Album opener and lead single, ‘GIMME’, is a brash, fuzzy-laden flash that polarised fans upon its release. While it lacks the emotional sentiment of Murray Macleod’s more poignant work, it still manages to highlight his ability to create poppy earworms with ease. Likewise, ‘Car Crash Culture’ and ‘Jealousy’ soon follow, maintaining the momentum. 

While the former is a joyous and glossy slice of 80’s pop-rock with modern quirks subtly springing up throughout, the latter certainly sounds like an XCERTS track. Tom Heron’s punchy drums steadily support the power-chord-driven guitars and Macleod’s distraught words. 

Throughout ‘Learning…’, the XCERTS occasionally have a tendency to cut songs before they’re truly allowed to breathe and be effective. For example, ‘Ache’ swirls with a power-pop surge as Architects’ Sam Carter makes a brief, if not unremarkable, cameo. Its synth-led melody is infectious yet its duet chorus races towards the finish line far too soon. Later on, ‘Inhale (Her)’ brings the tone momentarily down with stripped-back, experimental twists before erupting with a wall of guitars. Again, Macleod and company aren’t able to grab the listener long enough to make the finale as compelling or effective. As they’ve shown previously, they’re certainly capable do doing so. They’re even able to do it on this record.

‘Drag Me Out’ is a stirring, slow-burning anthem that utilises tender piano keys and harmonies with Macleod’s heartfelt words interlaced. This is paired with ‘Everything I Cannot Live Without’, a simple, delicate acoustic number that allows a hushed Macleod to flex his balladic muscles with ease. Together, they are able to exemplify the XCERTS’ ability to write emotionally enticing songs that simply capture the listener’s attention.

Even though ‘Learning…’ has a tendency to lean on characteristics that have been so effective for The XCERTS in the past, there are hints of evolution. ‘Lust In Translation’ is an electro-led number that captures the fear and thrill of young love. Whereas ‘Lovesick’ is a jaunty, blatant pop number that is reminiscent of The 1975 with a hint of Prince. 

Their reliance on past traits does remain intact, but as heard on ‘Blame’, they’re able to incorporate a fizzy, surging pop quality to their urgent driving guitars. As a package, it considerably feels like the most realised and well-executed version of what The XCERTS want to sound like in 2023.

‘Learning…’ ends with a pair of intimate songs that emphasise the poignant, introspective narrative that Macleod threads through the record. ‘My Friends Forever’ is timid in its delivery, again highlighting the trio’s capability to produce emotional, heart-wrenching ballads, adding a succulent, mournful horn at its conclusion. Likewise, ‘It Ain’t Easy’ is an atmospheric and stirring lull with Macleod’s confessional words. However, despite its slow-burning structure, it lacks an effective pay-off. Instead, we’re just left with studio atmosphere noise, ending the album on a barren note.

While ‘Learning How To Live And Let Go’ isn’t The XCERTS’ best work or as instantaneous, it still has an admirable quality. It’s a melting pot of new and old (and reliable) ideas that they use to the best of their ability. Collectively, they’ve again proved they can write infectious, guitar-driven alt-pop with ease, as well as earnest ballads. However, the 12 songs on offer here don’t quite reach the heights of what The XCERTS have done before. In time, ‘Learning…’ could be seen as a transitional record for The XCERTS, but in the meantime, it proves to be a mixed bag of a record that celebrates the trio’s best characteristics with one evolutionary eye on the future.

SÊAN REID

In frontman John Floreani, Trophy Eyes have always had an introspective touch to their songwriting, and ‘Suicide and Sunshine’ is no different. This time around, Floreani, along with guitarist Josh Campiao, drummer Blake Caruso, and bassist Jeremy Winchester, take a step back and consider the full spectrum of life; both the highs and lows. 

Early on, ‘Life in Slow Motion’ sets the lyrical tone as Floreani explores the notion that “everything is temporary”. It’s backed up by striking chords and atmospheric synths that elevate alongside Floreani’s vocals, creating a satisfying, bold chorus, full of emotion. 

