Showing posts with label Pop Punk. Show all posts
Showing posts with label Pop Punk. Show all posts

Saturday 23 September 2023

Olivia Rodrigo "Guts" (2023)

 

Two years on from Sour, Olivia matures, returning with welcome yet familiar tuneful dances of vulnerable self expression. Guts possibly signals the expression of having enough to bleed these pained relationships she divulges in detail. Among its twelve tracks, we experience the flip side, highs and lows, loves and heartbreaks, all in broken sequence, letting each song take form with its own identity.

Like last time around, mature, expressive and palatable singer songwriter bites get wedged between chirpy, catching hooks and pop sensibilities. Often teenage in nature, Olivia has no difficulty finding relatable words with an essence of youth and soft touch of rebellion. Not my preferred picks yet her vibrancy so clearly on the pulse of those young years, one can take a step back into those spaces faded by age.

A notable 90s Post-Grunge, Alternative Rock aesthetic rears its head on occasion. My favorite track, Pretty Isn't Pretty, bolsters a gorgeous shoe-gazing guitar lick. Underneath a luminous baselines marches with a delicate assemble of subtle instruments coloring its calmer moments. The tone is wonderfully balanced, fresh yet nostalgic, she yields her voice to whats asked of the instrumental. Stunning song!

These revived sounds kick off the album back to back. All-American Bitch and Bad Idea Right? get there Pop Punk kicks on with fun and cheeky expressions. The later reminding me of Devo's Whip It in an obscure way, must be that tight overdriven guitar riff! Every time an energetic song arrives, it always comes with a complimentary sense of specific inspiration from the 90s and 00s alternative music scenes.

The soft and vulnerable cuts found between are my favorites. When the guitars fade and airy synths rise, alongside moody pianos and tempered strings, Olivia opens up with endearing stories of personal woes felt in her voice. It strips out the attitude and quirk of catchy hook writing, saying similar things but from direction experiences. This is where the guts of the record lay, their pacing between other sounds is apt.

Lastly, the record ends with Teenage Dream, reflecting on artistic and cosmetic atrophy. A tender track exposing her relationship with the massive pressures of fame and public opinion. Its quite saddening considering how heavy such thoughts can weigh. Feels like an potential premonition, a self fulfilling prophesy. Hopefully getting it off her chest wont make that so! This album was remarkably gratifying, just as good if not better than Sour. I'm left knowing I will keep coming back to this one.

Rating: 8/10

Tuesday 7 June 2022

Sum 41 "Chuck" (2004)

 

Initially, the Canadian Pop Punk outfit Sum 41's fourth outing was supposed to be the most exciting! Hailed as their most metallic release, I was keen on seeing how their Pain For Pleasure and Reign In Pain tributes to classic Metal would manifest with a prominent roll. With their warm, poppy personalities stripped out, replaced by a glum tone looming over the record, the music isn't as appealing without that bright, upbeat streak of Skate Punk. Softly depressive, gently downtrodden and moody, the metallic pursuit leads the music to an angsty self-defeatist tone I failed to vibe with.

Given previous manifestations in the spirit of Judas Priest, Iron Maiden and Metallica, I was expecting more of that! The latter of which you do hear on occasion. Oddly, its the then dead Nu Metal genre that has its influences. The catchy lyrical cadences of Chester Bennington is obvious at times. More so Papa Roach of all bands. Many distinctive arrangements from Infest, both vocal and guitar driven, make themselves known, as well as a riff from System Of A Down. When turning to Metal, originality clearly is lacking and the chopping between contrasting styles is far from fluid.

Disappointed by the glum tone of Nu Metal influences, the Punk leanings get dragged along in that dreary spirit. The riffs are not as bright and chirpy, lyrics lack an emotional resolve once heard before and ultimately its mood is a drag. Of course it has its merits, catchy choruses and the occasional riff but I found myself pulled into those hopeless teenage moods id rather forget. You could say its personal bias however I'd defend how naked some of their musical compositions are in the shadows of others. It drowned out originality and left a sense of disappointment with me.

