Review: Stand Atlantic – Pink Elephant

If you were to frequent our website back when we launched in 2013 and suddenly return today after a long absence, you likely wouldn’t recognize the place. Seven years ago, I certainly wasn’t predicting that Carly Rae Jepsen would crack the top five on our Best Albums of the Decade list and had no idea how much the music of Kendrick Lamar would change the way we pondered about great art. But I’d say it’s inarguable that we’re infinitely better for the evolving and diverse tastes of our writing staff.

You can buy or stream Pink Elephant on Apple Music.

In so many ways, It’s All Dead’s emergence unexpectedly coincided with the scene’s slow decline, capped by Warped Tour’s last gasp. Yes, the music is still around, but the community we once knew has become a shell of itself. There are both positive and negative outcomes of that dissolvement, and personally, it’s been a while since guitar-driven music held much interest for me, anyway. So we’ve worked to create an open-door community that might pique the interest of any sort of music lover.

But even as the winds have changed, there are still traces of the scene in my blood, and it’s something I’ve felt quite vividly since discovering Stand Atlantic. As strange as it feels to lose myself in a pop punk band in 2020, I can’t speak highly enough of Pink Elephant.

When the Sydney, Australia, act entered our purview with their Sidewinder EP just three years ago, it was hard to find any space left for a band of their ilk, no matter how much promise those early recordings held. But as the scene they entered began to board up its doors and windows, Stand Atlantic found a way to construct something new.

Upon hearing early singles like “Hate Me (Sometimes)”, I thought maybe it was nostalgia that was tickling my ears. But as the slow rollout of the band’s sophomore album took shape, I found myself drawn to the way the band so effortlessly morphed their sound into something so uniquely…them.

Vocalist Bonnie Fraser began developing a knack for self-exploration on Skinny Dipping, the band’s 2018 debut. In just two short years she’s become one of rock’s most fascinating songwriters, weaving metaphor and painfully literal musings within these 11 tracks that seem to change pace to whatever vibe she’s seeking.

Album opener “Like That” captures the band’s newfound blend of pop and aggression with the kind of begrudging indifference to falling apart that so many of us seem to feel these days. Fraser brings down the house on the track’s post-chorus with the lines, “Crushing bones, I don’t know / My guts keep falling out / And I’m starting to disintegrate / I carry on / Yeah, it’s just like that”.

Pink Elephant moves at a relatively fast clip and is so hook-laden that you sometimes need to pause to avoid missing the more intricate moments. When it does shift pace, as it does on “Blurry”, the album blossoms into something that usurps the pop punk label. An alt-rock track with electropop influences, “Blurry” is a dark ride that showcases all of the ways this band is unique from their peers. “Clutching weapons while we’re sleeping / Got me bleeding like I mean it / It’s just enough to keep me blurry”, Fraser seethes across the bridge, backed by sparking synthesizers. What sounds like a trick out of CHVRCHES’ playbook feels fresh and new when the drums kick back in to drive the chorus home.

Similarly, “DWYW” blends a brooding darkness with syrupy pop melodies, while somehow side-stepping the genre expectations the band leaned into on their debut. If I close my eyes while listening to “Wavelength”, I can feel Miki Rich’s bass line rattling my rib cage from two stages away on a hot day at Warped Tour. But those are the ghosts that flutter throughout Pink Elephant to draw you in before shoving you in the chest with an unexpected turn. “I know I’ve always said I’m not a saint / So I’m gonna push you to the floor”, Fraser breathes on the opening seconds of the track before the wall of sound hits.

Stand Atlantic know exactly what they’re doing with this album, and it works in every way it’s meant to. It speaks volumes to the band’s growth that when they strip everything away but a piano and Fraser’s vocals, as they do on “Drink to Drown”, that the songwriting truly shines in the most beautiful and painful of ways. Fraser and company seem to have every intent on carving their own path forward, scene decline be damned.

So here we are, nearly 800 words deep on a review of an album that I never expected to impact me in 2020 in the way that it has. In nearly 15 years of writing, I’ve doled out perfect score reviews at a snail’s pace that still numbers in the single digits. But whatever. Fuck it. This is the album I needed right now and I can’t think of anything I would change about it. 

5/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Review: Taylor Swift – folklore

At this point, there should be very little Taylor Swift could do that would shock us. Releasing her eighth (and possibly best) album less than a year after Lover, her seventh (and possibly best) album, is one example, though. Simply put, folklore is a masterpiece of a record that exemplifies the best of Swift as an artist while reigning in just as many aspects that made her a world renowned star. Restrained, introspective and overflowing with emotional stories, folklore is as much a perfect introduction to Swift as it is a departure of her sound.

