To reach perfection means one must find themselves in the state of being without a flaw or deficiency. While I can’t go as far to describe Copeland’s newest release as perfect, I can say its pretty damn close. Believe me, there is a dear part of me that wants to label this album as perfection, but there is always slight room for improvement on some level but Copeland makes that slightness so hard to find. It’s as close as you can get without feeling like you being overdramatic, stagy or even cliché.
Copeland has just released one of the best pop rock albums of our time. An album that for once lives up to all the media hype and possibly exceeds it. With the band really coming off as shy and true to their values and religious beliefs, it sadly holds them back a bit that they don’t try to really fit into the “scene” they are lumped into. The band has the atypical skill and knack to pen songs centered on love and even be so obviously sentimental and straightforward about it without the music becoming trivial or characterless. It’s something that most bands in the pop-infused rock genre never ever come close to realizing. It just doesn’t happen.
With the breathtaking vocals of Aaron Marsh and sweet, pleasant instrumentation, In Motion delivers songs that you can slow dance to, jump around a little bit to and even make love to. It cannot be stressed enough how much beauty each song on this album holds within. From the vocals to the musical song structures Copeland just know how to please.
This album features a lot of guitar work where the tones and tendencies adjust throughout the songs. This forces each song to sound modestly different in texture and quality but yet still evenly flows together when all is said and done. This is another aspect of piecing an album together that Copeland has simply mastered and they almost make it seem easy and effortless. From the opening up-beat track, “No One Really Wins” the lyrics on In Motion are very invigorating yet simplistic; “Welcome love / I have made a place for you here / I know every word they say / I know how they want to make you change / Change if you want, but don’t you go and change for me / I will love you as you are/ I didn’t mean to make you want to leave / It’s a fight between my heart and mind, no one really wins this time.” You can see how straightforward and love-laced these lyrics are but when sung by Marsh’s angel-like voice, it all just fits together like the sun setting over water.
I feel as if no matter what words I use, I’m not doing Copeland any justice. Their music is so moving- and it’s been quite a long time since a band made me feel this way and I think I’m just going to enjoy it while I can because I’m not sure when it’ll happen again.
(The Militia Group)
Pretty Vicious – Beauty of Youth
Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype
The perils of industry hype and stardom have been unforgiving for many young bands. The brutal nature of the rock n’ roll whirlwind is both an inescapable thrill, and the overdose that has claimed the scalp of many. Welsh rock band Pretty Vicious are no stranger to the often destructive nature of record label glory and lofty expectations. The band members were mere teens (15-17) when they signed their mega-deal with Virgin EMI in 2015. What followed was a roller coaster ride of failed recording sessions and the burden of unmet expectations that come with signing big-money deals at such a young age. But the remarkable truth is, Pretty Vicious seem to have come out of the industry slog having survived their initial foray into the fire with an album that is quite a remarkable achievement.
Initially touted as the “next Oasis”, Pretty Vicious have thankfully shunned that tag and done away with writing the next Definitely Maybe for something more visceral. Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype. If Beauty Of Youth is a record signaling Pretty Vicious’ convalescence after their initial break down, then please, feed this medicine to all the bands.
There is no Oasis, but rather the furious, feverish unpredictability of rock music that we had seen with early Biffy Clyro, early Idlewild, packed with the dangerous uncertainty that came with The Libertines. It’s immediate too; from the raucous riff-heavy opener “These Four Walls” to the vagabond “What Could’ve Been”, much of the album channels frenzied palettes of distortion and beautiful noise. “Force of Nature” is a little Josh Homme, while “Someone Just Like You” is what Dave Grohl sounds like when he’s trying, but the album’s best moment is perhaps the gorgeous, slow-burning “Playing With Guns”. A song that’s composed of great wistful melodies that slowly incinerate the ears with infectious songwriting that makes Beauty Of Youth sound massive while being personal at the same time.
You can’t go past songs like “Move”, with its buzzsaw guitars and wall of energy, without thinking of all the best rock bands we’ve heard over the past decade. It’s got it all- to a T- but its urgency and hectic nature make it feel all the better. “Something Worthwhile” has got the bright lights and big stages of Glastonbury written all over it. And while their 2015 stint at the festival saw them on the “Introducing…” stage, this song is headlining main stage material.
It is quite an achievement to be as accomplished as Pretty Vicious at such a young age. Even more remarkable that they’ve survived the industry machine to release such a damn good debut album. Beauty of Youth is a composed, compelling, high energy debut that answers the question, “what became of the likely lads?”. They went on to write one of, if not the best, rock records of 2019.
Sum 41 – Order In Decline
Long gone are the days of All Killer, No Filler
Canadian pop-punkers Sum 41 have been remarkably consistent over the course of their last few albums. And while we have never stopped calling Sum 41 a pop-punk band, their last few albums have been less about being fun and bouncy, opting instead for a far more serious flavor of rock music. Long gone are the days of All Killer, No Filler, replaced instead with songs that do their best to mimic Muse’s big stadium anthem feel while not forgetting their penchant for metal licks and hefty solos. Truth is, it’s quite a shame because when Sum 41 were more about being fun and silly, their songs had this incredible likeability to them. Forget All Killer, No Filler, they were at their most fun with their often silly 2000 debut Half Hour of Power.
So what to expect with Order In Decline, their 7th full length? Well, if you like easy-to-digest pop-punk anthems, you best look elsewhere as much of the album spends way too much time taking itself too seriously. Not that the results are bad; songs like “A Death in The Family” and “Out For Blood” do the faux-hardcore/melodic punk thing really well. The chugga chugga riffs, toe-tapping melodies, and Deryck Whibley’s snotty vocals continue the band’s well-refined sound. Opener “Turning Away” doesn’t shy from being a little metal, a little rock, a little punk, and sets the high energy tone for the album. The return of Dave Brownsound for 2016’s 13 Voices has solidified the album’s two-pronged guitar attack, and Order In Decline’s production helps on that front- it’s a loud album, it just doesn’t seem to say a whole lot at times. “45 (A Matter of Time)” is the band’s anti-Trump song, and while it tries to provoke, sounds loud, its cheesy protests of “You’re something to few / But nothing to me / Someone so twisted and sick as can be / It wasn’t the plan / We gave it a shot / You’ve proven a real man is something you’re not” won’t exactly inspire a raging fire within the listener. I suppose if you’re turning to Sum 41 to change the course of the future, we’re all in trouble.
Sum 41 love their ballads too- and Order In Decline’s lighter in the air moment (phones in the air for you kids) is the piano-strewn ballad “Never There”. It’s OK, but doesn’t quite reach the heights of effective balladry they showed with “With Me”. The album’s best moment is the blitzing “The People Vs…” which trades the stadium rock for more melodic hardcore/thrash that a little akin to some of the goofy stuff they did on Half Hour. The meaty riffs, a great solo and the soaring chorus pumps much needed old Sum into Order In Decline, and it’s only a shame there isn’t more of it on the record.
As the album closes with the radio-ready “Catching Fire”, listeners are left with one of these two thoughts. For those who enjoy Sum 41 when they’re trying to be the best big band they can be, there is plenty to like on Order in Decline. They’ve found a consistent, polished, and well-produced sound they first hinted on with 2002’s Does This Look Infected?. For those who found their juvenile, snotty attitude on Half Hour of Power and All Killer to be the quality they most enjoyed will respond to Order in Decline with indifference. At least I don’t hate it.