Review Summary: Thanks to Dryjacket, pop-punk gets off on the right foot in 2017.
Pop-punkers Dryjacket have experienced the kind of rapid rise that most bands, like this four piece group hailing from Marlton, New Jersey, can typically only dream about. They signed with Hopeless Records after releasing just one EP, and now stand on the precipice of national recognition with the creation of their first full-length album,
For Posterity. The attention is well deserved too; these young musicians bring forth everything from emo vocals and pop-punk rhythms to math-influenced guitar work. If their 2015 debut EP
Lights, Locks, and Faucets showed Dryjacket beginning to tie together the diverse roots of the three bands from which they formed (Ampersand, Exit 34, and Heartwell), then
For Posterity sees all the pieces falling into place on a polished product that reaps the benefit of all those fine-tuning and integration efforts.
For Posterity boasts a confident, lively brand pop-punk essentially from start to finish, taking only a few calculated breaths to slow the pace. From the complex and rhythmic weaving of ‘Epi Pen Pal’s mathy guitar intro all the way to the funky acoustic breakdown on ‘Patron Without Funds’, it’s a technically slick and supremely enjoyable record straight across the board. Dryjacket seems to place an emphasis on guitar work and technical intricacies, but they still boast two irresistible hooks here: the unexpected inundation of trumpets and other regal-sounding brass on ‘Two Toasters’, and the undeniably catchy
woah-oh’s that see ‘Abe LinkedIn’ reach a pop-punk styled fever pitch. If there’s a knock to made against
For Posterity, it’s that amidst their unflinchingly consistent instrumental contributions, there are not enough moments of sheer melodic bliss injected into each song – which is something that clearly elevates the likes of ‘Two Toasters’ and ‘Abe LinkedIn’ above their equally proficient but less memorable counterparts. Despite this,
For Posterity constantly feels fresh and is always aiming for new ways to capture its listeners’ interest from an instrumental perspective. It’s an admirable feat that Dryjacket succeeds at on practically a per-song basis here.
The songs that bookend Dryjacket’s debut stand in stark contrast to the rest of the album, displaying a more vulnerable side that is accented by underlying depth and emotion. Opener ‘Wicker Couch’ sees lead vocalist Joe Junod gracefully picking at his acoustic guitar, humming bitter laments like “we commemorate your absence with absinthe” and “lying face down on a wicker couch in the fucking rain…you devastate just to get your way.” Although lines like this are spread throughout
For Posterity, they’re never more apparent than when Dryjacket trades in their signature upbeat sound for more of a personalized acoustic songwriter approach. Closer ‘Ana (An-Uh, An-Nuh)’ echoes the sentiments laid out by ‘Wicker Couch’, delving into an apparent holiday breakup: “losing my voice and not by choice, since you and I had it out / it's New Year's Eve and I'd like to leave, but I'm passed out on the couch.” These tracks ease us into and out of the album, like interludes and outros specifically designed to heighten the emotional impact of the content that rests in between. It’s yet another weapon in Dryjacket’s arsenal, and the poignant way in which this whole experience starts and ends truly gives
For Posterity that cyclical, authentic “album” feel.
Dryjacket has the sound of a band that is pop-punk in name only, because they offer a plethora of differing musical elements that range from emo and punk to mathcore and acoustic songwriting. While being signed to Hopeless Records may prove to be one of the biggest boosts to this band’s career, they’re still wary not to fall into the trap of aiming to please. Rather than trying to emulate other titans of the label, such as Yellowcard or The Early November, they come forth with a sound that blends multiple styles and is distinctly their own.
For Posterity is – for a pop-punk album at least – guitar-heavy and technically precise, yet accessible enough in its structure and approach that it feels inviting and easy to listen to. The result is a very strong debut that becomes more memorable and recognizable with each subsequent listen. If you are a fan pop-punk, indie-rock, or emo, it’s time to get excited about one of the best new bands on the block.
