Album Review: Dance Gavin Dance – Afterburner

If there has ever been a more defining and prominent sound within the scene, it lingers within the essence of Dance Gavin Dance. Looking beyond an often tumultuous and rocky pathway to where they are now, Dance Gavin Dance’s fifteen-year-long journey has unmasked the true makings of a passionate, unique, and ever-learning band. Regardless of what is thrown at them, whether it be band life or an international pandemic, the success of the band has always been within their passionate and never-say-die nature. Making the brave decision to continue the release (a rare occurrence among these disastrous times), Dance Gavin Dance have not only overcome the adversities thrown at them but have asserted themselves as a band who is only getting stronger. Their new release, ‘Afterburner’, is a powerful, punchy album that is filled with just as much passion, integrity and uniqueness as the first DGD release, ultimately adding to the list of astonishing art established by this group. Lathered in their signature sound and of course, bathing in the house of Swancore, ‘Afterburner’ also successfully brings in new, unvisited sounds, adding to the slight quirk we all know and love. They say “you can’t teach an old dog new tricks”… but ‘Afterburner’ is proving anything but.

Track one, ‘Prisoner’ also led the multitude of singles to be released before the album. ‘Prisoner’ ultimately acted as the first taste of ‘Afterburner’, subconsciously providing glimpses into the framework, sounds and styles of the album to come. In more ways than one, this ardent single fulfilled its job perfectly. Paving the way for more experimentation in the album, this track juggles new sounds with skill, seamlessly binding together elements that others may find chaotic. Throughout their albums, this skill is certainly something to note. If these sounds and ideas were not placed in the hands of such a unique band, could they be handled and utilised in the same way? Over and over again, Dance Gavin Dance continues to go where others cannot. But each step away from this ‘normality’ always seems to end in something so desirable, such as an opening track like ‘Prisoner’. As far as introductions go, this track not only welcomes you but pushes you forward into the world of ‘Afterburner’ with eagerness.

The second track also provided some food for thought for fans, acting as another single and taste of what was to come. Upon its release ‘Lyrics Lie’ quickly became my favourite of the single releases, and continues to be one of my favourites from ‘Afterburner’. Immediately enticing the listener with a swift introduction of Tillian’s clean vocals, this track holds on, pulling you through the four-minute journey with pleasure. Holding one of the most flamboyant and catchy choruses, the track is of course balanced by the ever-prominent man, myth, Mess. Cooking up the perfect combination, it is evident to see why these two opposing vocalists create the perfect dynamic for Dance Gavin Dance, contributing greatly to the creation of excellent albums like this one. If there is anything to note from not only the singles but the album’s eternity, it would be the depth of the lyrical content. Lyricism is always something that has seemed to come naturally to this band, diving into the often absurd, existential and quirky sides of life with passion and understanding, However, it is something they are clearly always refining. ‘Lyrics Lie’ presents itself as a self-aware, satirical track; “Find my destiny written in sand/ And let it all go to my head”, “Now I’m all cultured and educated/ Quite qualified to be the one that made it”. Questioning the ever-growing social media culture and effect of false idols and influences, no topic seems off-limits within this album. This apathetic view on the world is refreshing, and it is these moments of realisation through music that can spark the biggest discussions. ‘Lyrics Lie’ is a track that unveils layer after layer, and at the heart of it, reveals the very nature of Dance Gavin Dance themselves; individualism. ‘Lyrics Lie’ is certainly one of my favourite songs off the album!

Track three is ‘Calentamiento Global’. Despite being one of the most uncultured individuals to walk the planet, I could indeed tell this song was in Spanish. Little did I know, this dash of something new was going to set up one of the most intriguing, powerful and passionate songs on ‘Afterburner’. Translating to ‘global warming’, this song follows a story of “history repeating itself”. The powerful fusion of instrumentals with an exciting element of language difference for many listeners creates so much intrigue amidst the track. Play after play, the excitement of this song did not vanish. It’s uplifting in its own special way, and provides a hearty dose of all the loved elements of Dance Gavin Dance, just in a new way. ‘Calentamiento Global’ is truly a unique track, proving that the band that has mastered it all can always throw something new into the works.

