Jimmy Eat World – All The Way (Stay)
No one couldâve really predicted that this would be how Jimmy Eat World would choose to release new music. Sure, itâs been a while since their last album, but succumbing to the rapidity of the modern musical climate has resulted in a new album announced and a single dropped not even a month in advance. Of course, thereâs nothing to really complain about there, especially when their alt-rock / emo goodness has really only stayed more or less consistent over the course of twenty-plus years, and All The Way (Stay) is essentially more of the same. Itâs definitely not to the heights of their classic work, but coming off Integrity Blues, this does feel like a natural step forward, both in the mid-paced bombast of the guitars and in Jim Adkinsâ quivering but endearing vocal delivery that really is the backbone of what makes this band so great at what they do. But when the saxophone comes in towards the end, this feels like a next step being taken on all fronts, expanding their musical horizons in a way thatâs distinct from the material theyâve released in the past, but never feels too far out of their comfort zone. Itâs about as solid across the board as one could hope for from Jimmy Eat World, and for a band with a longevity and legacy like theirs, thatâs something to celebrate.
We Came As Romans – Carry The Weight / From The First Note
To some degree, itâs difficult to go into these two new We Came As Romans songs with the intent to criticise them. Itâs the first material in almost two years, but itâs also the first following the death of co-frontman Kyle Pavone last year, and thereâs not a chance that both of these tracks are framed without some sort of cathartic intention behind them. Thatâs definitely the case in the writing, with Dave Stephens clearly still in intense grief on Carry The Weight and looking to hold on to the memories of his departed friend on From The First Note, and that context does honestly make these songs far better than they would be otherwise. Musically, the follow the polished metalcore formula thatâs often held We Came As Romans back from being a better band, but thereâs no doubt that their anthemic swell is coloured by real emotion, and thereâs power in that thatâs hard to deny. They arenât exactly great in their own right and the shortcomings endemic of modern metalcore havenât exactly gone away, but itâs easier to see where We Came As Romans are going compared to so many swathes of their contemporaries, and that does say something in its own right.
Stray From The Path – Actions Not Words
Thereâs not a great deal of expectation that comes from Stray From The Path anymore, though thatâs not a knock against them. Itâs effectively known that theyâll be at least consistently solid and crushing, and up to now, theyâve never really done differently, even with their singles from Internal Atomics. Actions Not Words is more of the same too, with Drew Dijorioâs harsh barks against the flooring grooves that have become their staple feature, and yet never seem to get stale or any less impactful. Lyrically itâs definitely among the broader section of their work in its calls to action, but for hardcore like this that relies on sheer size to get its point across, thatâs something they can easily get away with, and it never detracts from a track thatâs as good as this band usually is. Itâs very much just another Stray From The Path song, but again, thatâs not a bad thing, and when theyâve honed that mould to have this fine a point, itâs hard to really complain.
Waterparks – High Definition
The rate that Waterparks are releasing songs from Fandom makes it clear that this is either an incredibly hyped release or that some of them are struggling to stick all that well, and evidence has shown that the latter is probably closest to the truth. For a band whoâve proven so good at marrying pop-rock hooks with contemporary flair, their material from this new album just hasnât shown that all that well, and High Definition is yet another case where the band struggle to find any considerable footing. The winding lyrics are interesting at least, but with the spare guitar line paired with a stomping beat that doesnât have all that much momentum, thereâs not much in the way of compositional quality to latch onto, and the emptiness of it all makes the AutoTune on Awsten Knightâs vocals that isnât usually too much of an issue feel more out of place than ever. This feels more like a filler cut than anything worth highlighting pre-release, and when said release is right on the horizon, thatâs not a good sign at all.
Counterparts – Separate Wounds
Thereâs always something to look forward to when it comes to new Counterparts music, and considering how good Wings Of Nightmares was, that doesnât look to be slipping any time soon. Theyâve simply become too well-loved among hardcore for that to happen, and Separate Wounds doesnât look to see that changing either, as this is another remarkably solid track from a band well-versed in that by now. Itâs not exactly reinventing the wheel given that all the usual Counterparts-isms are present and accounted for – big, sweeping guitars; spit-flecked vocals willing to go into soaring gangs when necessary; a general sense of bravado and scope thatâs really leaned on well – but theyâve become so consistent and so good at what they do that thereâs really no need to change any of this. This feels like the perfect point for Counterparts to have reached at this stage, where theyâve got a sound thatâs all theirs and itâs still exciting without having to do too much with it, and thatâs a testament to how solid of a band they really are.
Shvpes – One Man Army
Itâs easy to feel sorry for Shvpes sometimes. Theyâre not exactly doing badly for themselves both at home and abroad, but it doesnât feel like theyâve reached the level they really should, and even if their current nu-metal-leaning guise is better for them, theyâre hitting that ceiling without ever breaking through it. That feels like the general case with One Man Army too, even if theyâre exhibiting more of a desire to push themselves in a way that feels more unique to them. Thereâs a decent amount of bounce when necessary, and Griffin Dickinson has plenty of technical skill in his malleability at switching between singing and rapping, but thereâs really no cohesion between any of these individual parts, and it can feel like a track trying to pull itself in three or four directions at once. It just doesnât come together very well, even with the decently smooth production, and while itâs admirable that Shvpes are leaning into something more defiantly recognisable of them, itâs a shame it doesnât pay off more.
Lande Hekt – Carpet
While Muncie Girls are by no means the biggest band around, theyâve made a considerable impact on the UKâs indie-punk scene that shouldnât be understated, and so it makes sense that frontwoman Lande Hekt would embark on her own solo ventures sooner rather than later. Sonically, it follows those similar throughlines as well, as Carpet isnât a million miles away from her Muncie Girls work in its homespun indie-rock stylings, but itâs definitely pleasant enough. Thereâs a nice jangle to the guitars thatâs possibly the biggest defining feature of this as its own project, but Hektâs easygoing vocal style and a generally welcoming atmosphere make a solid transition over, especially in lyrics that go for a similarly self-critical tone that makes everything gel together rather well. Itâs not astounding by any means and a bit more material ultimately feels needed to decide how worthwhile this endeavour is, but this is a good start, and for a first offering, it does enough to justify keeping an eye on how that upcoming debut EP turns out.
Bad // Dreems – Morning Rain
Itâs fairly easy to deduce what musical circles Bad // Dreems operate in from a few simple descriptions – they list Devo and Television as primary influences, as well as the indie-rock of their native Australia, particularly originating from the â70s and â80s. Thus, when Morning Rain is another scuzzy garage-rock track with notable post-punk influences, the sort thatâs been in no short supply as of late, itâs hardly too much of a shock. However, this is definitely a more likable approximation of that sound than the majority of whatâs come from it, particularly because Bad // Dreems keep their sense of melody intact without drowning it in more fuzz than necessary. Thatâs still there, of course, with the sneering riffs and basslines, but Ben Marweâs strident vocals are given much more prominent mixing, and that does a fair bit to elevate this beyond just another rote indie-rock track, and into something a lot more propulsive and anthemic. Itâs hardly reinventing the wheel, but Bad // Dreems are doing enough to freshen up a branch of indie-rock thatâs in dire need of a retune, and this is a good example of how that can work
Words by Luke Nuttall