Rating: 5/10

Monday 23 May 2022

Sum 41 "Does This Look Infected?" (2002)

 

I've had nothing but fun with this cheap and cheerful record! Following up on a massive breakout with All Killer, No Filler, the Canadian Pop Punk outfit keep things simple and straightforward with a fraction of polish around the edges. Fast and fiery, the forty minutes of Does This Look Infected? storms out the gate with all energy intact. Keeping one foot on the gas, the band blaze through the motions with moments of dazzle and creativity as crafty vocal cadences, harmonies and interchanging guitar arrangements seem to frequently add spice to the mold these songs are cast from.

Lyrically, a similar sense of unrealized maturity emerges. The youthful angst, anger, adrenaline and notions of identity expressed get caught in a web of casual language. All to often does a streak of self awareness seem to offer a subtle antidote to teenage woes. It perhaps something I could of done with myself in those painful years. The only cheese I smelt came through their fun Beastie Boy raps, taking shots at the conformists suits! An amusing topic but one that seems far more relevant in youth.

The group have a streak of Heavy Metal adoration best pronounced with their Pain For Pleasure tribute. On this outing, Reign In Pain, the "Heavy Metal Jamboreee", follows this up and extends the style shift with World War 7 Part 2 to close the record out. These are significantly unpopular songs acording to Spotify but on the popular tunes, Still Waiting, No Brains, Mr.Amsterdam Billy Spleen, one can hear injections of classic Thrash Metal guitar riffs swiftly sliding into the solid Pop Punk structure.

Obviously, this is a delight to me. I do find it interesting how blunt of a Metallica riff they can just push into the albums biggest song... and it works! A lack of familiarity has aided greatly with this one, the lack of knowing and detachment of youthful memories was a breath of fresh air. I am sure this journey will get more exciting with the next installment, Chuck. I'm told it takes a much bigger shift towards Metal.

Rating: 7/10

Wednesday 11 May 2022

Sum 41 "Half Hour Of Power" (2000)

  

Released a year prior to All Killer, No Filler, the Canadian Pop Punkers debuted with this mini album, Half Hour Of Power. Its another suitable title to represent what awaits as the blaze though eleven fast and furious chops of bright, melodic, teenage Punk. Interspersed with brief stints from other genres, the group gather some distinction. Opening with Grab The Devil By The Horns, the original working of Pain For Pleasure, they may mislead with classic Heavy Metal leads, screams and riffs deployed as weapons of choice for the opening act. Its this metallic inclination that crops up again with spouts of aggression heard on T.H.T and Ride The Chariot To The Devil.

With a fun and goofy pivot, each of the lads showcase their Beastie Boys imitation raps on What We're All About. Its upbeat, tongue in cheek and a great laugh however Second Chance For Max Headroom's doesn't yield the same. Pivoting away from its dexterous, metallic, melodic leads that blaze away with pace, the switch into Ska as trumpets arrive on a new groove, was certainly less desirable. Its probably the one blemish were thees guys excel at having tremendous fun with their influence, which they put front and center.

Otherwise its mostly straight Pop Punk with great upbeat vibes. The lyrics release youthful grievances and teenage troubles against the backdrop of fast tempered drum grooves and power chord strumming. Most these songs could be interchanged onto All Killer, No Filler. Summer being the one song that made it over and I wouldn't say its the best on the record. Makes No Difference feels like single material, capturing that energy of Fat Lip and In Too Deep. The difference is the recording fidelity. This was obviously recorded on a lower budget yet the music overpowers as its thirty minutes are a blast!

Rating: 6/10

Sunday 1 May 2022

Sum 41 "All Killer, No Filler" (2001)


Talk about a blast from the past, my teenage days of lounging on the couch after school, watching MTV for hours on end have returned so vividly! As one of Pop Punk's best offerings, the four friends of Sum 41 rose to prominence off the back of two massive singles, In Too Deep and Fat Lip. Both songs still sound fantastic to this day. Banging out the warm bouncy riffs, fun light hearted raps and instantaneously catchy hooks, these songs are so hard not to like, which brings me to musical elitism.

I remember loving these songs, as well as Pain For Pleasure, immensely. I'm also positive I had this record and one other of theirs in my collection. I am guessing as my tastes turned darker and harder, my naive youthful elitist Metalhead mind purged this "pop music" from the archives. Now a couple decades on from those years, I'm quite fond of hearing Pop Punk of that 00s era whenever it happens to pass me by.