Serving as the last pre-release single from the album, track four introduces ‘Three Wishes’. Taking a more mellow approach, this track offers something quite versatile to the album. Leaning towards the poppier side of things in regards to sound, the song disguises itself as an uplifting, groovy anthem. That is until the instrumentals are met with the jarring lyrics, creating that storm of juxtaposition that we all crave in a DGD tune. Surely they are the only band that can get you dancing to a fun, pure-sounding beat whilst “multiple stab wounds” is being repeatedly stated in the background. Now that’s talent! We’re certainly not learning about their “bizarre” nature now, but every so often it’s strange to be reminded that sounds certainly do not equate to message, and that’s the beauty of music like this. Dance Gavin Dance has created an outpouring of emotions and ideas within ‘Three Wishes’, making it the masked and mysterious tune we didn’t know we needed.

‘One in a Million’ comes in as track five. Without a second of breathing room, this track is strong from the get-go, throwing both vocalists in within the seconds of starting. It’s this unexpected nature that serves as an enticement mechanism, not that this album wasn’t exciting enough! The choppy yet refined nature of this song creates layers of depth, shifting from sound to sound to create something new to the makings of ‘Afterburner’. By the end of the track, ‘One in a Million’ turns into a funky, anthemic and uplifting song, adding to the list of dynamic sounding tracks on the album. DGD has always had a way with words and making people feel things, but ‘Afterburner’ has proved that sometimes sound can be just as powerful in creating unity through the feelings it creates. It was at this point, not even halfway through the album, I realised that something deeper within each of these tracks is contributing to ‘Afterburner’ being such a unique album. And that would be the mounds of passion, self-assuredness and individualism of the band at hand.

Following is track six, ‘Parody Catharsis’. Now, if you weren’t already satisfied by the many twists and turns existing in this album, please allow the input of Will Swan to act as a cure. Adding to the already contrasting nature of both Tillian and Jon, Will’s introduction adds yet another unheard dimension to the album at hand. Fusing together, these three key figures create a track truly unheard of. Tillian’s piercing vocals slash through the rough vocals, only to be brought back down to earth by the brawny lyrics of Swan. This track is certainly something else but does not become overbearing in its many elements. Ultimately, ‘Parody Catharsis’ becomes a showcase of all that lies in the band, vocally and instrumentally. ‘Afterburner’ certainly abandons all creative rule books, experimenting with new sounds to create an unheard Dance Gavin Dance creation to be remembered.

Track seven revisits the last of the single quartet, ‘Strawberry’s Wake’. This track is undeniably powerful, bouncing from its contrasting clean vocals and screams to create a perfect dynamic within itself. There is a lot going on in this track, but everything marries together perfectly. There is an undeniable groove within the instrumentals that is still carried over to the grungier sides of the track. No matter how the song is presented, the same essence is portrayed through them all. This continuity is essential and is something that the band does seamlessly. As well as the song itself, the lyrics of Strawberry’s wake are just as strong; “Everybody doubts decisions when they’re vulnerable/ Nobody’s perfect, but everyone’s searching, I’m sure”. Such a raw and somewhat internalised question really brings the track into a more personal focus, asking us too to join the search for the meaning that’s being craved for. Listening to songs like ‘Strawberry’s Wake’ tends to lead to a deeper experience than first thought, adding to the many dimensions that Dance Gavin Dance music holds. ‘Strawberry’s Wake’ and its internal search create an eye-opening track, backed up by an unmatched groove to lead you through the journey.

‘Born to Fail’ follows as track eight. Starting with a far more sinister and brutal vibe to its counterparts, this track is neatly tucked away amidst the depths of the album, only to launch a sneak attack upon the unsuspecting listener. This demanding tone is respectively met with one of the biggest dissing choruses to be heard; “Honestly, you’ve always known I’d prevail
It’s biology and you were born to fail”. Holding an angsty tone and message, this is a rare occurrence within this somewhat peppy and uplifting sounding album. But much like everything else, this burst of rage makes everything perfectly balanced. It’s interesting to see few tracks of this style but perhaps suggests the thoughts and attitudes of the band were in a more positive place upon the makings of this album. ‘Born to Fail’ is the necessary release of the bottled-up anger that has been absent from previous tracks, but still manages to do it in such a melodic and organised way. This too has become a personal favourite from ‘Afterburner’.

Adopting some of the angsty undertones of the previous track, ‘Parallels’ follows. Mess’ toned down and slowed up chorus becomes the standout of the track, creating a clear assertion of the fragments of anger that have been floating around from the beginning of this track. Although simpler than others, ‘Parallels’ is quite an enjoyable track, particularly for the pure showcasing of Mess and his vocal talents. This Mess dominated track provides a much-needed serve of the unclean, signature vocals all DGD fans crave, shifting the dynamics from the often clean-dominated tracks.

