Review Summary: A solid album when taken on its own off-the-wall terms but ultimately a step down from Strength and Mana
After two albums of gothic heavy metal, Unto Others goes for an all-out kitchen sink approach with Never, Neverland. That foundational fusion can still be felt but is often overshadowed by a melting pot of influences from horror punk, alt-rock, new wave, and even some blackened blasts in spots. The direction somehow doesn’t feel out of character for them, having had an eclectic edge since the Idle Hands days, and comes off more like acting on elements merely hinted at before than anything too unnatural.
As a result, the mood does feel more noticeably lighthearted. Never, Neverland isn’t a comedic album by any means, but the established melancholy comes with a sarcastic attitude that feels like a spiritual emulation of Type O Negative while the more aggressive tracks channel the cheeky recklessness of Misfits or AFI. It ends up giving one a different perspective on what came before; did the band have a change of heart in the last couple years or were they always aware of the campy tinges in their angst?
Either way, the band’s signature tropes are mostly intact. The baritone vocals remain the primary center of attention, delivering most of the melodies as well as serving as a reliable anchor through all the style jumps. The guitars are admittedly not as riff-driven this time around with heavier chugs used more sparingly, but the glossy textures are pleasant and the leads encourage a dynamic presence. It’s also nice to see the bass step up in classic post-punk fashion, filling out the speedier sections and getting more spots for fun fills.
But while the album doesn’t feel as overstuffed as that seventeen track total would suggest (fourteen if you don’t count the two interludes and the bonus “Pet Sematary” cover), the execution can feel rather haphazard at times. It’s a breezy listen for sure as the songs generally hover around a three-minute average, but this can also make them seem underdeveloped when the hooks just aren’t as impactful as before. “Momma Likes The Door Closed” and “Flatline” are neat punk experiments and that Zelda sample on “Time Goes On” is an amusing nod, but they stand out more for novelty than memorability.
Fortunately, there are still some enjoyable songs to sort out. “Butterfly” was a good choice for lead single and opening song, playing like a successor to “Jackie” with a catchy goth structure somewhere between One Second-era Paradise Lost and HIM with some sly lyrics to boot. The lighter textures and pleasant refrains are especially potent on “Sunshine” and “Cold World,” even if the former borders on a little too saccharine, and “Hoops” is a nicely driving instrumental.
Never, Neverland is a pretty solid effort when taken on its own off-the-wall terms, but it still ultimately feels like a step down from Unto Others’ previous albums. The change isn’t as drastic as one would expect since the lighter tone plays well into their established quirks, but the variety can feel like they got ahead of themselves when the writing lacks a certain punch. It’ll be interesting to see how the band could finetune this approach with more focus in the future, but the likes of The Night Eternal or Sonja may be better suited for anybody looking to scratch that gothic heavy metal itch.
