"Maximum Penalty" are an East Coast rock/punk band that got it's start in the late eighties (with a hiatus for a period in the 90's), and at one time was probably considered part of the "hard-core" movement there, although this album falls laughingly short of that title. Their newest, "Superlife," finds the band trying to "mature" and become more "melodic" in their approach according to their press release. They have accomplished their goal - unfortunately. It leaves the listener with watered down, overused songs.

The used/abused factor is most present in the guitars. Although not bad, they run on ground that's already been tread by a thousand different versions of a punk band. Damn near every song starts out with some intelligent and catchy guitar riff, but then relapses into the same song through most of the disk. They just kind of plow forward with a couple of verses and howled choruses and it comes off shallow and worn. Guitarist Joseph Affe can write a tricky cool riff when he wants (i.e. the bouncing guitar intro that opens "Among Friends"), but always falls back too quickly into the standard 3 or 4 chord strumming progressions that are nothing new.

All the songs really start to sound the same (differentiated only by the intros). MP should let the bass control the feel more often. The few rare times MP showcases the low end of Mark Sisto, the effect is usually likable and catchy. "Mood Swings" uses the bass for the quick skipped intro nicely, and then kicks along the song with the same pace...but then MP fall right back into the dull punk rock chord progressions.

Here and there sparks of originality shine. The rumbly verses of "Hate," although that title for a song is as used as most of their guitar structures, grumbles along like a truckload of bowling balls. "Could You Love Me" is an unexpected harmonic number. From the "hoo-hoo-yeas" in the intro to the "hold me ti-eyi-eyi-eyight" of the chorus, this sounds like the radio hit off this album. Even the guitar plucks along on a happy metal bounce, finally omitting the manic punk drums/guitar pace.

"Life Jacket" sounds a bit askew with it's early Motley Crue sounding tinny power chord bounce, and which really has nothing to do with the song once it kicks in - back to the punk strummin'. I see this as the standard formula for an MP song. A tricky guitar intro to get your attention, then use basic fast punk chord strumming for the verses, speed them up or slow them down for the choruses, and you've got yourself a punk tune. And a worn one at that. Singer Jim Wadud Williams has a decent range, and croons loudly, avoiding the typical bark and growl of the genre, and would stand out beautifully if he wasn't constantly singing over such tired riffs - which is too bad, because MP tackle some meaningful insights within the lyrics.

And just when I think I've got "Maximum Penalty" figured, they drop another notch by offering "No More Mondays," complete with horns and a skipping ska beat. Just what the world needs, another bastardized ska/punk song. A note to MP: throwing in the mandatory, and expected, double time shout and bark chorus does not preserve your punk rock creed - it deletes it!

What is cool, besides the punk rock catholic school girls on the cover, is the collage inside, showing various band members, friends, family and other bands (is that Skip Skool from Hogan's Hero's/OS010?!), a couple of Thurman Munson (of the NY Yankees) memorabilia pieces, plus some old flyers. MP gets credit for focus and paying their dues. One flyer shows MP gigging with Sick of It All on 9-17-88, and it is apparent on some level. MP would do better to focus on quality and less on quantity (there are 20 songs here) and trim the excess. If you smoosh all the good parts of this album together, there is a really decent EP here somewhere.

The idea is right, it just falls short in the writing. What is the Maximum Penalty for mediocrity?