Bad Religion - The Process of Belief

(Review) 2/11/07
Release Year: 2002

Bad Religion is usually to blame for directing youth toward the punk rock scene. I remember when I brought home my copy of “Suffer,” with its album art containing a boy on fire with a cross through a cross on the back of his shirt. I was lectured by my parents and forced to return it back to the record store the next day. Of course, this only fueled my desire to listen to punk rock, and I ensured that my copies of “How Could Hell Be Any Worse?” and “Against the Grain” would remain untouched beneath my bed. When I eventually purchased “The Process of Belief,” the cover art was subtle, and easily made its way into my room. Turns out it was too subtle for my friends.

At the time of my purchase, the title track “Sorrow” had been playing consistently on the local radio station KROQ in Los Angeles. My friends, who listened to NOFX, The Adicts, and Clit .45, heard its slow (unacceptable!) melodies and immediately began their criticisms of how “not punk” the new Bad Religion album sounded. I immediately crumbled under their sneering and conservatively replaced “The Process of Belief” in my CD player with “Punk in Drublic.” However, today I realize that the single was not a completely accurate indicator of the entire album. Bad Religion has taken a much more educated approach to condemning a human race that constantly makes the same poor decisions that pervade our society. Though there is an unusually significant pop feel to “The Process of Belief,” it is certainly more punk than my friends could have ever imagined.

Did someone say fast songs and ferocious beats with provocative lyrics? That is usually a staple of Bad Religion, and they bring the quick instruction on the first three songs of the album, “Supersonic,” “Prove It,” and “Can’t Stop It.” The beginning of the album is excellent, as it develops a pace fit for a circle pit. However, the album changes pace too many times. From “Broken” to “Destined for Nothing,” the themes are relatively similar, with social struggle and our futile existence, but the music does not seem as fluid. “Broken” is much slower, feels like a ballad, and addresses different situations, whereas “Destined for Nothing” is angry and focused. Songs like “Materialist” and “Kyoto Now” have decent, catchy music with vocal harmonies, but the lyrics are not nearly as impressive as the rest of Bad Religion’s masterful works.

Although there are a few kinks in the album, there are catchy and relevant tracks that add to the album’s quality. “Sorrow” and “Epiphany” complement one another as slower pop-punk songs that work well as messages of the ignorance of man. The same can be said for “The Defense” and “The Lie,” as they can open ignorant eyes to the world’s madness, if it is not already apparent. The music is not a departure from Bad Religion’s common sound, and Greg Graffin’s vocals have slightly improved with age.

“The Process of Belief” is not Bad Religion at their best, but it is a worthwhile listen and does a suitable job of conveying Graffin’s concerns about the world. I’m the one who now criticizes my friends as they keep their narrow-minded opinions about Bad Religion. They will never concede that Bad Religion can function well as an evolved pop-punk presence, especially now that my mom enjoys the music.