Either Green Day, The Offspring or Blink 182, which I supposedly hated at the time, I can't deny my love of their songs I'd heard on the Tony Hawks Pro Skater soundtracks over and over again. Spending time with All Killer No Filler hasn't exactly increased my appetite for the genre, in fact its the same as I remember but at least now I can enjoy the warm fuzzy feelings these guys extract for suburban teenage problems.

As the title suggests, the band blitz through their ideas on a string of briefer three minute songs. Its fast, lean and sharp, with mouthy attitudes shouting off. Its not aimed at anyone, or with any malice. The tone is bright, sunny and upbeat. Its vibes get interspersed with fast tempos, choppy riffs and fun aggression, a typical chemistry for the genre. Most these songs lyrics have the finger keenly on the pulse of ones own emotions, relationships and mental health. A term not in the vocabulary of the times.

Despite being keenly introspective, it all tends to be ankle deep and light hearted, straight forward expressions, often airing out grievances and frustrations over suburban teenage issues, all with a decent spirit. Strangely I didn't find much of the lyrics cringe or typically angsty, the sort you'd find in embarrassing reflections on youthful ignorance. Even the anti conformity lyrical chants of Fat Lip hold up.

Lastly, Sum 41 have a slightly metallic edge. It doesn't manifest often, one or two "heavy riffs" and blazing guitar solos nod to their other influence. They give a wonderful tribute to Judas Priest with the albums closer Pain For Pleasure. Its quite possibly one of the best executed imitations of Priest you'll ever hear. It gives credit to the musicianship of these individuals who step into a genre easy to emulate yet hard to rise to the top of, which they did if you count music sales and chart success as a measurement. I've always been curious about doing a dive into Pop Punk but my time with this record didn't connect deeply. Had I gravitated to it in my youth, I'm sure I'd consider this a classic!

Rating: 7/10

Thursday 17 February 2022

Olivia Rodrigo "Sour" (2021)

 

Being of a different generation, I only became aware of Olivia Rodrigo when the storm of ignorance descended upon Sour and its similarities to music of decades past. Is she reinventing the Punk Pop wheel? Or pinching from Paramore on Good 4 U? Crashing the record open with Brutal and its nod to Elvis Costello, I can see why the accusations flew her way. A lot of people don't understand that everything is a remix, we stand on the shoulders of giants and there is little true "originality" to be found. We're products of our surrounding environments, influence flows through one to the next. All music has its place in the tree of evolving lineage, branches spread, flowers blossom and bloom, looking all so similar yet with their own quirks.

I'm happy the has controversy lured me in. Olivia has a powerful, independent voice, a swaying mix of committal and vulnerability, with a loose grip in timely moments. This generation is growing up on auto-tuned vocals and its physically effecting how young people now sing. I'm more partial to the old ways and no vocal coach but her pitch and temperament seems to straddle the two. Strong notes cruise into crashes of softness and expression so wrapped up in the emotions her words paint bright.

Lyrically, a passing glance could simply dismiss these topics of high school love, heartbreaks and teenage toils as typical and naive yet despite the surface, something about how she picks apart her feelings seems so raw and direct. Its clear shes been through an awful break up, laying out both the bad and ugly alongside her righteous reactions, circling back to different aspects of the experience on multiple tracks. Her words weave brief insights in their bluntness, creating a remarkable impression what could seem like an atypical song. Of course her singing spearheads it all with these surges of vulnerability as she opens up an extraordinary range and delivery.

The introspection seems almost unintentional, as if she stumbles onto the pulse without reflective intent. Later in the record, Jealousy Jealousy highlights the thought and craft in her lyrics, narrating the difficult navigations of a generation growing up with social media exacerbating the thief of joy, comparison. The lightly shouted conclusion has a fantastic flow to it, kicking up a breezy gusto and riding it out. Creativity flows effortlessly it seems and her singing style is front and center of it all.

Her partnership with Dan Nigro, writing and production, seems like a perfect fit. Song structures are apt with piano chord melodies a frequent source of warmth. Much of the music comes with a lofty ambience, a sense of scale as songs drift dreamily with swells of lush and gentle sound amounting. All the instruments are orchestrated to grow and croon softly with power and persuasion. Giving it a keen ear one can hear layers of quiet instruments at work, led by minimalist percussion that's timely with a pallet beyond the basics. Its a fine footing for inspirations that much of the record holds in these loose, fluid and shapeless moments, only be suddenly snapped into place by an occasional upbeat Pop song like the successful hit Good 4 U.