‘Night Sway’ is track ten. Acting as the bridge back to the more upbeat sounds, this track introduces faster beats and high clean vocals amongst Mess’ still angered screams. Listening in order, seeing the progression of the vocals and their portrayal of both the mood and story they are carrying is something to behold. Aside from the lyrics, tone is the single biggest element in developing and sharing a story. DGD have mastered their technique perfectly, shifting at just the right times. Watching the story unfold and the perspectives change is a vital part of the ‘Afterburner’ story, and it becomes evident in transitional tracks such as this. ‘Night Sway’ is a song with many layers and feelings, all encapsulated into what is heard by the listener.

Track eleven is ‘Say Hi’. Providing yet another twist in this album, ‘Say Hi’ abandons the glimmers of happiness in the previous track and returns to the angered ways heard so infrequently in this album. With some evident spurts of it being a heavily metalcore influenced song, it becomes a clear standout. In some ways, I think it’s agreeable that no other track has been so confident and defined, whether that be through its striking instrumentals or assured vocals. Its heaviness does not burden nor weighs down the rest of the album, instead, it becomes a refreshing inclusion to a diverse and ever-changing album. ‘Say Hi’ reminds the listener of the many sounds of ‘Afterburner’, prompting a celebration of the diverse and genre-shifting nature of Dance Gavin Dance.

‘Nothing Shameful’ introduces the first of two feature artists upon the album. The twelfth track invites Andrew Wells as an accompanying vocalist. The introduction of Wells provides a softer, unseen element to an album shrouded in the powerful vocals of Tillian and the unmissable screams of Mess, once again shifting the dynamics of their sound. Together, they cover all areas, reaching from the most fragile of places to the guttural depths of Mess. Altogether, this song is a perfectly balanced combination of each artist, truly letting each one shine for their respective reasons. There is certainly ‘nothing shameful’ about this track, and it perfectly showcases the uniqueness of all parties involved to create a powerful track with such opposing voices.

Concluding ‘Afterburner’ is ‘Into the Sunset’. This track also holds a guest feature, that being Bilmuri. As a closing track, this song slowly and neatly ties up the loose ends of the album. In a mellow and smooth way, we as listeners are truly led into the sunset by the calming nature of this track. ‘Into the Sunset’ certainly differs from what lies behind it, but it still communicates and encapsulates the album in a manner that leaves you feeling satisfied. Shifting tones once again, the anger is gone and is replaced with this mellow sense of being at one with what is left. ‘Into the Sunset’ leaves the listener with a warm feeling, and gradually leaves the album of ‘Afterburner’ behind in a dignifying and enjoyable way.

Through its thirteen tracks, ‘Afterburner’ communicates the ever-changing styles and sounds of Dance Gavin Dance, proving why they are still an essential, prominent, exciting and defining band within the scene. Despite their fifteen-year history, the band continue to create refreshing albums filled with twists, turns and the occasional guest to shake things up! ‘Afterburner’ is a well-polished machine that seamlessly showcases the many talents gained throughout DGD’s history, as well as the multitude of skills they have mastered along the way. This album is not merely a collection of new songs but comes as a collection of stories, lessons and all-round good vibes. I would highly recommend this album, and if you do so, listen to it in order! Dance Gavin Dance have masterfully created a beautiful album, using elements that other bands would simply stare at in bewilderment. They are truly unique, and ‘Afterburner’ proves that.

Remember, stream, download and purchase! Many physical sales have been halted! Let’s show them we care about their craft! Take a listen, and let us know your thoughts!

Album Review: The 1975 – Notes On A Conditional Form

The 1975 are certainly no strangers to pushing the boundaries, centering their work upon their individual consensus of what ‘fits’; lathering each song with an immense personal touch. Whilst it has always been lingering in the background of their projects, the English band has only recently brought out its heavily experimental and non-conforming attitude to create jarring but illuminating tracks; songs that are soon-to-be anthems of our spiralling world. With an album that took longer than anticipated, holding a track list longer than anticipated, the 1975 have flexed their creative muscles once again with the release of ‘Notes on a Conditional Form’. With its 22 outspoken, claming, aggressive, unstable, comforting, confronting tracks, this body of work truly becomes an anthem for the non-conformist; a celebration of what music can be, and a reminder of the power we all have to branch out from the norm.

