The first track, "Love Me," piles on layers of electronic beats, some keyboard & a heavy guitar-driven chorus with the features of Kellin Quinn's tenor vocals. The desperation in the lyrics become evident towards the end as they transition into an acoustic melancholy version of the chorus before shifting back into gear with the full band. "Just pretend to love me / Stitch me where my heart bleeds." Following, is their single from this EP, "Sick Of It All," which was officially released last summer & currently is their most streamed song. This single has an exhilarating chorus and nostalgic tones of Four Year Strong or Hit The Lights but twisted with their own modern flavor. Track 3, "Back On My Bullshit," seems to be a fan favorite & as it's the most uniquely produced song of the EP, I can see why. It features Alabama hip-hop artist, iamjakehill, who adds to the complexity of its sound as it surges through the elements of emo/hip-hop/pop punk throughout. It's definitely one to have with the windows rolled down & the bass all the way up.
"Sunburst" comes next, originally being a solo project when it was released as a single last year. The collaboration with Atlanta's glimmers for this track was a brilliant decision because their vocalist Maggie Schneider's voice suits this genre & complements Magnolia Park's frontman Josh Roberts' so well. This stripped-down, lovesick tune radiates the warmth as the subject's described as just that: a sunburst. "I can't believe you're here with me / You make me feel a new kind of happy." Shortly after, "TDH2S," (standing for "things don't have to suck") comes into play with the existential importance of optimism in an over-looming personal depression. This is also portrayed whimsically in the music video (seen below). The upbeat, groovy guitar progressions & an anthemic chorus provides an uplifting tone. Oliver Baxxter's vocals are introduced by the second verse as he adds another layer of pop punk familiarity with their elevating choruses. Finally, "Singing," is the final track. It first presents itself as a synthy-piano ballad but proven wrong only a few seconds in as bursts of electric guitar & screams rhythmically cut in. A song ideally tailored for a live audience, an ensemble of people join in each chorus & continuing on until the very end where there's an undisclosed feature of a... chicken? Sorry if I offended anyone.
Photo by Jessica Griffith
Written by Deirdre Kelly
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