Review Summary: So... this is progress?
This 'Emo Revival' is quite tiring if I can be completely honest. Even with countless bands releasing countless albums featuring songs about being sad in various circumstances, I still try and hold on, largely due to my never ending quest to find the saddest song ever written. In this process, I’ve found many quality bands full of talented people making good music; among this list of groups was I’m Glad It’s You.
I need to put a strong emphasis on 'was' in that previous statement. Until recently, The Things I Never Say has only served as background noise to be sad to (with the exception of a few tracks). I really enjoyed their sincere lyrics and punk rock flair. This is why I was so disappointed upon closer listens.
The biggest flaws with this album are the production, mixing, and performances. Every song sounds painfully similar, with the same tone on the guitars and vocal inflection haunting every track. The guitar build ups and leads, while energetic, seem to be copied and pasted from song to song. The vocals are too quiet in the mix on some of the songs, and turn to be mind-numbing on others, with lyrical topics that feel cliche and old. This is not helped at all from the dry and monotone delivery from the lead singer, and the cookie-cutter backing screams fail to add the punch I’m Glad It’s You needs in many of these tracks.
On the other hand, the most commendable thing on this record is easily the song structures. There are hardly any times where lyrics or vocal melodies are repeated. It comes off like multiple choruses were written and implemented for each song. Another thing really helping the band through this project is the alternative sound they are going for. While not really working on some songs, specifically the tracks “Parking Tickets” and “Daydreams,” when things come together they really click. The track “Curbside” is a beautiful tune that emanates a feeling of false confidence, and it’s the most memorable song on the entire record by a long shot. There are also several faster, more aggressive cuts that do an excellent job of capturing punk energy. The title-track has a very well fitting guitar solo and has infectious energy to it. “Keepsake” has a similar vibrancy to it, even if the guitar gets a tad repetitive and grating after a while.
I’m Glad It’s You has put together an album that sound good and plays well on the surface, but it lacks the ability to listen to it as anything more than a melancholy and relatable punk emo album. Several tracks carry potential to break the glass ceiling and propel this record into something on-par with other bands’ projects, but only a few cuts on here are worth remembering. I can only hope that the band varies up their sound on future releases, or else I fear they will be swept out to the ocean in this wave of new emo.