I struggle to find the right words, the resonance between voice and instrumental is just fascinating yet so simple. Sour has a wonderful and curious chemistry, an individual set in the center who's got a seemingly typical, yet deeply rousing self expression to offer. Its much gentler than its big tracks suggest and the personal story embedded is moving. Its a shame people get all riled up by similarities. There is much to miss out on here! One I spotted myself was 1 Step Forward, 3 Steps Back. It has a vibe keenly reminding me of Regina Spektor! Anyway, Sour is a fantastic album, can't wait to see where she goes from here!

Rating: 8/10

Monday 6 December 2021

Can't Swim "Change Of Plans" (2021)

 

Don't be fooled, the oddly Gothic, Danzig alike album cover doesn't accurately reflect the emotive suburban vibes this group emanate. Can't Swim are my personal antidote to the Emo / Screamo scenes I turned a nose up at in my youth. These millennial musicians revive the glory of their past years, bringing musical maturity to their first world, woe ridden lyrics. With poppy song structures, catchy hooks and a melodic tint to garnish, Change Of Plans is the bands third but sadly the least impressive, possibly a case of familiarity as the band stick firmly to what works with a little twist of anger.

With Pop-Punk themes of adversity lacking troubles. Social squabbles, relationship woes and self doubts, the lyrics play from a light hearted teenage place with just a sprinkle of maturity. These are adult problems expressed with the lens of youthful angsty ideas that sway it far enough from perils. Its left in a precarious place where you can leave or take it. Personally Its not a bother but bar one or two lines I didn't find much to connect with, however the delivery and honesty in LoPorto's vocals is charming. The vulnerability and self coddling style is endearing, often manifesting into a hook with a knack to make his words catchy and flow with the groove.

The music is carved up into the typical inflections, lots of moody melodic plucked acoustic chords that bleed into vibrant distortion tones with all degrees wedged in between. Most these songs have a layer of aggression that sways back and forth from its guitars. Its not to adventurous, sticking to typical song structures and compositions with plenty of bright, harmonious singing. The point would be that they do this so well.

Where things detour is with a stronger sense of Hardcore and breakdown energy which the genre is adjacent too. On three or four tracks they step into this space boldly, not something I remember from their previous records. Better Luck Next Time and its jaunting breakdown goes full in on the aggression with palm mute chugs and tropes from the more metallic end of the spectrum. Sense Of Humor and its "Look who's laughing now" lyric slaps another breakdown in a track It doesn't feel fit for.

Whats interesting is how well executed these ideas are, the problem is they don't fit the overall mood which tends to be more introspective and mall shop sorrows than anger fueled resolution. A couple other songs have a breakdown stitched on the end and whenever it comes around, it feels like a sudden shift. Despite this jarring union of ideas, Change Of Plans is solid with plenty of catchy tunes. Its one to throw into the shuffle playlist and see what sticks with time.

Rating: 7/10

Friday 5 November 2021

Poppy "Flux" (2021)

 

Not one to stick with a sound for long, Poppy moves on from the eclectic aesthetic extremities of I Disagree and metallic framework, now plunging deep into the 90s with a wash of warm hearted Grunge, Pop Punk, Alternative Rock & Dream Pop! This nostalgic lens that quite a few bands lean on these days serves up a huge advantage in terms of variety. Flux capitalizes on this fortunate position, sounding like its from an era but not being cast to one mold as many of its inspirations would have been.

The tracks Hysteria and As Strange As It Seems highlight this perfectly. Both resurrect dreamy Shoegazing guitar tones and the hazy production tricks of My Bloody Valentine's acclaimed Loveless without burdening the listener through a whole album of its dreary ambling nature. All songs have their shade of influences, in different degrees, from a moody Her too the amped up head banger Lessen The Damage.

The variety is where the magic is at. Originality not a concern as her usual collaborators and album producer Justin Meldal-Johnsen provide some amazingly written songs and gorgeous guitar tones in many flavors to flesh out the record wonderfully around her voice. The track arrangement is smooth too, shifting in temperament and intensity to keep things exciting and brief at only thirty two minutes.