Whether it’s questioning his worth late at night on ‘My Inheritance’ or to his distant relationship with his mum on ‘Runaway, Come Home’, trying to get through to a drug-addicted friend on ‘Blue Eyed Boy’, or simply the need for attention while dealing with addiction himself on ‘Burden’, Floreani isn’t afraid to put it all out there. 

Genre-wise, Trophy Eyes have firmly shaken off the pop-punk tag they’ve been lumped with since their emergence with 2014’s ‘Mend, Move On’. ‘Sunshine and Suicide’ carries elements of intense punk, summery pop, and raw acoustics (see ‘Sweet Soft Sound’), while never diminishing the vulnerability of Floreani. 

Take ‘People Like You’ for example – it barges in with fierce percussion and Floreani’s raw, unhinged screaming, directing his anger at the wealthy kids he went to school with in his rural hometown of Mudgee, New South Wales. While the aforementioned ‘Blue Eyed Boy’ musically revolves around a swift, playful synth melody, it’s complemented by driving guitars, and Floreani’s angst-filled voice in the verse, only to segue into one of the album’s catchiest choruses; “I’m asking you as your best friend/ I can fix this thing you did/ ‘Cause I can’t see blue-eyed boy dead”. Likewise, ‘What Hurts the Most’ steadily builds with its upbeat tempo, and catchy melody, allowing Blake Caruso’s drum work to battle it out with Floreani in the bridge.

Trophy Eyes’ ability to constantly deliver emotionally-stirring choruses is a credit to them. Even on songs such as ‘OMW’, which leans on dense guitars and a hint of hardcore, they still tend to embrace radiant hooks whereas ‘Kill’ stiffly counters this with its plodding pace and drifting guitars, emphasising the dark side of ‘Suicide and Sunshine’, at least musically. Later on, ‘Stay Here’, begins ominously, creating a haunting atmosphere as Floreani’s words are full of guilt, as he pleads to a friend; “Save your breath ‘Cause I don’t believe it I tried my best”. It’s on par with one of the album’s most compelling moments.

However, that accolade goes to the album’s centrepiece – ‘Sean’. A frank, and morbidly honest ode to a friend who committed suicide on a sunny day (hence the album’s title), it’s a gut-wrenching listen as Floreani pours out his heart to his late friend. 

With its lyrical weight and musical diversity, there is a lot to take in on ‘Sunshine and Suicide’. While its quality and consistency don’t quite match 2016’s ‘Chemical Miracle’, there is still plenty here to enjoy. Whether that’s the infectious synth hook of ‘Blue Eyed Boy’, the slickness of ‘Runaway Come Home’ or ‘Stay Home’ or the lyrical sentimentality that threads it together, at its core is what you want from a Trophy Eyes record. They continue to stand out from the scene of bands they emerged with almost 10 years ago, and with a renewed energy and purpose, it’s clear Trophy Eyes are far from done. 

SÊAN REID

This time round, Manchester Orchestra have teamed up with filmmaker Isaac Deitz on a film project titled ‘The Valley of Vision’. While the visual aspect sees Deitz embrace the use of 3D-computed radiography technology, it’s left to Hull and company to provide its soundtrack. Furthermore, the band wrote the EP away from one another, describing the process as a “science experiment.” Nevertheless, with all that said, ‘The Valley of Vision’ still sounds like Manchester Orchestra at their stunning, harmonious best.

‘Capital Karma’ comfortably drifts in with Hull’s intimate vocals and tender keys. Its gradual build wraps you in a reassuring musical blanket with a heavenly tone that easily draws you in. Hull’s words introduce a sense of gratitude that is threaded throughout these six tracks. On here, he directs his words at a loved one, reassuring his faithfulness – “I’m in love with whoеver you are, Nothing here is gonna take that away”.

‘Capital Karma’ succulently melts into ‘The Way’; maintaining the sparse tone, distant drums tick along as you’re drawn into Hull’s hushed voice telling a tale of losing his way through uncertainty. It’s complemented by a soaring bridge, serving as an emotional release. With ooh’s scattered throughout, its build sustains with gorgeous execution.

Throughout their career, Manchester Orchestra have proved their worth when creating a compelling atmosphere to their music, and ‘Quietly’ is another example of this. It’s ideally timid, allowing Hull and company to paint a sorrowful picture of patience for close to three minutes. As the story intensifies with “two people gnashing their blood-coloured teeth”, Tim Very’s drums erupt, complementing the final chorus and introducing a rarely heard guitar in the process.