THE 1975 / PEOPLE
Perhaps the only traditionalist notion that looms with the 1975 is their recurring, self-named beginning track, offering a sombre welcome to the rest of the album. On NOACF, this track was led by Swedish climate change activist Greta Thunberg. Her jarring and sobering speech extends its platform to the initialisation of the album, creating a confronting first song to the 22-song tracklist. It’s real, raw and powerful- an opening only emphasised by its following track ‘People’. Greta’s gentle whispers are dramatically juxtaposed by Healy’s pleading screams, but the two work hand in hand, pleading for us to wake up to our surroundings. Personally, ‘People’ remains my favourite track from the album, shoving its distress, misery and suffering at you in every which angle. I think that is the beauty of such a track. Music is often such an escapism, it’s difficult to reset to the jarring reality; this track makes sure your feet never leave the ground. Striking and unsettling, ‘The 1975’s progression into ‘People’ sets a realistic and jarring tone for the album, signalling our time to ‘wake up’.

THE END (MUSIC FOR CARS)
A powerful, fairy-tale like, orchestral instrumental- what better to settle you down from a 2 minute, 40 second long angst-induced rage anthem? Considering this is such an early on ‘interlude’, I took this as a signal of a new chapter, shifting gears from the conscious reality presented in the opening, allowing listeners to travel in the unconscious, or often just previously unvoiced, world of Notes.

FRAIL STATE OF MIND
This song encompasses a fragmentary backdrop as its only scaffolding. Beats drifting in and out place an emphasis on the true reality of this track- a persona dealing with their abrupt and anomalous thoughts, ones which are only fuelled by the ways of a degrading and judgemental society. The fragility of Healy’s vocals consolidate the thoughts of self-questioning, self-doubt, and a lack of answers to these internal questions and battles, making this song true to form and message. The frailty of ‘Frail State of Mind’ is no mere tonal wind-down from ‘People’, but a carefully constructed representation of their own internal struggle.

STREAMING
Yet another fastidious and dainty interlude. It adds a touch of whimsical to the album, tracing its hand ever so slightly toward the next track of the album.

THE BIRTHDAY PARTY

Collecting the baton from ‘Streaming’, ‘The Birthday Party’ opens delicately and smoothly. Contrasting to the still chaotic subject matter, the instrumental side of this track finds itself squeezing into the unrelenting, punishing world of the persona, masquerading and embodying the sense of calm they need. ‘The Birthday Party’s calming but chaotic aura is inescapable, and works its way into your mind and soul.

YEAH I KNOW
With a much more technologically driven backbone, this semi-interlude track takes a deep dive into the unconventional and staggered thoughts of the frontman. This album is slathered with a deeply observatory nature, becoming self-aware in even its most unsuspecting moments. ‘Yeah I know’ in particular places a self-reflective emphasis on the inevitable notions of time; “Time feels like it’s changed, I don’t feel the same”. Repeated in a flipped and reversed line, “Emas eht leef t’nod I, degnahc s’ti ekil sleef emiT”, the band makes a commentary upon their own growth, especially within the experimental and non-confomring style of this album. Personally, I take this as a dig at the critics and responders who continually comment regarding a “negative growth”. Through this track, the band are stressing they are evolving, changing, growing- and yeah, they know they are.

THEN BECAUSE SHE GOES
With a shuffling structure, the elements of this song are beautifully displaced, challenging the traditional conventions and production of a song. There is no build up nor introduction, but is quite simply the band presenting and putting forward their message, utilising every second to do so. If anything, I would have loved to hear more from this track. It’s uplifting tone but sombre messages were not only skillful, but charming and catchy.

JESUS CHRIST 2005 GOD BLESS AMERICA
Once again deviating from the expected content of this album, ‘Jesus Christ’ is a hymn for the existentialist. Diving between being just “a footprint in the snow” to holding feelings one “can never show”, The 1975 play with the notions of existentialism and never truly existing. If our actions are what truly define us, if we never act do we never truly exist? This track is a thought provoking ballad that only aims to feed into the already bottomless depths of some of the world’s most critical thinking. The tone of the song can be as sarcastic as intended, but it can simply not escape the powerful and answerless questions it brings upon itself. Accompanied by Phoebe Bridgers, Matty is raw and vulnerable. ‘Jesus Christ 2005 God Bless America’ is different but not unexpected, deep but not cliche, thought-provoking but not preaching.

