This album starts off with “Raining in Kyoto”. Now, this is a surprisingly intense, straightforward intro. So many of the tracks on “No Closer to Heaven” needed time to build, but this is just one big explosion right off the bat. And I’ll be honest, I like what I’m hearing. I was worried they were going to overflow this one somehow. But man, do they ever sound more determined and genuinely emotional than ever. The instrumental is also seriously epic. This easily could have been an iffy flashback to their early years, but this intro is raw and explosive as hell. And I have to give it to Dan "Soupy" Campbell on vocals, this guy has some serious pipes, and he’s singing like this is the last song he’ll ever perform. Now, to be honest, “Pyramids of Salt” is the sort of slower paced track I expected to hear for an intro. This one is very patient, and really quiet at the intro. A lot of these lyrics actually really bring me right back to the more memorable tracks of “No Closer To heaven”. It’s sort of surreal, but it all seems right. This is a solid tune, and The Wonder Years certainly do a good job of really building up some serious tension. But personally, I feel like this track could have been bigger, and that we could have gotten a little more pay off with all of this buildup. That being said, this is still a solid tune, and The Wonder Years remain one of the more passionate Emo bands in the scene. “It Must Get Lonely” on the other hand, may just be the most generic tune I’ve heard from The Wonder Years in a while. This one really doesn’t come off as Emo of Pop Punk or anything in between. Dan’s vocals are still endearing and emotional, but nothing about this tells me this is a Wonder Years tune. This honestly just sounds like Wonder Years on cruise control. And yes, it’s a sadly faceless and painfully average track. It’s not the worst track in the world, but it’s just so obvious that The Wonder Years phoned this one in and can do just so much better. Thankfully, the last minute of this one does pick up and becomes pretty explosive. But for me, it’s too little too late. But up next is the title track, “Sister Cities”. And hey! Finally, we get a little energy! This is the Pop Punk sound that I’ve been on the lookout for. It’s funny, you really think that this sound died years ago. But Wonder Years play it with so much heart and emotion that it comes off borderline ballsy. This is easily one of the best tunes Wonder Years have written in years. It’s catchy, anthemic, and wildly emotional. Even instrumentally, this is the intense track I’ve been dying to hear. Is this Emo and Pop Punk by the books? You can certainly argue that, but damn does it sound good.
“Flowers Where Your Face Should Be” is up next, armed with a very pleasant and warm intro, with some of Dan’s sweetest vocals yet. This one like I said, remains on the lighter side. But Emo does demand this from time to time. I love some of the lyrics on this one, as The Wonder Years continue to bring together these sort of surreal images and packaging them up like it’s everyday life. Not only that, they make it strikingly real. As far as a stripped-down ballad goes, this is sweet. I don’t think it’s the best tune here, and this easily could have built up into something bigger. But still “Flowers Where Your Face Should Be” is beautiful and heartwarming. “Heaven's Gate (Sad & Sober)” on the other hand wakes you up quickly with some of the most anthemic guitar chords and energetic verses on this entire album. No, it’s not as upbeat or as Punk-Oriented as it could be. But Dan’s performance is just so powerful and explosive. Every time this track comes on, I can’t help but want to burst out into this chorus, and reminds me so much of the band’s last album. I do have to give it to The Wonder Years though, I feel like they’re creeping further away from Pop Punk with each release. But that doesn’t mean this track isn’t explosive and incredibly catchy, because it certainly is. I have to give it to The Wonder Years, they may have just started out as just another Pop Punk band. But they’ve gone back to basics and really seem to have taken into consideration everything that once made Emo so good. Up next is “We Look Light Lightning”, and oh…..oh God…..is that a synthesizer? This track, for the most part, is laughably bad. This isn’t even close to where I want to hear the band. When things get rolling it picks up a little, but this track is practically a parody of Emo. Even Dan doesn’t even sound like he’s completely interested in this track. Plus, there are all of these awkward moments where you think some big release is coming our way, only to get some luke-warm instrumentals trying desperately to be edgy. Of all of the tracks here, this is by far the least interesting. But once again, that last minute here really brings things back with some of the heaviest and most intense moments on this entire album. I have no idea why they didn’t stick with THAT. On the other hand, “The Ghosts of Right Now” is literally everything I wanted to hear on this album. These are some of the most intense instrumentals here, and Dan sounds like he’s reached his breaking point. This track is fantastic, I seriously wish there were more tracks here that reached this amount of raw emotion. It’s not even that complex of a track, it’s just so obvious at times. If we get more tracks like this in the future, Wonder Years can honestly rewrite this entire genre.