You can buy or stream folklore on Apple Music.

Folklore is almost as much of a sonic departure for Swift as 1989 was at the time of its release. While Lover reveled in the silence between notes, the anthemic stadium pop still filtered through the gaps. It’s difficult to say that folklore, an album conceived during the coronavirus quarantine, is a natural progression of Lover even though it further strips away the electrifying pop sounds and delves deeper into the indie folk genre.

Co-written with Jack Antonoff, The National’s Aaron Dressner and Bon Iver, folklore is an indie folk album that revels in Swift’s signature storytelling abilities. However, where the album gains its strength is in the mixture of personal stories and fictional characters that blend together so well, it seems like this is how Swift has written her songs all along (“my tears richochet”).

Stripped of the overt poppy gloss, it would be easy to write folklore off as a return to Swift’s country roots, but that couldn’t be further from the truth. The piano and acoustic led songs would be just as good if fleshed out further so as to make them stadium rumbling anthems. However, as is, the album is amongst the most intimate of Swift’s lyrics, even when the story isn’t about her.

On a surface level, folklore appears to be almost too relaxed (“cardigan”). It lacks Swift pushing her vocals to their limits, anthemic choruses or any of those hooks that would make for an obvious top radio single. Instead, Swift’s relaxed vocals force attention to melody and lyricism. Minimalistic, folklore puts the story at the forefront with the soft twinkle of piano, acoustic guitar and surgically precise orchestration relegated to the most intense moments (“august”).

If there is a theme to folklore, it is to turn the tables on the fans who pour over Swift’s lyrics to decipher what she is singing about. Each song of folklore seems to dance from real stories, to fictional characters to the speculative heartbreak expected on Swift’s early releases.

Opener “the 1” retraces the lost loves we all held as young adults (“Roaring twenties, tossing pennies in the pool / And if my wishes came true / It would’ve been you”). Meanwhile, “the last great american dynasty” pulls at similar themes to “The Lucky One” from Red (“Who knows, if she never showed up, what could’ve been / There goes the maddest woman this town has ever seen / She had a marvelous time ruining everything”).

The twinkling piano of “mad woman” acts as a second act to Lover’s “The Man” in that it radiates years’ worth of rage from dealing with sexism, harkening back to “Look What You Made Me Do” as well as “the last great american dynasty” (“Every time you call me crazy, I get more crazy / What about that? / And when you say I seem angry, I get more angry”). Meanwhile, closing track “hoax” acts as a bookend to “the 1”, diving fully into the regret and anger of those true, lost loves (“Your faithless love’s the only hoax I believe in / Don’t want no other shade of blue but you / No other sadness in the world would do”).

The magic of folklore isn’t that it was a surprise release, but that it was a surprising delivery. Stripped of the over-the-top glam of her previous albums, Folklore manages to be just as poignant as any past releases, with Swift the artist reigning above Swift the pop star. If there is a fault in folklore, it’s that the album is a few songs too long, but I do not envy the person to decide which to cut. That folklore manages to carry the weight of the biggest pop star on the planet and retain the ingenuity of an up-and-comer is only further proof that Taylor Swift may be the best musical artist on the planet.

5/5

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and dropped his deodorant in the toilet today, the way that champions do.

Review: Neck Deep – All Distortions Are Intentional

In these dark times in which we live, from racial tensions peaking in the U.S. to the decline of the music scene due to pandemic closures, it’s more important than ever to find some time to distract ourselves with something else. Neck Deep’s latest album All Distortions Are Intentional (and for some, Taylor Swift) has provided that for me this past week. While the albums tends to be more pop than punk, once I spent some time with it, I found myself not being able to get enough.

You can buy or stream All Distortions Are Intentional on Apple Music.

I was in love with 2017’s The Peace and the Panic; I thought it was hard hitting and meaningful. When I heard with first single from All Distortions are Intentional, “Lowlife”, an ode to marijuana, I was a bit disappointed. I felt as though the band has backslid into a lesser version of themselves, when I had been so impressed with the maturity of their last offering. Little did I realize that they have further matured, and that Distortions is a concept album. 