ROADKILL
If it was not clear by now, this album conforms to no genres, and it is boundless in its sound. With lingering country vibes, this track is calm and folky. Providing a type of sway-along beat, it is hard to hate it (even if it holds a slight country vibe). This track completes the folk-like progression initiated within ‘Jesus Christ’, navigating it into this genre crushing indie, country hybrid tune. It’s different, it’s unexpected, it’s very ‘Notes’.

ME AND YOU TOGETHER SONG
Poppy and nostalgic, this track is very reminiscent of the early 2000’s- and that’s a beautiful thing. It really clams down the fear of never hearing something from that era again, because here it is, a new song from that era! All of that aside, this is a happy, cute song that removes itself from the self-doubt and existentialist thoughts of a distressed and unassured persona. It offers a refreshing touch that livens up the album, creating a beautiful juxtaposition of sound and production. I’ve “been in love with this one for ages”!

I THINK THERE’S SOMETHING YOU SHOULD KNOW
This track branches from the journey of ‘Notes’ to create its own journey, following the multiple stages of this multi-dimensional track. From a beginning of a toned down vocal verse, to a pronounced drum beat, a fragmented verse, to yet another amplified verse, this song provides a whirlwind of intertwining elements that make it unique and structureless. This creativity and nonconformity is nothing new, but it is especially endearing to see their confidence and ability in constructing something from almost nothing grow.

NOTHING REVEALED / EVERYTHING DENIED
The stylistic features of this song produce something truly unique, not only within this album, but within the catalogue of 1975 music. The orchestral and operatic choruses delicately placed against the almost spoken verses, with the added semi-rap inclusions, create something truly dynamic. There is no way all these elements should work together, but The 1975 seamlessly connect them, creating not only a flowing song, but an enjoyable track with perfection radiating from its tone, production and messages. This was truly a standout track for me, and I’m sure it will receive the same reception from others.

TONIGHT (I WISH I WAS YOUR BOY)
Another mellow but groovy track! The apparent but not overpowering instrumentals creates a vessel for these elaborate themes and messages to escape, which is a powerful tool for the band’s story-telling. Much like its counterparts, the fragility of tracks such as these evoke so much emotion, even if the subject matter does not reflect the struggles of your own life. It presents a hypnotic state of feeling, if you will.

SHINY COLLARBONE
This is perhaps one of the most apparent and deeply-constructed interludes to be found. Acting as a passage-way to the second half of the album, ‘Collarbone’ is a haphazard groove tune that sends you on a mesmerizing ride to track 16.

IF YOU’RE TOO SHY (LET ME KNOW)
Reminiscent of earlier 1975 creations, amped up with a jazzy nostalgic feel, ‘Too Shy’ is an exciting, sure-to-be fan favourite that comes as a homage to the band’s past. Once again retrieving the more positive and uplifting feelings from the persona, this song deviates from the seriousness for just a little while, creating a danceable, poppy, catchy tune. Much like the persona of this song, we are given our own escapism in the form of ‘Too Shy’ to be reminded of the little joys we can find- although what we find it in may differ.

PLAYING ON MY MIND
In a jarring way, this song immediately returns to the dark and familiar state of an individual crisis that is shared by the collective. This track is heavily self-reflective, and sees Matty scrambling for answers in a world of unknowns; “Will I live and die in a band?”, “Will I get divorced when I’m old?”. In a strong and inclusive way, this track grapples with the isolation of our own thoughts, extending this notion to the world around us. These questions are only answered when faced with the situation at hand, establishing distance between ourselves and our lives. ‘Playing on my Mind’ toys with the isolation felt within one’s own mind, showcasing it in a way for all to experience.

HAVING NO HEAD
Once again ditching the conventional methods of music production, this track standouts out for its 6 minute long duration. Its duration is filled with an interlude that jumbles from slow and solemn to fast-paced and dancy. Whilst this album is no stranger to interludes, it comes as a unique addition due to its dynamic nature in regards to form. Sure, it probably didn’t have to be that long, but it offers valuable time to process the prior sections of the album.

WHAT SHOULD I SAY
Stealing the similar tone from the end of the prior interlude, this track starts with a mysterious, technological introduction. Fading in and out of coherence, it becomes a greater representation of a reality falling between conscious living and unconscious dreaming. It is disembodied and obscure, but adds to the strangeness of the life of the persona- a concept that has been visited before on many occasions. I did indeed gravitate towards this song, particularly for its other-worldliness and obscurity; offering a sound not yet conceived by the band.

