, listen intently, and feel every emotion it throws at you. Whether the stories are found to be relatable or not, they conjure the darkness in the back of minds and provide both an awareness of it and an escape hatch for it. The album is somehow cathartic, exciting, painful, and fun. OK, I’M SICK is a wild ride worth strapping in for.
Live Writer 