The album begins with “Sonderland”, a very strong opener and sure to be fan-favorite (if live shows ever freaking come back). It introduces us to this alternate universe where there is a self-awareness among inhabitants of not being the only person that matters. It continues with one of my favorites, “Fall”, then heads into the controversial aforementioned track that now makes perfect sense when taken with the context of the two characters, Jett and Alice. The concept outlined here is that Jett and Alice are your general emo teens who love being outsiders and shun those who long to fit in. 

In this day and age where it has become so important to stand out and be ourselves, we focus so much on our originality and forget to be present in the world around us. “Telling Stories” draws our eyes upward to the world around us and introduces some new characters and the hardships they face in Sonderland. Ben sings “It’s not the things you know / It’s the friends you make,” and that’s so true. At our funerals, those who love us will talk about how we spent our lives, and if we only follow the “me me me” culture that’s thrown at us and don’t stop and truly care for those around us, our life will have been wasted.

The album is light and airy and just the breath of fresh air I’ve been craving. Tracks like “What Took You So Long” and “Pushing Daisies” are bound to become songs that I return to when I need a pick-me-up. The album brings us from taking the time to regard those around us and make a difference, and by the end, we are reminded that, try as we might, we can’t fix everything. It’s cathartic in a time like this. 

I used to think Neck Deep was one of the generic douchebag pop punk bands with crappy guys who didn’t care who they bowled over to further their career. It was a completely unfounded opinion with no evidence to back it up, but I felt it nevertheless. With these past two albums, I realize that we’ve all grown, whether it was of our own volition or the shifting culture has made us see the wrong ways we view things around us. I’m glad I gave them a second chance, because they’ve become one of the most effective bands in the scene — right up there with The Wonder Years. The alt scene has always been hallmarked by the way we deal with injustices through artistic expression, and even though no one is perfect, the way that Neck Deep have embraced the difficulties of the past years and produced art that’s made it easier to handle is another reason to hold on and support the scene.

4.5/5

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Podcast: Hanif Abdurraqib Talks 68to05 and Musical Influence

Hanif Abdurraqib is a poet, essayist, and cultural critic from Columbus, Ohio, who has recently launched a new project called 68to05 in which he pinpoints the arc of years that made him the music listener and lover he is today. Hanif joined Kiel Hauck on the latest episode of It’s All Dead to discuss the project and how he is tracing his musical influence and lineage forward and backwards. He also discusses the ways in which music education in America is flawed and what we lose when black artistic influence is erased or forgotten. Listen in!

Like our podcast? Subscribe to our show on Apple Podcasts and be sure to leave a review.

You can find more of Hanif’s work at his website: Abdurraqib.com.

Posted by Kiel Hauck

Underoath Observatory Kicks Off with “Lost in the Sound of Separation”

I attended a concert on Friday. Sure, I wasn’t standing front row in a sweaty venue, camera in tow, earplugs in place, absorbing the experience amidst a sea of other fans. But I still enjoyed every second.

Underoath, who recently completed a live-streamed Twitch series breaking down each of their albums, have begun a string of three shows on consecutive Fridays titled Underoath Observatory. Each show will explore one album in its entirety. The event kicked off with Lost in the Sound of Separation and will be followed by Define the Great Line on July 24 and They’re Only Chasing Safety on July 31.

Aaron Gillespie (screengrab by Twitter user @jmcjmc451)

This experience was obviously a no-brainer for me. Although I’ve seen the band live nine times, I never turn down another opportunity if it’s within driving distance. And this Friday’s performance of Lost in the Sound of Separation – my favorite album from my favorite band – is something I’ve been waiting on for a long time.

Two years ago, on the album’s 10th anniversary, I pondered why the album hasn’t been given a fair shake alongside Define and Safety since the band’s reunion. I was fortunate to see Underoath during their headlining tour for Separation in 2008, but even then, several key songs from the album (including my favorite, “A Fault Line, A Fault of Mine”) were left off the playlist. Having the chance to see the album performed in whole, filling in the gaps on my “Underoath Songs I’ve Seen Live” bingo card, was something I couldn’t pass up.

Spencer Chamberlain (screengrab by Twitter user @jmcjmc451)

The band has long been heralded as a great live act, putting more effort than most into their on-stage production. Seeing Underoath live is more than just seeing the six members perform on stage. Each tour is like its own piece of performance art. And in typical fashion, the band has spared no effort in this endeavor. Thankfully for fans, so many musicians have taken the pandemic as an opportunity to explore live-streamed performances, but Underoath Observatory is on another level.

From the lightning to the camera work to the fantastic quality of the sound production, Friday night’s performance felt every bit like experiencing the band up close and personal (minus the sweat and ear-ringing). Each track felt special, but seeing the band explore songs never performed on stage was a delight. The liberty the band took on album closer “Desolate Earth: The End is Here” may have been a highlight.