Minimal electric drums and atmospheric strings introduce ‘Letting Go’. However its tone, and occasional swells, results in the track being one of the weaker offerings. Whereas ‘Lose You Again’ is a barebone, acoustic-led number with tender guitars and pianos, and duel harmonies. Lyrically, Hull’s narrative is introspective – “I’ve been tired trying to chase your high, You’ve been trying hard to fill that hole” – as his plucky acoustic twinkles amongst a shimmering musical backdrop.

‘The Valley of Vision’ departs on a high note in the form of ‘Rear View’. Backed by Andy Prince’s brooding bass, Hull’s delicate voice gradually builds to a momentarily high-pitched shrill as he sings “And all this time I thought I was right.” Delayed piano keys add to ‘Rear View’s compelling atmosphere. It’s a credit to Manchester Orchestra that they use sparsity to their advantage, being able to create an environment that draws you in by doing nothing, letting notes linger.

By abandoning their guitar-led approach, Manchester Orchestra has crafted an EP that highlights their intimate essence with purity. The experimentation of “doing things the wrong way,” as the band said ahead of the EP’s release, Manchester Orchestra continue to evolve effortlessly. ‘The Valley of Vision’ is a welcome addition to Manchester Orchestra’s evergrowing palette.

SÊAN REID

For starters, ‘Tell Me You’re Sorry’ bursts instantly with Brian Blake’s dense drum work before Muraro delivers a catchy and energetic hook in the chorus that’s certain to stick with you for days. Furthermore, when you add some power-driven and crunchy guitar work and Kyle Fasel’s defined bass line, you’re left with a strong, infectious opener.

‘The Damage Is Done’ and ‘Always Lose’ keep up the momentum and maintain the standard Real Friends have set themselves in recent years. Sure, they’re catchy, emotional, and executed with plenty of purpose, yet they’re no different to what we’ve heard before. Nevertheless, it is admirable for Real Friends to carve out a familiar style, and for the most part, favourable. The latter, ‘The Damage Is Done’, sees Dashboard Confessional’s Chris Carrabba provide songwriting assistance yet doesn’t differ stylistically.

Likewise, ‘Six Feet’ rolls in, perfectly taking its place in Real Friends’ arsenal of boisterous pop-punk cuts. Soaring with an abundance of energy, and nostalgic lyrics of “Mixtape on repeat”, the recent single sees Muraro looking for appreciation. It’s a relatable notion that’s wrapped up in a ball of positivity.

On ‘I Don’t Have To Do That Anymore’, guitars ring out as an acoustic guitar breezily enters, ultimately allowing the quintet to reign things in for the expected balladic number. It highlights Real Friends’ ability to maturely write about toxic relationships, Muraro’s hushed vocals glowing with sincerity, yet it’s a forgettable track that somewhat pauses any momentum the EP had going. Admittedly, some will welcome the change in pace.

Although Real Friends leans on expected tropes a bit too much, there’s something quite comforting to what they do. Their blend of emotionally introspective lyricism and bold and radiant brand of hook-filled pop-punk is certainly reassuring. Take main EP closer ‘I’m Not Ready’ for example. Here Muraro sings about mental health troubles – being alone and personal uncertainty – but it’s complemented by a structure that unites the band and the listener. That’s the secret ingredient to what Real Friends do; the ability to connect with their fans through relatable songs that don’t hold back on emotion.

While acoustic versions of ‘Tell Me You’re Sorry’ and ‘Always Lose’ come off as tacked on, they do highlight Cody Muraro’s impressive vocal range. Whereas a plucky, ominous layer is added to the stripped-back version of ‘Always Lose’.

Overall, ‘There’s Nothing Worse Than Too Late’ offers enough substance to keep fans interested from start to finish. The handful of hooks is complemented by uncomplicated instrumentation that is driven with intent and familiarity. Yet, it is that same familiarity that could prove to be a long-term hindrance. Sure, Cody Muraro has firmly established himself as the band’s vocalist, yet musically Real Friends haven’t evolved beyond a tried and tested formula.

