After the well-documented departure of vocalist, lyricist and guitarist and of Jason Lancaster at the end of 2008, Mayday Parade, of Florida, USA, fans were understandably concerned about the future of the band and the progress of their follow up to 2007’s ‘A Lesson in Romantics’, without their Lancaster. Without him, the band appear to have matured in musical ability, creating this tight and punchy record, made up of one part lyrics pin-pointing the ins and outs of relationships with light emotion, one part skill projection and one part venue-filling noise.
The noticeably varied sound from earlier material is mainly due to the lack of Lancaster, which angered many fans who had first loved the band with him intact. But it was also the growing maturity of the band to where their hearts on their sleeves to create an honest album, capable of connecting with fans poignantly. ‘A Lesson In Romantics’ almost appears to be EP standard compared to the production found on ‘Anywhere But Here’, because of the move from Fearless to Atlantic Records. Writing this album took almost a year, beginning just after Lancaster going his own way and posting direct posts on his MySpace blog regarding the situation, ‘I hope that one day we can all be friends again...I am leaving the door open for whenever you guys (the band) can bring yourselves through it...everything is cool...but the bands you love aren’t always what they seem...’. In actual fact, Lancaster raises a critical issue with his statement, because the rift between him and the rest of the band, at first, took huge precedence over the pre-production for ‘Anywhere But Here’.
Recording was complete in June 2009, with the title track released soon after. Perfectly punchy pop-punk beats drive every track on the album, and with the irresistible combination of catchy choruses and succinct lyrics, ‘Anywhere But Here’ is a positive combination. The very first track, ‘Kids In Love’, which was released as a single, has lyrics that unswervingly tag nostalgia, which has always been a popular pop-punk theme. They make a clear aim for the teen market, ‘The summer was full of mistakes...the first kiss stole the breath from my lips, why did the last one tear us apart?’. Telling tales of teen romance failure is a huge element of what makes Mayday Parade so successful, and with the addition of soothing backing vocals from drummer, Jake Bundrick and enticing melodic features, it is a very compelling track for teens.
Title track, ‘Anywhere But Here’ defiantly has the greatest attention to detail in terms of overall production in comparison with other tracks on the album. The steady beat only enhances the catchy melody and lyrics marking the difficulty of misery and loneliness after the breakdown of a relationship. In fact, if the rock drum kit was replaced by an R&B esque backbeat; this track would be conventionally pop, especially with its incorporation of key changes and enhanced backing vocals. This is clearly something that has made Mayday Parade more appealing to more people since their subtle inception onto the scene in 2005. ‘The Silence’ begins with an edgier format, but although every track speaks of the troubles of love, this tells a tale of a girl experiencing a gloomy period of life, ‘With every beat there’s no escape...it won’t ever be the way it was...his heart of stone left hers breaking...nothing left inside’...you get the idea! However, in the past, the gloomier songs are the most successful because of the audience connection they evoke, for example, the Green Day track ‘Boulevard of Broken Dreams, Boys Like Girls’ ‘Thunder’ or Coldplay’s ‘Fix You’.
Track four, ‘Still Breathing’ employs a similar sound to that of Lostprophets but without their arena-filling production and remarkable lyrical connections with fans, it does not quite work in the same way, ‘I got to find my way out, I’m hoping...’ appear miniscule in association. By track five of the album, the bite appears to have been misplaced, with pitiable lyrical elements, ‘Someone please sing this love sick melody...’. The title of the following song, ‘If You Can’t Live Without Me, Why Aren’t You Dead Yet?’, as well as the opening, are very reminiscent of A Day To Remember, but without the inclusion of screamo, and despite a half decent guitar solo in the bridge, for more of a wall of sound, the potential anger-filled moment is lost in pop punk hooks.
‘Save Your Heart’ is a touching, heart-felt and well produced track, that could easily make a grown man bawl with the emotion it can evoke, varying from how depressing heartbreak can be ‘She fell to the bottom of life...’ , and how difficult moving after a break up can be ‘Try and get up, you’ve got to slowly brush off, I know that words aren’t enough, but you’re better than this.’ Yet the deep and harsh emotions referenced are almost wasted on early teens that are less likely to truly understand the cruel sting of love. Having said that, the band does extremely well in promoting uplift in such situations, and the lyrics are nothing short of overwhelming, ‘Never get what you’re crying for, it’s always the same...you give, and they take, and it’s love that you want, but not love that you make...’. With many an air-grab perfect moment, beautiful lead and backing vocals and endorsement riffs, as well as sheer honesty through the lyrics. This is without doubt the best track on the album by far, and portrays the potentially epic sound this band could have.
Yet again, Mayday Parade appear to have extracted the most loved sound elements from, let’s face it, better bands in an attempt to gain fans. As well as tracks three and four, track eight, ‘Get Up’, the trend appears through the guitar introduction, bridges and subtly in the chorus, with reference to Blink-182. No one can doubt their success and as Mayday Parade have yet to find a perfect sound of their own; they have made themselves very venerable for dislike. But the alluring riffs have carried them through. But ‘Centre of Attention’ almost contradicts this idea of incorporating other bands’ best elements, because the melodic and pop punk qualities, although conventional for the genre, if a little tame, which somehow makes them individual, and the lyric ‘sing it for somebody who cares!’ is perfect for gigs. ‘I Swear, Time I Mean It’ is Mayday Parade stripped bare, and an acoustic track, it could be considered as dull or simplistic, but in fact, it actually highlights the raw talent of the band.
‘The End’; perfect final track for ‘Anywhere But Here’, with its references to the evolution of the band itself and honestly charting internal emotions of their progress, ‘How can you think that any of this was easy, with all the friends I lost along the way?’ With fading guitar, wholesome vocals and a punchy chorus, it rounds off the album lucratively. But, bonus tracks ‘So Far Away’ and ‘The Memory’, although inevitably do what they say on the tin; seem like excess after an eleven-track album. ‘So Far Away’ is jaunty and gig-perfect, ‘...this place can burn for all we care.’, and ‘The Memory’ reverts back to Mayday Parade’s ‘Miserable At Best’..best.
Despite ‘Anywhere But Here’ being somewhat lukewarm towards the middle, the band’s capabilities are portrayed in tracks such as ‘Save Your Heart’, which would have more than likely been a very strong single. Their influences are obvious, but to achieve a phenomenal album, they cannot play it so safe. Mayday Parade’s potential depth is remarkable and shines through some tracks, whilst others are almost worth skipping, but this record gives them a good shove in the right direction.
3/5
3/5
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