BAGSY NOT IN NET
Bagsy may not be in the net, but this interlude captures the remnants of the obscure and disembodied particles from the previous track.

DON’T WORRY
‘Don’t Worry’ is a cute and gentle track that collects the previous fragments of feeling and vulnerability into an acute moment. A beautiful way to encapsulate these emotions as the ending of the album lingers upon the horizon.

GUYS
We have had ‘Girls’, but now it’s ‘Guys’ turn. This last track once again destroys the boundaries of conformity, however not in terms of form, but in subject matter. In a world that glorifies lustful and ingenuine relationships, the band takes a moment to reflect on and articulate the joys found within the friendships they have created and endured. This is such an insanely beautiful moment, and a step towards normalising these conversations of admiration and thankfulness. The truth, vulnerability and fragility lies within each line, presenting itself as a personal note from the band themself. Marking the end of the album, ‘Guys’ signifies a time of hope; that through the loss of faith, existentialism, struggles and defeats, there will always be a glimmer of hope through the relationships we form.

Through its 22 tracks, ‘Notes on a Conditional Form’ utilises every waking minute to convey the personal experiences of the band. Further to this, it is evidently one of their most experimental albums to date, signifying their confidence in not only their sound, but their ideas and production. This self-assuredness reflects in the well constructed, seamless tracklist that flows effortlessly into a world that is not too far from our own. Although diving in and out of reality, there are some large takeaways from this album; some of which are jarring to our own reality. ‘Notes on a Conditional Form’ is an anthem for the non-conformist, a collection for the existentialist, and an album for the devoted.

Album Review: Neck Deep- ‘All Distortions Are Intentional’

Since 2012, Neck Deep have been tirelessly pushing the boundaries to create music that is inventive and innovative, carefully escaping the clutches of the genre that seems to have such a tight grip upon them. Recently, Neck Deep released their highly anticipated studio album, ‘All Distortions Are Intentional’; a celebration of new stories, new journeys, and a fully re-conceptualised sound. Submerged in the essence of a band that is confident within their messages, morals, and perspectives, Neck Deep continues to prove that although you ‘can’t kick up the roots’, you can certainly climb upon them to reach new heights.

Sonderland
Sonderland presents itself as our first invitation into the new world Neck Deep have created; a world that is both fictional, and an extension of our own realm. Its opening is intrusive. From the earphone, it already holds an opening that could introduce them to any stage, local or worldwide. Extending upon this is the nature of the track’s deep and melodic instrumentals. Seamlessly, they intertwine with that of Ben’s vocals, skilfully executing a perfect partnership and cohesiveness; essential to developing the somewhat assumed paradise that Sonderland presents itself as. Speaking of Ben’s vocals, they evidently amplify the tone, which is one of great emotion and motivation, exuding the feelings of a persona yearning for something greater, albeit something we are still privy to within this first track. In our own personal world, Sonderland plays upon the lack of consciousness within today’s society; “As they all keep talking in their sleep, I am wondering”. Lines, such as these, become essential in allowing us to ponder if we could be the next individual to make a change, to break the mould of a society so infatuated by the manufactured. Although there is a detachment from what we once knew, we are yet to see if this division is for the better- amplifying the aims of this complex story-line, where we gain knowledge as the personas do! Skilfully, this track is both a nostalgic and heart-warming introduction, opening a portal to Neck Deep’s new world and commentary.

Fall
Just one of the many celebrated singles, ‘Fall’ cements itself into the album through its glorious transition from ‘Sonderland’. The simplistic instrumentals that encompass this track once again place emphasis on Ben’s vocals. Evidently, this reliance on vocals to assert the story stems from immense development in both skill and confidence- which is something notable throughout the entirety of this album. ‘Fall’s’ anthemic choruses ring throughout for many listens to come, lingering and impactful- the true trademarks of a passion-filled song that ultimately ingrains itself within the audience. From an early stage, it is evident to see that although subtle, each song is packed to the brim with emotion. Upon my first listen, this album made me feel fragile, vulnerable and on the verge of tears (whether that be from how proud I am, or because of the songs themselves)! In more ways than one, this is a true depiction of the processes of the band with this album, and how it was clearly one undertaken with ounces of pain, passion, and purpose.