SÊAN REID

Split between seven new songs and seven acoustic renditions of classic New Found Glory, the creation of ‘MTMOI’ was born out of the unfortunate situation of guitarist Chad Gilbert. In late 2021, he was diagnosed with an 8-inch cancerous tumour, a rare pheochromocytoma. A percentage of this record will go towards The Pheo Para Alliance, an organisation advocating the awareness of pheochromocytoma.

The opener ‘Dream Born Again’ sets the hopeful tone that threads the seven new tracks together. While Jordan Pundik’s unmistakable vocals don’t entirely translate to an acoustic setting, the jangly acoustics and optimistic melody make for a pleasing opening.

Understandably, the seven new songs sees Gilbert take an affectionate, autobiographical approach to his songwriting. ‘Mouth To Mouth’ maintains the sentimental tone, dwelling on “making the most of it” while highlighting NFG’s melodic capabilities. ‘Get Me Home’ hones in on Gilbert’s goals on the road to recovery; spending time with loved ones, heading back out on tour, and watching his daughter grow up. It’s a strong, heartwarming cut that emphasises the personal nature of ‘MTMOI’.

‘Watch the Lilies Grow’ takes a balladic route, as Gilbert pens an ode to his daughter, Lilly. Complemented by succulent orchestral swells, it’s an emotional tug on the heartstrings that puts Pundik’s vocals (and Gilbert’s words) at the forefront, whereas ‘More Than Enough’ sees Gilbert show appreciation for his wife. It is one of several new songs that could easily be transformed into the band’s bombastic pop-punk style (‘Get Me Home’ and ‘Dream Born Again’ being the other songs).

Gilbert’s gratitude continues on ‘Kiss The Floor’ as it takes an overarching tone of appreciation. Pundik’s role as Gilbert’s messenger is sincerely executed – throughout these seven songs, his vocals share the optimism and thankful tone Chad has written. Having spent over 25 years together in New Found Glory, it’s no surprise that the love and respect Pundik has for Gilbert has allowed him to confidently express the writer’s thoughts and emotions in a suitable manner. ‘Bloom’ ends the first half with one final plucky acoustic slice of optimism. However, it’s one of the more forgettable offerings on this side.

Part two of ‘MTMOI’ puts emphasis on NFG’s celebratory nature. Recorded in front of an intimate live crowd in Franklin, Tennessee, it allows longtime fans to hear favourites such as ‘All Downhill From Here’ and ‘Dressed To Kill’ in a stripped-down fashion. With crowd participation scattered throughout, it’s a short, plucky snapshot of NFG’s longevity and influence. Although Pundik’s vocals don’t always translate into an intimate acoustic setting brilliantly, the classic hooks and melodies firmly remain intact.

Ending with the one-two power punch of ‘My Friends Over You’ and ‘Hit Or Miss’, it’s a feel-good reminder of NFG’s ability to write timeless pop-punk songs. When paired with the starting sentimental set, it’s obvious that Gilbert and Pundik, along with Ian Grushka (bass guitar) and Cyrus Bolooki (drums) have a flair for writing annoyingly good melodies that continue to bring fans together. Even though there’s a sense they’ve been tagged on to make what would be an EP a full album, you can appreciate the quartet’s ability to transform these fan favourites into a tight-knit acoustic setting.

‘Make The Most Of It’ is far from a throwaway acoustic record. The new songs on offer are executed with substance and care. The overarching message of hope is delivered with warmth. Whereas the live acoustic set of NFG classics is sure to be a welcomed bonus for any longtime fans.

SÊAN REID

For anyone who’s followed the post-hardcore and alternative/emo rock scene for the best part of 20 years, the idea of members from My Chemical Romance, Circa Survive, Thursday, and Coheed And Cambria teaming up is an exciting one. Formed during the COVID-19 pandemic by Thursday’s bassist Tim Payne and drummer Tucker Rule, they soon added guitarists Frank Iero (My Chemical Romance) and Travis Stever (Coheed & Cambria). Coincidentally, Circa Survive vocalist Anthony Green was seeking out new collaborators. Cue the formation of L.S. Dunes.