But then again, it’s hard to pick one moment. About an hour after the stream ended, the rendered video from the performance was put online for ticket-purchasers to re-visit. Without hesitation, I poured myself another drink and relived the experience again.

In times like this, we savor every opportunity we can find to cherish our favorite music. It’s not lost on fans how important it is to support the artists we love who have lost their ability to make a living on the road. If you’re a fan of Underoath (or heavy music, in general), you can still grab tickets to the next two performances at UnderoathObservatory.com. And don’t forget to snag a vinyl copy of one of the three albums.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Podcast: The Best of Taylor Swift

It’s summer and we’ve got nowhere to go, so why not go ahead and rank the albums from Taylor Swift? Kiel Hauck is joined by Kyle Schultz as they share their personal journey with one of this generation’s musical icons and discuss how her fascinating transition from country to pop. The duo break down all seven studio albums from Taylor Swift and rank their top 10 songs from her discography. They also share their thoughts on Taylor’s legacy as a musician and one of our largest pop culture figures. Listen in!

Like our podcast? Subscribe to our show on Apple Podcasts and be sure to leave a review.

What is your favorite Taylor Swift album? Share in the replies!

Posted by Kiel Hauck

Surviving Summer 2020 with Stand Atlantic

As we’ve noted repeatedly these past few months, Summer 2020 has shaped up to be…not good. Not good at all. No summer concerts. No summer road trips. Just a cycle of sickness that could be broken if we could all show just an ounce of responsibility (please wear a mask, for the love of god).

But as we’ve also noted, one beacon of light these past few months has been the onslaught of incredibly good music that has lifted our spirits and kept us company. Summer has always been a season I associate with some of my favorite music memories. It’s hard not to get an itch for Warped Tour around this time each year, or reflect on those summer drives with friends when we blared our favorite pop punk bands from the speakers.

And even though the vast majority of this summer will be spent indoors and separated from friends and family, I’ve found more than a hint of seasonal solace in the form of Stand Atlantic.

The Australian pop punk act has been on my radar for a few years, but I haven’t given them the attention they deserve. The band, fronted by vocalist Bonnie Fraser, released their debut full-length album, Skinny Dipping, in 2018 on Hopeless Records. Next month, they’ll release a follow-up in the form of Pink Elephant.

If the first five songs the band have released are any indication, Pink Elephant is unlikely to leave my rotation for the duration of 2020. The recently-released “Jurassic Park” features the kind of sugary-sweet chorus that hasn’t invaded my ears since the summer of 2007 when All Time Low dropped “Dear Maria, Count Me In”. If Warped Tour was taking place in 2020, at least half of us would be sweat and sunscreen-stained t-shirts featuring the words “Dancing with ghosts in your garden”.

The crazy thing is, “Jurassic Park” may not even be the best song from Pink Elephant so far. That title goes to “Hate Me (Sometimes)” which successfully hits every winning note in the pop punk playbook while still sounding fresh as hell. But then again, it’s hard to argue against “Wavelength”, with its synth-driven verses and rattling bass line from Miki Rich. And what about “Drink to Drown” – a track that sounds like the best Mayday Parade ballad put to tape?

I guess what I’m saying is that I cannot wait to play this album all summer long, even if this summer blows. And I’ll never get tired of the feeling of finding a new band that captures my attention in a way that engulfs me. Those kinds of moments are the reason I started this site, and I’m hopeful that we can all experience a few in this interim period before we congregate once again to sing along to our favorite new songs in unison.

You can pre-order Pink Elephant here.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Review: Haim – Women in Music Pt. III

“I know alone and I don’t wanna talk about it”, sings Danielle Haim on the bridge of “I Know Alone”; one of many highlights across the 13 tracks of Women in Music Pt. III. It’s a line that resounds for anyone that knows the kind of depression that Danielle and her sisters Alana and Este spend time processing throughout their third full-length album. It’s a line that feels poignantly un-forced and authentic – one of the great strengths of the band.

You can buy or stream Women in Music Pt. III on Apple Music.

But for all their ability to translate those feelings in such relatable words and sounds, this third offering from Haim has so many other notes to play. Make no mistake – Women in Music Pt. III is easily the band’s darkest offering, but the way in which it gets playful and creative in those valleys is what truly sets them apart.