Lowlife
‘Lowlife’ is the ultimate change of pace, placing a large emphasis upon the reminiscent and nostalgic nature of the band’s punk past, as well as their many punk influences. This intertwinement of the both the old and the new subsequently creates a unique mould for the next era of pop-punk. Although vulnerable, it still maintains the foundational pillars of angst, rawness, and outspokenness. In a new way, instrumentals carry the song into an unexplored realm of self-awareness; all done with a beat that is both definite, yet unexpected. Of course, this level of personal reflection is only strengthened by the lyrics; “I’m a lowlife, living the slow life, baby, I’ll see you in Hell”. Fun and protruding from its more-serious pals, ‘Lowlife’ is an anthem for the underappreciated, and a timeless tune for those seeking reassurance for themselves.

Telling Stories
Already one of my favourites, and quickly becoming a fan favourite, ‘Telling Stories’ presents a new exploration of thought and delivery. The instrumentals within this track act as a bridge, plastering the gap between this transitional phase of music for Neck Deep.. Unlocking their own sense of self, all cards are on the table- from old roots to new beginnings. However, there is never a moment where their sense of individualism and identity is not maintained, which is perhaps one of the most spectacular things about not only this record, but this band. Although it seems cliche to say, ‘Telling Stories’ is also one of the most profound representations of the ability to tell a story (although this skill has never gone astray within Neck Deep albums). Perhaps key to this is the utilisation of both high and expected vocal notes that create almost a conversational piece- allowing us to intrude upon the thoughts fleeing through the world of Sonderland. Through jarring lyricism and effective instrumentals, more than the story is communicated; instead, it is the delivery of emotion, rawness and the leeway for personal connection that makes this so incredible.

When You Know
Coming from its podium as yet another strong stand-alone single, ‘When You Know’ contextualises and grounds itself within the album of ‘All Distortions Are Intentional’ by contrasting those around it. Slower and sombre, the track is evidently drawn from personal experiences, only developed through the recurring in-song discussion of the Sonderland story line. The track follows a realisation of feelings, a revelation that the ‘something’ that is inside cannot be restrained. In many ways, the deeply personal discussion of what it means to connect only amplifies the paramount connection between artist and audience. There is an allowance for the ideas within this song, taken from the world of Sonderland, to intrude upon our own lives, allowing for reflection and realisation. The reflective and intimate nature of this track creates something truly diverse. Although an exploration of personal ideals, we as an audience are expected to associate our own lives within the song- creating the ultimate tool for connection.

Quarry
In a direct juxtaposition through tone, instrumentals and vocals, ‘Quarry’ is an unexpected but necessary inclusion, permeating through the album due to its almost central placement. When contrasted upon the ideas of the songs that reigned before it, it is jarring and rattling. Notions of self- awareness and assuredness crumble into a sense of both longing and unknowing. Skilfully, this acts as an accurate representation of the life we have come to know, filled with jarring personal changes that have only been able to occur through the instability of life. Through its distant nature from the album, yet its ability to maintain a consistency to the story, Neck Deep have displayed a highly sought after duality- unlocking a versatility within their sound that many others fail to reach. Although shorter than anticipated, ‘Quarry’ is packed with emotion and hard-hitting vulnerability, the trademarks of a track infused with passion.

Sick Joke
Picking the pace back up, but still maintaining a level of sombreness, is the next track, ‘Sick Joke’. From first listen, there is one thing that stood out to me, that being the striking combination of this double-edged metaphor and simile; “And I’ll hold on to a moment, like a sad kid to a blanket”. These lyrics, for me, play upon the futility and mortality of our human life. In a greater way, it becomes a representation of our comforts within life, and how they are quickly fraying away. Ringing true for me as a listener, lyrics, such as these, highlight the importance of connection in music, and how they can be the pillars for personal change and revelation. Personally, I feel there is a level of awareness this song provides; particularly that of recognising what you have, whilst also acknowledging that what we place our livelihood within may not be there forever. These notions are certainly played upon throughout the rest of the track, especially through the unexpected placements of vocals. In turn, these subtle elements play upon the frailties, fragility and constant shifts of what surrounds us, therefore presenting itself as unexpected and different. Already one of my favourites, ‘Sick Joke’ is powerful and intrusive, once again illuminating the power of connection within Neck Deep tracks.