This album continues on with “When the Blue Finally Came”. It’s yet another low key, quiet and emotional ballad that sadly really isn’t doing too much for me. Dan’s performance once again is commendable, and I certainly DO like a lot of the very subtle instrumentals. But they really just don’t go anywhere of interest sadly. It’s pleasant while it’s on however. Thankfully, The Wonder Years follow it up with “The Orange Grove”, which does make things easier to swallow. Moments like this remind us that quite frankly, The Wonder Years are o top of this genre right now. The verses are intense, and the chorus couldn’t be more soaring and over the top, if they tried. It’s the kind of track that’s just so nostalgic, yearning for the simpler times, and that’s what makes Emo so fantastic when it’s done right. And these vocals are just passionate enough to make you buy it all. This album ends off with “The Ocean Grew Hands to Hold Me”. The intro of this track is actually really interesting and shows The Wonder Years outside the box from their style. And at first, I was honestly a little worried about it all. But these tense drums and Dan’s very heartfelt performance make this finale come off so well. It’s a little on the patience-testing side, but at least this track builds to something interesting. Not to mention, they just sound so beat down and exhausted here, making this already emotional performance so much more. Call me nuts, but while this may not be the most exciting finale, this is an overly decent send off to one of Emo’s finest current acts.
“Flowers Where Your Face Should Be” is up next, armed with a very pleasant and warm intro, with some of Dan’s sweetest vocals yet. This one like I said, remains on the lighter side. But Emo does demand this from time to time. I love some of the lyrics on this one, as The Wonder Years continue to bring together these sort of surreal images and packaging them up like it’s everyday life. Not only that, they make it strikingly real. As far as a stripped-down ballad goes, this is sweet. I don’t think it’s the best tune here, and this easily could have built up into something bigger. But still “Flowers Where Your Face Should Be” is beautiful and heartwarming. “Heaven's Gate (Sad & Sober)” on the other hand wakes you up quickly with some of the most anthemic guitar chords and energetic verses on this entire album. No, it’s not as upbeat or as Punk-Oriented as it could be. But Dan’s performance is just so powerful and explosive. Every time this track comes on, I can’t help but want to burst out into this chorus, and reminds me so much of the band’s last album. I do have to give it to The Wonder Years though, I feel like they’re creeping further away from Pop Punk with each release. But that doesn’t mean this track isn’t explosive and incredibly catchy, because it certainly is. I have to give it to The Wonder Years, they may have just started out as just another Pop Punk band. But they’ve gone back to basics and really seem to have taken into consideration everything that once made Emo so good. Up next is “We Look Light Lightning”, and oh…..oh God…..is that a synthesizer? This track, for the most part, is laughably bad. This isn’t even close to where I want to hear the band. When things get rolling it picks up a little, but this track is practically a parody of Emo. Even Dan doesn’t even sound like he’s completely interested in this track. Plus, there are all of these awkward moments where you think some big release is coming our way, only to get some luke-warm instrumentals trying desperately to be edgy. Of all of the tracks here, this is by far the least interesting. But once again, that last minute here really brings things back with some of the heaviest and most intense moments on this entire album. I have no idea why they didn’t stick with THAT. On the other hand, “The Ghosts of Right Now” is literally everything I wanted to hear on this album. These are some of the most intense instrumentals here, and Dan sounds like he’s reached his breaking point. This track is fantastic, I seriously wish there were more tracks here that reached this amount of raw emotion. It’s not even that complex of a track, it’s just so obvious at times. If we get more tracks like this in the future, Wonder Years can honestly rewrite this entire genre.
This album continues on with “When the Blue Finally Came”. It’s yet another low key, quiet and emotional ballad that sadly really isn’t doing too much for me. Dan’s performance once again is commendable, and I certainly DO like a lot of the very subtle instrumentals. But they really just don’t go anywhere of interest sadly. It’s pleasant while it’s on however. Thankfully, The Wonder Years follow it up with “The Orange Grove”, which does make things easier to swallow. Moments like this remind us that quite frankly, The Wonder Years are o top of this genre right now. The verses are intense, and the chorus couldn’t be more soaring and over the top, if they tried. It’s the kind of track that’s just so nostalgic, yearning for the simpler times, and that’s what makes Emo so fantastic when it’s done right. And these vocals are just passionate enough to make you buy it all. This album ends off with “The Ocean Grew Hands to Hold Me”. The intro of this track is actually really interesting and shows The Wonder Years outside the box from their style. And at first, I was honestly a little worried about it all. But these tense drums and Dan’s very heartfelt performance make this finale come off so well. It’s a little on the patience-testing side, but at least this track builds to something interesting. Not to mention, they just sound so beat down and exhausted here, making this already emotional performance so much more. Call me nuts, but while this may not be the most exciting finale, this is an overly decent send off to one of Emo’s finest current acts.
Rating: 7.8/10
Give A Listen To: " Raining in Kyoto", Sister Cities", " Heaven's Gate (Sad & Sober)", " The Ghosts of Right Now"
Genre: Emo / Pop Punk
Overall Thoughts: For the most part, The Wonder Years on this album give us more of the same of what's made them such a mainstay of current Emo and Pop Punk for years. I wouldn't say this is as urgent and genre-shifting as "No Closer To Heaven", and more often than not The Wonder Years are a little too far in their comfort zone. But the passionate performances, nostalgic lyrics, and solid production are all back in spades. Not to mention, it does seem like Wonder Years are further from the Pop Punk sound that they began with than ever. This may not be as exciting or as "Must Listen" as their last album, but, it's a great reminder of what The Wonder Years can accomplish.
No comments:
Post a Comment