Their debut full-length, ‘Past Lives’, is the culmination of this new collaboration. Leading with ‘2022’, there is an instant sense of familiarity due to Green’s distinct voice. Whereas the pairing of Payne and Rule provides a dense rhymic base, as Iero and Stever trade succulent guitar parts. It’s a suitable opener that meets any pre-conceived expectations.

Unsurprisingly, ‘Past Lives’ is a musically accomplished record, embracing each member’s individual experiences. Underpinned by a surging rock and punk-fueled energy, songs such as ‘Antibodies’ and ‘Like Forever’ are ferociously delivered, with Green’s scathing vocals battling for attention with Iero and Stever’s riveting guitars on the latter as Rule holds it all together on drums.

As the record rolls on, ‘Past Lives’ is an effective yet rarely exceptional record. ‘Blender’ thrives on a rolling drum pattern and more soaring guitar work. It’s a compelling number that leans towards the traditional rock side of proceedings. The title track allows Payne’s bass to rumble along as Rule accentuates each drum beat early on before allowing Stever and Iero to shine during the midsection. ‘It Takes Time’ is a gritty, reflective number with playful guitars before ‘Bombsquad’ thrives on soaring guitar lines.

With Will Yip (Tigers Jaw, Menzingers, Code Orange) on production duty, L.S. Dunes produce a raw-but-rich sound yet tends to drown on Green’s vocals. Such is the case on tracks like ‘Bombsquad’, where Green is fighting to take centre stage against the duel guitar work. It’s equally frustrating and captivating.

While for the most part, each member’s other bands tend to write the occasional big hook, ‘Past Lives’ opts to go against the grain, preferring to highlight their musical abilities. The closest we get to a memorable chorus is on ‘Grey Veins’ with the centre chorus line of “I want to kill time like it doesn’t matter”.

Admittedly, there is a stench of L.S. Dunes being a side-project throughout. However, ‘Past Lives’ thrives on the energy and enthusiasm that the five-piece individually and collectively provide. The penultimate track (and recent single) ‘Permanent Rebellion’ is a fine example of just that; utilising each member’s abilities to create a ferocious slice of post-hardcore.

‘Sleep Cult’ brings ‘Past Lives’ to a close with its alt-country sway and Green’s swooning vocals. It’s a fitting albeit limp finale absent of the abundant energy that came before it.

Overall, ‘Past Lives’ accomplishes L.S. Dunes’ goals in musically seperating itself from any of the member’s better known projects. Sure, there are flashes of comparable moments, yet ‘Past Lives’ comfortably finds a middle ground that allows the band to become its own thing. Although it’s far from the perfect “supergroup” outing. The constant imbalance between Green’s distinguishable vocals and his band mates is a nagging issue. Yet ironically it benefits the record, allowing L.S. Dunes to probably sound better than they should on their first outing.

With tour dates in place, you get the impression that the stigma of being a fleeting side-project will wear off as L.S. Dunes grow. ‘Past Lives’ is a suitable introduction, highlighting each member’s strengths while not stylistically stretching too far away from their individual roots.

SÊAN REID

Anyone who’s followed the group over the past 12 months will be familiar with their brand of pop-punk. Mixing punchy hooks with a handful of emotional topics (depression, toxic relationships, and institutional racism) may not be the most revolutionary take on the genre, yet Magnolia Park executes it compellingly.

From the outset, there’s a sense of self-awareness with a mixtape-like intro addressing accusations that Magnolia Park is “a TikTok band” and uses auto-tune. They soon prove their doubters wrong with ‘Feel Something’. Undoubtedly one of the pop-punk songs of the year, it’s bursting with radiant emotion and energy. Vocalist Joshua Roberts sings about his mental health issues and his frustrations. It’s a theme that pops up throughout ‘Baku’s Revenge’. Mayday Parade’s Derek Sanders adds to the track’s emotional core. Overall, it’s a vibrant rallying call to those feeling lost and frustrated.

Throughout Roberts and company neatly blend bold pop-punk choruses with hip-hop and pop elements. Tracks such as ‘Misfits’, ‘Ghost 2 U’, and ‘Radio Reject’ exemplify this. The latter leans on the high-octane pop-rock akin to All Time Low. Whereas ‘Ghost 2 U’ sees Roberts share vocal duties with guitarist Freddie “FRED” Criales against a stripped-back beat, allowing their emotive words to take centre stage.

