Young pop-punk bands (with a stronger emphasis towards pop) have been cropping up more and more in recent years, with 5 Seconds Of Summer breaking out of Australia and subsequently taking over the globe after touring with One Direction, and As It Is steadily climbing the ladder.
Let’s be frank, all of them follow in the footstep of the genre elite a la All Time Low and Blink-182, and, while both of these bands are noticeable for their on-stage humour, they also have a back catalogue of well-written, thought out songs behind them. A first impression with newcomers Makeout is that they seem to be the result of stripping away the formula until only the humour is left.
With their debut album, ‘The Good Life’, it seems that they’re aiming towards a younger demographic of fans, and there are definitely a few positives that shine through the record.
Opener, ‘Childish’ gets things started with a simple but effective guitar-driven instrumental, and a series of woahs before each verse makes for a strong sing-a-long section. Lead single ‘Crazy’ harks back to Every Avenue‘s ‘Picture Perfect’ days with a pretty infectious bouncy chorus that’s weaved into a typical love you/hate you lyrical package.
The band display a little more versatility in the second-half of the record, with ‘Clockwork’ landing in more rock territory and ”Til We’re Gone’ delivering a stripped back feel led by a simple piano melody and some smooth vocal harmonies.
Despite the positives, the negatives do outweigh them. Though there’s some variety on display here and there, the majority of it does come across incredibly repetitive. ‘Salt Lake City’ and ‘Open Minded’ feel more like filler tracks than anything else.
The most pointless part of the album comes in ‘Where’s My Charger?’; 25 seconds of blaring tasteless guitar while vocalist Sam Boxold wails about not being able to text girls back as his phone is on 1%. It’s easy to see that emulating early Blink-182 was what they were aiming for, but it really doesn’t hit the mark.
The lacklustre, often cringe-worthy lyricism that’s prominent during ‘Lisa’, ‘Secrets’, and ‘Blast Off’ acts as the nail the coffin, so to speak, and is one of the biggest factors that makes ‘The Good Life’ such an inconsistent record, and, in all honesty, fairly difficult to listen to all the way through.
Written by Phoebe Constable (@phoebecnstable)
Founder & Editor for DEAD PRESS! | Atheist and antitheist. | Judge of the quick & the dead since 1989. | Aspiring freelance pizza eater.