Thirty years after their self-titled album, the pioneers of California reggae-rock have released Until the Sun Explodes, a comeback as unlikely as it is moving. Few bands carry a legacy as heavy as Sublime’s. The death of Bradley Nowell in 1996—a tragic fate he himself had foreshadowed in “Pool Shark”—froze the Long Beach trio into a legend that was both dazzling and unfinished. Thirty years after the release of their self-titled album, it is Bradley’s son, Jakob Nowell, who takes the mic for what the band officially presents as the epilogue to the late singer’s work. It was a risky gamble. They pulled it off.
An Uncompromised Sound, an Inherited Voice
From the very first bars, any doubt is dispelled: the sound and production remain true to the band’s DNA. This unique blend of ska, punk, and reggae with a touch of hip-hop—the very same sound that paved the way for an entire generation of Californian followers—finds its natural coherence here. Jakob Nowell’s voice bears an uncanny resemblance to his father’s, to the point of immersing the listener in familiar territory, far removed from the heresy that the Sublime with Rome venture had represented. The first single, “Ensenada,” further confirmed this connection, achieving immediate popular success thanks to its raw lyrics carried by a ska-punk-reggae energy. Several songs maintain an obvious connection to the band’s classic repertoire: “FTR” is reminiscent of “What I Got,” “Gangstalker” is in the same vein as “Wrong Way,” and “Come Correct” recaptures the spirit of “Waiting for My Ruca.”
The Chaotic Structure of Robbin’ the Hood: A Willingly Embraced Legacy
While the sound may be familiar, the album’s structure is surprising—or rather, evocative. Until the Sun Explodes follows in the footsteps of Robbin’ the Hood, Sublime’s least accessible album, characterized by an abundance of skits and a deliberately disjointed track order that demands an unconventional listening experience. An artistic choice that may confuse newcomers but will appeal to purists.
The title track, a deeply personal song, closes the album with rare intensity. Of note: “Thanx Again,” which follows it, revisits the concept of “40 Oz. to Freedom”—a musical tribute to the era when CDs still reigned supreme.
A Few Shortcomings, but a Necessary Comeback
The album isn’t without its flaws. The hip-hop and reggae influences, though central to Sublime’s original identity, take a back seat to punk and rock, creating a slight imbalance in the sonic mix that had made the band so unique. The most impactful tracks—”Come Correct,” “Backwards,” “Figueroa,” “Casino Taormina,” and the title track—are nevertheless enough to make it worth a listen.
Until the Sun Explodes appeals as much to longtime fans as it does to younger listeners who discovered Sublime through their followers—Slightly Stoopid, Pepper, Dirty Heads, Stick Figure or Rebelution. A welcome return, to be sure, one that hits the mark more squarely than one could have hoped.
Sublime will be in Montreal as part of the Vans Warped Tour on August 21.
