Review Summary: The fact that I’m still listening to, and love, this album over a year after its release should speak for itself.
In the world of Pop-Punk there is no such thing as ground-breaking anymore. All of the best and worst parts of the genre have been done more than once, and will probably continue to be revisited for years to come. Now, the question for any Pop-Punk album is whether or not it has enough of the “it factor” to make you forget that you’ve probably heard some incarnation of the album before.
With that being said, does the second (and most likely final) full length Secret Lives! release measure up? The short answer is, yes. Weekend Warriors contains all of the raw energy one would expect from a bunch of fun loving, PBR drinking boys from a town where there is nothing else to do but party. At the same time, the band has matured in their craft; both in musicianship and lyrical content. As a result, Secret Lives has crafted an album that comes as close to perfection as Pop-Punk can get.
The album kicks off with the party anthem “Chug and Leave.” I’ll be the first to say that this theme in particular is kind of played out but the track is so damn catchy that you can’t help but sing along. Thankfully, the catchiness and fun of album continues but not the party theme with the exception of the album closer “Life Begins at 40oz,” which happens to be the first and only single released in support of the disc. Both are great tracks but it’s everything in between that makes Weekend Warriors a standout in the genre.
“Mascara” is an anthem to shady women everywhere. Although it is probably the most immature song on the album lyrically, it still speaks the truth. Those of you familiar with Secret lives earlier work will be surprised by this and every other track on the record. This is due to the absence of Brien Worsham’s screamed vocals and some of the heaver, distorted, guitar work from Jim DeBardi, Tucker Ensley and Justin Elrod (who left the band shortly after the albums release).
The Screamo/Emocore style vocals and breakdowns have been traded in for increased technicality and a more focused vocal assault which might take some getting used to but in my opinion, the decision pays dividends. “Dirty Laundry” and “The New Whack” are prime examples of this. Both of these songs are quite melodic and groove oriented. The stellar drum performance of Travis Moss is just the icing on the cake. Unique, non repetitive drum fills help keep these tracks, and all others, exciting. The fact that the album is produced by Jamie King doesn’t hurt either.
"Feels Like Home" and “Xanax” slow things down a little bit but these songs are no less entertaining. Both tracks have similar song structures but, in my opinion, “Xanax” is a much stronger effort both musically and lyrically. Both songs deserve more than a few spins but “Xanax” should just get a few extra.
The album picks up again with “Why We Run.” This is one of those songs you just have to see performed live to fully appreciate it. The final minute is like a gang chant minus the homosexual/Brocore energy… Fun stuff. Next we have “Airplanes,” one of my personal favorites. It has become my personal anthem to Asheville, NC. As you have might have guessed from the title, its all about escape and starting over. “There's Wolves Out There” is another one of those songs that makes you bob your head and want to dance, even though I and probably most of you, can’t dance for ***. This song in particular also features some great work from bass player, Josh Carden.
“Painting Monsters” deals with everyone’s favorite subject… death. Although this might be one of the more personal and emotionally driven tracks on the record, it still manages finds its way to an uplifting chorus and almost gives a sense of hope by the end of the song. For anyone who has lost a friend, this will hit pretty close to home.
Finally, “The Death of...” opens with a borderline funk driven riff and the energy continues throughout the song. This is definitely a standout track on the album because is shows all the sides that the group has to offer. If you want a song that touches on all of the styles this album offers up, be sure to check this out.
Overall this is a strong release for the band and the genre. For the most part, I would consider Pop-Punk somewhat entertaining at best but these guys have stepped it up. The fact that I’m still listening to this album over a year after its release is a surprise in and of itself. If other similar groups put out albums of this caliber, I might actually become a fan of the genre. I have mixed feelings on whether or not I hope this happens.