Magnolia Park’s ability to constantly cram infectious melodies inside is equally advantageous and frustrating. For example, the fuzzed-up, seemingly celebratory ‘Drugs’ roars through with a playful melody and punk rock energy within three minutes.

One potential criticism about Magnolia Park is that they tend to stick to a pop-punk formula. In addition to the stream of three minutes or fewer cuts, there are familiar themes that bands in the genre have relied on repeatedly. Take ‘Addison Rae’ for example. Named after the internet celebrity and actress, it’s the usual tale of helplessly being attracted to the messed up but irresistible girl. Although it’s performed well, providing another bouncy, hooky chorus, thematically it’s a tiresome trope.

The main album closure, ‘I should’ve listened to my friends’, again leans on a typical pop-punk trait – a romantic relationship turned toxic. Nevertheless, it’s delivered irresistibly. Amplified by Joe Horsham’s popping drums and crunching guitars from Tristan Torres and Criales, it’s a resonant finale.

It is a credit to Magnolia Park to give fans who want more. The deluxe cut of ‘Baku’s Revenge’ includes four bonus tracks, allowing the band to further showcase their talents, with varying results. Both ‘Facedown’ and ‘Complicated’ blend hip-hop-based verses with power-chord heavy choruses. They allow Roberts’ diaristic lyrical tone to shine, highlighting his personal frustrations.

Another theme that repeatedly pops up throughout ‘Baku’s Revenge’ is institutional racism. With a diverse line-up, Magnolia Park have been on the receiving end of racial abuse. Besides mid-album point, ‘Paralyzed’, recent single ‘Don’t Be Racist’ sees Josh Roberts take on this criticism head on. Being unwelcomed by some areas of the pop-punk scene (“They told me I should stay in my own lane”), and the use of Black Lives Matter being only for “profit or promotion” is some of the issues he raises. Yet he’s defiant, standing up for himself, borrowing Rage Against The Machine’s ‘Killing In The Name’ angst-filled line of “Fuck you I won’t do what you tell me” in the process.

With ‘Baku’s Revenge’, Magnolia Park have successfully achieved what they set out to do. It’s a quickfire introduction to what the six-piece band are all about, both musically and lyrically. Beyond the catchy hooks is an emotional core that embraces relatable topics; depression and inclusivity, with a handful of thought-provoking cuts accentuating this admirably.

Despite only being a band for three years, Magnolia Park has already carved out a flair for producing addictive songs that leave you wanting more. They might not be reinventing the pop-punk formula, but they are giving it a fresh, socially-conscious lick of paint for 2022.

SÊAN REID

The quartet, completed by drummer Teddy Roberts and bassist Colin Gorman, have now returned with a four-track EP titled ‘Old Clothes’. Recorded during the ‘I Won’t How You…’ sessions with the always reliable producer, Will Yip, Walsh has stated the tracks on this EP “could be special on their own”.

It opens up with the title track which captures the emotive, upbeat style that will be familiar to longtime Tigers Jaw listeners. Gentle keys give way to steady muted guitars and Walsh’s lead vocals, lyrically honing in on the feeling of holding on to the present for as long as possible. With some “whoa’s” thrown in during the bridge, a strong chorus drives up the lyrical theme as Walsh closes with “I am not the one who is running away from you”.

‘Swear’ follows on at a similar tempo. Teddy Roberts’ accentuated drum work is a distinctive contribution, alongside Collins’ distant swirling organ keys and Walsh’s stirring-yet-brief guitar solo. Overall, it’s a catchy cut that highlights Tigers Jaw’s ability to write simple, emotive power-pop songs that easily come and go.

The penultimate track, ‘Reckless’, at first subtly rides on raw, sharp indie-punk guitars and Walsh’s upbeat melody, only to be countered by a slowed-down mid-section led by Collins’ ominous keys. Its gradual build to its conclusion allows the quartet’s musicianship to take the spotlight; twiddly guitars ring out while being supported by Gorman’s routine bass line and Roberts’ assuring drums.