Haim caught my attention with their 2013 debut Days Are Gone, largely for the way in which they seemed to be winking at the camera in the subtlest of ways. The video for my favorite track from that album, “If I Could Change Your Mind”, seems to find the band blatantly leaning into common visual tropes for female-fronted pop music without ever feeling like you’re supposed to laugh at the joke. The same could be said of this current album title.

And maybe laughter isn’t the right response anyway. On the stripped-down “Man from the Magazine”, the band explores the ways in which the industry at large has treated the trio (and assuredly so many other women). “Man from the music shop, I drove too far / For you to hand me that starter guitar”, Danielle sings on the same track that ends its chorus with, “You expect me to deal with it / ‘Til I’m perfectly numb / But you don’t know how it feels”.

Even the booty call intro of “3 AM” feels perfectly douchy, coupled with lines like, “But I’m picking up for the last time”, delivered with an inferred, resigned sigh. The track crackles with R&B influence not felt this robustly since “My Song 5” from the band’s debut.

The creativity in which Haim explore these myriad themes across Women in Music Pt. III is why you could argue it as the band’s best work. The glitchy electronics of “I Know Alone” sound fresh and moody. The sliding guitar work of “FUBT” rightfully comes to the front of the mix, at times covering Danielle’s vocals. 

Other tracks like single “The Steps” and “I’ve Been Down” are driven by the jangly, folk-rock guitars that occupy the band’s wheelhouse and feel familiar and inviting in this context. The album meanders sonically from the track to track, just as its lyrics spill across subjects, much like a 45-minute session with your therapist.

It’s the kind of imaginative songwriting that felt missing from Something to Tell You, the band’s long-awaited 2017 sophomore effort. That album showcased the sisters’ uncanny ability to write exceptional songs, but lacked the unique, tongue-in-cheek personality that sets Haim apart from any of their contemporaries. The lack of restraint felt on Women in Music Pt. III is an exciting reminder of what we all felt Haim was capable of upon the release of Days Are Gone.

The fact that such a personal and specific work of art could feel so relatable and intimate to so many, in so many different ways, makes Haim one of the most essential bands of the past decade.

4.5/5

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Review: Phoebe Bridgers – Punisher

In true Phoebe Bridgers fashion, her new album Punisher runs the gamut, with a title that fits the bill. She sings about childhood, faith, substance abuse, and loads of other realities that cut to the core. From the beginning of “DVD Menu” to the final notes of “I Know the End”, listeners are brought to their knees. It’s beautiful.

You can buy or stream Punisher on Apple Music.

I’ve casually enjoyed Bridgers’ music since 2017’s Stranger In the Alps, but unlike many others, I didn’t give her much thought until lately. When I think of women in recent music that stick out to me, I often think of Bridgers’ friend Julien Baker, who joins Bridgers on track 10, “Graceland Too”. I don’t know what it is about women who write sad music, but I can’t get enough. I suppose I feel a kinship to those who believe that women can be both forceful and feminine, and the way that Phoebe and others in her class tackle these subjects embody that for me.

The album begins with “DVD Menu”. She said in her Apple Music interview that it samples the final song from Stranger, and it’s a sweet bit of continuity that ties the two projects together. It continues with the single “Garden Song”, a track about personal growth. The next track, also a single, talks about how the foundations built in our childhood influence the adults we grow to be – even when we don’t think they will.

The ideas about feeling unworthy of the love and success she’s garnered over her years of traveling and playing music are relatable for anyone who has tried to make a difference in any way. The title track about meeting her musical hero, Elliot Smith, and worrying that she’ll simply be a nuisance rather than a welcome guest is relatable to anyone who looks up to those who have made a difference. The album is deeply introspective and offers a raw look into how Phoebe has grown as a performer since stepping away from PAX AM and paving her own path.

My personal favorite track is “Moon Song.” It stuck out to me from my first listen and I’ve looked forward to it every listen since. It cuts deeply in a way that I guess I don’t understand. Maybe I’m just not ready to face that emotionally yet? Either way, it’s a masterpiece and even though it’s smack in the middle of the album, I think it’s the best track.

Suffice to say, I love the new Phoebe Bridgers album. The gentleness in her delivery completely counteracts and dulls the knives she sings about. It’s a true escape in a time where it can be necessary to step back and take a breather.

