The real punk rock movement of the 1980s is a misunderstood time in history. Often seen by adults and outsiders as just a large number of hooligans getting trashed and breaking things while intolerable music played in the background, saying it is looked upon unfavorably is a bit of an understatement.

Those who “got” what it was all about — the camaraderie, the do-it-yourself ethos and the zest for a life that is all too short — are few and far between, but among the few and the proud is English singer-songwriter Frank Turner. Turner has continued preaching the punk rock ideals with his acoustic guitar and raspy voice and his latest release, “Poetry of the Deed,” demonstrates his mature side, while he still holds on to the youthful ideals he fostered in the days of the punk rock movement.

“Live Fast Die Old” opens the album with Turner’s patented aggressive style as he growls “I bought myself back from the Devil/ Now I’m keeping it all for myself,” with his harsh voice and thick English accent that makes him sound part drunken sailor and part jaded punk rock hero.
“Try This at Home” sounds like an old Irish drinking song with it’s fast paced melody and in-your-face lyrics. In the less than two minutes the song lasts, Turner verbally assaults skinny jeans, rock stars, trendy haircuts, hipsters and an unnamed English country singer. Turner will never be mistaken for a pretentious man, and his brashness makes him a breath of fresh air in a stuffy music scene in which everyone considers themselves “sensitive artists.”

Turner gets a touch wistful on the slower “Isabel” and laments how the course of his life has changed from what he imagined it would be in his youth. The song is heavy, but rather than getting down in the dumps, Turner maintains a positive perspective and keeps the album moving along instead of bogging it down. “The Fastest Way Back Home” picks up the tempo on this unorthodox love song.

“Sons of Liberty” is Turner taking a stab at politics, but perhaps what makes the song intriguing are the changes in sound throughout. There is the simple strumming of Turner’s acoustic guitar in the beginning, the drum-driven verses and the string solo that gives the song an Irish jig feel. The sections all combine near the end and create a lush, full sound with Turner’s grisly vocals soaring over them.

Turner does his best Johnny Cash impression on “The Road,” a country infused tune that documents his widespread travels. After the furor of the preceding tracks, “Faithful Son” is cause for a double take. This acoustic track is a stripped down, vulnerable tune and proves that Turner can go beyond punk influenced anthems and is more than just a one-trick artist.

“Richard Divine” is the first stumbling block of “Poetry of the Deed.” It is simply boring, and Turner lacks the fire that he displays in the previous songs. He does little to regain form on the sleep inducing “Sunday Nights,” which drags on well past the point of being bearable.

The album’s finale, the folk influenced “Journey of Magi” mercifully ends the album. Turner suffered a terrible loss of momentum in the final moments of the album. Gone was his fire and passion and replacing it was a bleak, cloudy-day sort of lethargy that ruined what could have been a great album.

The message that Turner props up with his music is worthy of applause.

He is the every-man of musicians and should be the baseline for what every musician, not just punk rock musicians, aims to be — authentic and uncompromising.

Once Turner finds a way to keep his internal fire burning and the music consistently good, he will be a true force to be reckoned with, but on “Poetry of the Deed,” his fire loses steam before the finish line.

Reach the reporter at jdfourni@asu.edu.