I'm not sure that Poppy herself holds much of the dazzle. Her performances don't seem all too defining. The instrumentals make the songs more so than her singing. Her softer range is endearing but when reaching for more energy she lacks a strong character as the nostalgic lens has her singing in the shadow of anothers style. Themes and lyrics are locked in well, hooks and timings ripe but its missing a shine.

 Flux has been fun and refreshing, a spirited journey back into the 90s. With a broader sense of ideas to draw on it excels without doing anything remarkable or unexpected. Being keen on this era it was all to easy to get sucked but after many spins it firmly resides in that space where I'm not sure if these numbers will stick. So for now the record goes into shuffle, awaiting to see if its resurrection will be rewarding.

Rating: 7/10

Tuesday 14 April 2020

Milk Teeth "Go Away" (2017)


My recent disappointment with the bands self titled album brought my eyes to Go Away, a four track EP I overlooked that plays counter part to Be Nice. It too is a step away from the glory of Sad Sack & Vile Child but this direction is one I can vibe with. Its a similar theme of reckless self indulged emotional reflect, lively and unhinged.

The tone is way better suited to a coarsing Pop Punk energy. These thrashy vibrant power chords resonate with a 90s Green Day loudness, a sound I am admittedly not all that familiar with. Their lyrics float of these crashes of thunderous energy with a punchy resonance. Lines like "I'm drinking just because its there" and "Maybe these choices will backfire on me" cruise through the choruses with a catchy knack.

Pumping basslines and slamming aggression from the drums give the whole thing a real kick in the right direction. Lilian and Nearby Catfight have fantastic build ups in the end with some creative lead guitar to see the songs out. A throw back to what they do best can be felt in the closing track, Big Sky, a slower, moody track with a big sense of atmosphere. These songs are driven and fun, there is little here not too like!

Favorite Tracks: Nearby Catfight, Big Sky
Rating: 5/10

Friday 21 December 2018

Can't Swim "This Too Won't Pass" (2018)


Last years Fail You Again was a peach! Now Can't Swim are swiftly back at it for round two with their sophomore record. They hit the ground running and kept going. Now there is a real contest between the two records because once again we have another solid set of songs you'll struggle to figure out your favorites from. This Too Won't Pass clearly steps in a brighter, pop direction with more tuneful singing and a generally lighter tone that can be heard in frequent acoustic guitar breaks and Emo, Pop Punk and Indie Rock strains in their sounds. It doesn't derive far from the blueprint at all and once again they challenge my conceptions of Genre's I'm less comfortable with as they pull off musical tropes with a touch of genuine class.

The record is wholly defined by its lyrical themes of breakups, heartaches and relationships. Chris LoPorto has a fantastic ability to channel his stories and musings into a catchy hook that resonates with the core of the song. It can be poetic, intelligent and blunt but more often a mix of all three. There is a fantastic chemistry at work, his words flow through the musical changes in temperament, always inline with the instrumental energy. Tracks like Amnesia 666 executes this with a stunning symmetry. Much like the instrumentals he exhausts a wonderful range of intensities with clean to screams consistently molding a unique persona for each track. The backup shouts and throaty yells of his band mates are not quite on his level. Bordering cringy at times but just about finding themselves on the right side of the line.

Much like their front man, his fellow musicians bring about a fantastic variety of intensity, color and charisma to flourish these themes into vivid visions with a ranged approach from the distortion guitars. They flex a whole range of chords, picking and strumming styles with varying degrees of overdrive that set distinct moods and compliment his words. The songs may have repetitive, simpler structures in places but the chemistry is so strong that each return of a riff or section feels as fresh as the play through before. The drummer also plays a key roll in fusing this all together with lively animated playing of grooves that flesh into the tom drums and livens up many of the chunky bass guitar grooves heard deeper in the mix.

For a record outside my comfort zone its quality really speaks volumes that the music transcends styles and themes I don't particularly vibe with. There are many objective moments where I heard something I wouldn't normally dig but these guys pull it off with true artistic intent and emotional meaning. Perhaps its just the open mind fighting old preconceptions. Either way I think it might be worth investigating more bands in this realm because if there are others as good as these guys I'm sold!

Favorite Tracks: My Queen, Hell In A Handbasket, Malicious 444, Amnesia 666, Winter Of Cicada
Rating: 8/10