5/5

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Review: New Found Glory – Forever and Ever x Infinity

Forever and Ever x Infinity is the tenth studio album from New Found Glory, arguably the most influential band in all of pop punk. While groups influenced by them have leaned toward creating emotionally resonant art pieces (The Wonder Years) or shifted entirely to the realms of pop (All Time Low), New Found Glory have essentially stayed the course, never varying their sound too much, but always releasing timeless and damn good music. Forever and Ever x Infinity continues this tradition as an album that fully celebrates NFG’s roots while passing along the experience of middle age through the lens of a fairy tale.

Songs on Forever and Ever x Infinity are overly romanticized, sometimes to the point of cringe-y cheesiness. However, that’s the point — these songs reflect the hypnotic ecstasy of falling in love as a teenager (“Greatest of All Time”). It is the first NFG album since their Self-Titled that filled me with the same bouncing passion I had after my first listen to “Hit Or Miss” 20 years ago.

You can buy or stream Forever and Ever x Infinity on Apple Music.

For all of the fans clamoring that NFG’s Self-Titled album is their best, Forever and Ever x Infinity acts in many ways as a reinterpretation of that record. The music leans heavily toward the pop elements of that album, while retaining the easy-core crunch of Resurrection (“Shook By Your Shaved Head”). Similar themes of falling in love, hopeless romanticism and the rage of a broken heart play heavily, resonating as much now as it did 10 albums ago (“The more I get older, the clearer I see / The misconceptions imbedded in me / We can love, we can fail / It never goes out of style”).

Now though, it’s hard to write songs about hopeless romanticism after two decades of experiences, divorce, personal growth and expanding as artists. Instead, New Found Glory lean into the feelings of their early albums, highlighting how magical life felt when you were fifteen and in love (“Birthday Song But Not Really”), only to temper those songs with what you wish you had known at the time by tearing it down with possibly the most poignant and heart wrenching song New Found Glory have ever written (“Slipping Away”).

Forever and Ever x Infinity plays like a fairy tale, with all of the cheese of a Disney romance and the maturity to laugh at their own lyrics. A song like “Double Chin For the Win” is one of the weirdest songs New Found Glory have ever written, but it sums up the emotions of “Sincerely Me” with charm and self-depreciation (“I know I’m not even in your league / Yet still you find something good in me / When we link arms, you’re a ten, I’m a three / Hope you can never afford Lasik surgery”).

The innocent love of “Stay Awhile” and the wedding dance atmosphere of “More and More” play off of the feeling of high school romance and walking the halls with hearts for eyes. However, after more than a dozen songs of this, the fairy tale ends and real life begins with closing track “Slipping Away”. Here, the romance is dying and a new chapter is about to begin as both lovers are forced to confront the fact that they’ve grown apart. “It wasn’t easy, there’s no arguing that / But there was a time you were proud of the deeper understanding we had / Below the surface and again in our history / Now I can see you almost bite your tongue clean off every time you lay eyes on me”.

What must be said though, is that the band still kills it on every level. Vocalist Jordan Pundik’s eternal energy finds him pushing himself with anthemic choruses and biting verses (“Greatest of All Time”). Bassit Ian Grushka provides a solid backbone of sound that expands the profound depth of guitar buzz (“Like I Never Existed”). Meanwhile, drummer Cyrus Bolooki delivers one of his best performances, destroying the kit from snappy beats to intense, hardcore percussion (“Same Side Sitters”). Sole guitarist Chad Gilbert provides one of his best performances yet, making enough noise for two and showing a full range of sound that both resonates with NFG’s legacy of pop and embraces a harder edge that competes with contemporary peers (“Himalaya”).

Not everything on the album swirls around romance — several songs delve into rooting out the poison in toxic friendships, such as the hard-pounding “Nothing To Say” (“Spreading lies like a disease, but you can’t say it to my face / You’ve got nothing to say”), while the exceptionally crafted “Himalaya” examines people who use others for their own benefit (“They don’t want what’s best for you / They just want what works best for them / You spread yourself too thin / I think it’s time you find yourself, find yourself some new friends”).

Forever and Ever x Infinity is a unique album in that it pairs well as a sister to the band’s celebrated Self-Titled album, but lovingly mocks the simplistic ideals presented on an album written when the band members were barely twenty. On the surface, it looks like some of the lyrics are half-assed (“Birthday Song But Not Really”… Yuck), but there is a tongue-in-cheek maturity behind them that doesn’t appear until after the first listen through. After all, how best to learn of the traps of hopeless romanticism than reflecting on your own past and laughing?

4.5/5

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and built a pillow fort for this cat. Now, sadly…. there aren’t enough pillows to make one for himself. “What kind of sick world is THIS?!” he screams at the clouds with a ketchup stain on his shirt.