It’s a sign of the times. A punk band, long known for its snotty sense of humor, lighthearted discontent with the mainstream and drop-out goofiness has switched gears, taking up figurative arms in an effort to reshape society. Yes, with The War on Errorism NOFX has finally become a mature punk act rather than the terminally adolescent one it has been for the past decade.

With its Bush-baiting title and cover art, NOFX delivers the most direct and unflinching damnation of Republican government to date. The Dixie Chicks can smart off (then profusely apologize when it cuts into royalties) and Eddie Vedder can smash Bush masks with token activism all he wants, but rarely has a band come forth with such a clear message: It’s time for Mini Me to get out of office.

Not since The Clash titled a triple album after a band of South American freedom fighters has a record with this sort of profile hung its hopes on a political message. And political NOFX is this time around. From the obvious “Separation of Church and Skate,” which derides the punk world for becoming so wishy-washy apolitical and watered-down, and the damnation of the stupidity of the American voting populace in “Idiots are Taking Over,” NOFX has had enough with the silly stuff. It’s time to wage war and use its position to influence minds. Even when it backs off, such as with “Regaining Unconsciousness,” a wakeup call about the ever-increasing definition of “un-American activities,” The War on Errorism stokes the same fires that were fed by everyone from The Clash and Dead Kennedys to Pennywise.

Of course, there’s still the skate-punk antics NOFX is known for on this album. While War On Errorism sports a broader thematic focus and a grasp of deeper issues than previous NOFX records, the band’s music is static: The high-octane Californian punk, complete with melodic bass and overblown guitars is still in effect like on all the band’s previous records. There are also a few toss-off goof tracks, from “She’s Nubs” an ode to an armless, legless punk girl, and “Mattersville” a look at the aging punk scene.

Those don’t really mar The War on Errorism, however. Along with the sophomoric humor (that’s best left to Blink these days), NOFX has also avoided the issue-oriented songwriting that’s made Dead Kennedys songs age so gracelessly (does anyone even know, let alone care about former California Governor Jerry Brown any more?). There’s no doubt that Errorism is a shot at the establishment, particularly George W. Bush, but NOFX does it from a standpoint of general leftism that ensures the thrust of the songs will still be relevant long after W. is just a note in history books.

Yes, NOFX, you’ve finally become a punk band with teeth. Congratulations.

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