The fourth and final track, ‘Waltz’, could easily be considered a throwaway or an interlude. As its title suggests, it breezes in with a stirring, mesmerising synth-led melody as Collins takes over the lead with light, distant vocals. Although she’s repeatedly shown her ability to smoothly and calmly step up in the past, Collins is drowned out by sustained, layered keys and a simple beat. Unfortunately, it ends this short outing on a flat note.

Much like the album from the same sessions that spawned these four songs, ’Old Clothes’ is an appreciative reminder of Tigers Jaw’s melodic strength. While it considerably lacks the emotional anchor that threaded ‘I Won’t Care How You…’ together, three of the four offerings here are rich in their tone and resonance.

It’s easy to see why Tigers Jaw saw these songs as a separate, collective set; honing in on a rawer sound, yet equally ‘Old Clothes’ can be viewed as a complementary EP. It will surely please fans and hold them over until album number seven. However, for anyone looking to be introduced to Tigers Jaw, this isn’t the ideal start.

SÊAN REID

At the centre is the bold, soulful voice of Joe Cabrera, whose words provide an emotive charge throughout these 13 tracks. From long-distance relationships to grandparents dealing with dementia, to carefree youthful days and beyond, Cabrera and company have an album scattered with relatable lyrics, delivered with personality.

From the start, ‘Take It Slow’ allows the five-piece to flex their punchy, melodic muscle, while Cabrera sets the foundation for Beauty School’s lyrical tone. “This year’s been hellish, its time to grow,” he proclaims in the verse, before showing determination to “take it slow” against a driving musical backdrop.

Early on, tracks such as ‘Silver’, ‘Oak’, and ‘Pawn Shop Jewels’ clearly show Beauty School’s melodic flair. ‘Oak’ sees the quintet charge ahead with stirring guitar work, whereas ‘Pawn Shop Jewels’ is carried by a blend of math-like riffery courtesy of the guitar trio of Daniel Shaw, Grant Beeden Clayton and Jordan Hill, harmonious vocals, and sturdy drums from Charlie Thomas. Collectively, the three tracks demonstrate the emotional ache that threads this album together.

Their midwest emo tendencies reappear in the pairing of ‘Only Nature’ and ‘Ekimae’, allowing Beauty School to reign the tempo in. Nevertheless, their emotive execution remains firmly intact. On the latter, Cabrera’s stirring vocals are complemented by playful guitars, giving way to a musical and emotional release.

Later cuts such as ‘Evergreen’ and ‘Drysocket’ keep up the momentum, maintaining the energy and sincerity showcased previously. While stylistically their brand of emotive melodic alt-rock is somewhat limited, Beauty School are still a solid unit. Cabrera’s bold, stirring tone is continuously backed by a spirited outfit that provides an abundance of efficiency. The former (‘Drysocket’) breezes along at an admirable pace, with flashes of harmonious guitars and a sturdy rhythm section.

As for the titular track, ‘Happiness’ contains one of the album’s most infectious hooks; leaning on their pop-punk roots, it’s a heartfelt celebration of companionship through hard times and sleepless nights. “You were like a seed inside my head, I felt the bloom, I felt the growth and I felt it end,” Cabrera sings with a melodic charm.

The closing pairing of ‘Nightwalker’ and ‘Junior’ neatly round off the record, both stylistically and lyrically. ‘Nightwalker’ drifts through at a steady tempo, allowing Craig, Clayton, and Hill to subtly create a stirring wall of sound while being complemented by Thomas’ determined drum work and Dan Shaw’s thorough bass lines. Whereas ‘Junior’ weaves through in a reflective, almost ballad-like manner only to surge through in a celebratory fashion.

For Joe Cabrera, and Beauty School as a whole, ‘Happiness’ (as an album) thrives on the solidarity they have between each other and externally. It is a record that explores maturity, reflecting on days gone by, both good and bad, and the lessons learned along the way. The end result is a musically well-rounded and lyrically optimistic album. Beauty School are a young band that are comfortable in leaning on their influences, while firmly establishing their own emotive voice. Their blend of well-executed hooks, shining melodies, stable musicianship, and impassioned lyrics makes for a promising debut.

SÊAN REID