What Took You So Long
Yet again, the band have utilised new creative directions to present their songs in a new and unseen way. Although beginning very stripped and weary, ‘What Took You So Long’ flourishes into a piece encompassed in confidence and sturdiness. So too, this song grasps onto the universality of its contents. I think upon listening to this album, one of the key elements lies within the application of the stories of Sonderland to our own individual lives. It is with this in mind, that songs like ‘What Took You So Long’ become anthems for the individuals enduring their own personal exploration of emotion and experiences.

Empty House
‘Empty House’ is personally one of the most profound pieces of work from this album, presenting messages of hopelessness and existentialism- fitting for a time like this within our own society. Perhaps this bold claim is best shown through the line; “cause all this doom and gloom, is clouding me and I can’t see past you”. There is a sense of defeat that expands upon the past exploration of self, alluding to the fact that perhaps this sudden change is stemming from a realisation. From a past place of clarity, ‘Empty House’ presents the true nature of the battles within our existence; the certain becomes uncertain, and a lack of concreteness grows within what we thought we once knew. Seamlessly, Neck Deep utilises the instrumentals to help plead this case- holding their own dire tone, illustrating a sense of longing towards the answers of the questions that we can never answer. Shifting the tone, this track is vulnerable and profound, only adding to the complex stories that Sonderland reflects back upon our own world.

Little Dove
Although it is an acoustic track, ‘Little Dove’ certainly does not feel tokenistic. This is primarily due to its place in not only the Sonderland story-line, but the story that we as a listener have been immersed into. There is a sense of growth that comes from not only the nature of an acoustic track, but the vulnerability derived from the lyrics. Despite the tone, there is not so much sadness, but perhaps a sense of longing for what once existed- a recurring theme that exudes through many tracks. The nature of modernity is also commented upon, expressing that values we have adopted, and the values that we have decided to abandon, have perhaps caused our own detriment. Bravely, this song is a bold commentary upon the nature of our own world, alluding to the ways we have stripped ourselves from the answers, from freedom, and from a state of being content with what surrounds us.

I Revolve (Around You)
Before the album was even released, this was quite an important song for me- particularly due to my participation within the ‘Neck Deep Puzzle Challenge’. After hours of dedication and sleuth work, I was fortunate enough to crack the code. But most important to this endeavour was the experience. I gained friends from far and wide, and became encompassed within a community of kind and compassionate individuals. Without even hearing the track, I knew that from that moment, the song would hold connotations of the experiences of that night; experiences shrouded in kindness, compassion and unity. Upon listening, I certainly was not disappointed. In fact, my own personal attitudes became amplified by the personas of the story. ‘I Revolve’ juxtaposes that of its previous tracks, highlighting the realisation of boundless and unrestrained love. Interestingly, I feel this song also presents a pivotal moment within the journey of Sonderland. This track makes a reference to Carl Sagan, which in my humble perspective, presents a large allusion to the power of imagination; “Imagination will often carry us to worlds that never were” (Carl Sagan). In this hidden gem, I feel as though we, the audience, are finally equipped with the tools that allow us to become consumed by the world that Neck Deep has created. Without imagination, not only do we limit ourselves from the portal into Sonderland, but we place the ultimate hindrance upon the connections that can be made. ‘I Revolve’ is a beautiful track that extends from its title as the prize from the Neck Deep Puzzle Competition, instead becoming a rightful contender for one of the most heartfelt tracks on this album.

Pushing Daisies
As the last track, ‘Pushing Daisies’ had many shoes to fill, and many knots to tie. In a different but realistic approach, this track does not hold all the answers, nor does it conclude the journey of Sonderland. Instead, this track asserts the feeling of being content with the uncertainty, as this is what fuels us to want, to know, and to live for something more. Through this song, Neck Deep allows us to find solace within the previous feelings of instability, instead directing us to find comfort within the fact we are all walking upon the same path, shaped by the same world. ‘Pushing Daisies’ solidifies that although we may not extend from the same roots, we all have the opportunity to grow to the same heights.

Through its diverse track-list and dual story-line, Neck Deep have revolutionised what it means to solidify your stance within a shifting world. ‘All Distortions Are Intentional’ is not only an exploration of personal endeavours and the world of Sonderland, but is a pathway for audience connection, allowing listeners, like myself, to find comfort and solace within the lessons and morals of the story-line. Removing themselves from boundary constraints, Neck Deep have created something that is rightfully their own; unique and beautiful, it is truly a work of art. ‘All Distortions Are Intentional’ is all hype, all heart, and an all-encompassing commentary upon what it means to be human.