Before delivering an assessment of Taking Back Sunday’s most
recent album, I feel it may be important to delve into the band’s history.
After releasing two critically acclaimed albums on Victory Records, they
shifted to a major for their mainstream breakthrough Louder Now and the disappointing follow-up New Again. While the release of 2011’s self-titled reunion with the
original Tell All Your Friends lineup was generally hailed as a success, it was
fraught with mismanagement from the label that released the album, Warner Bros.
The band commented in interviews about how Warner did not promote the album
adequately, and on the bonus disc that came with the self-titled even hinted
that the label made the band take songs off of the tracklisting (the biggest
loss being the stellar B-side “Mourning Sickness”). Because of this
disappointment with Warner Bros., the band recently moved to Hopeless Records,
allowing them to retain some autonomy over their musical
direction and tracking decisions.
With that newfound freedom comes an element of complacency,
however. Though the band’s new album Happiness
Is is stacked up front (in much the same way that the aforementioned Louder Now was), it fails to consistently
find the mark. As a result, many of the album’s back-half tracks miss the mark.
“Like You Do” is the biggest offender, with its terribly generic chorus lyrics
and boring verse melodies. “They Don’t Have Any Friends” is reminiscent of “Error:
Operator”; it's a largely forgettable “rocker” track with a powerful bridge that
just barely allows the song to tread water. The bridge here is powered by a few
particularly explosive drum fills by Mark O’Connell, a consistently underrated
part of the Taking Back Sunday dynamic.
“We Were Younger Then,” likewise, appears poised to detonate
in the bridge, but vocalist Adam Lazzara no longer has the vocal prowess to
power the song’s otherwise well-constructed outro. The band constructs a Tell
All Your Friends-esque repetitious outro which Lazzara attempts to belt in a
high falsetto over top of, singing, “Only in pictures before have I seen /
anything like from where I am standing/ Looking I can't tell
where the city stops / And the nothing begins.” But because Lazzara’s vocals
have taken a step back since the band’s prime, the ending lacks the same fire
and emotional weight of the “This is what living like this does” line from “Ghost
Man On Third” or any of the other epic outros on Tell All Your Friends. As a result, the track comes off as a sort of paint-by-numbers version of TBS- a sort of watered-down, kid-friendly retread of what made the band successful.
Album closer “Nothing at All” is a largely acoustic ballad,
but fails to live up to the expectations that previous Taking Back Sunday album
closers have set for it. “Nothing at All” merely meanders while its immediate
predecessor, “Call Me In The Morning” from the self-titled, explodes into a
rousing rallying cry from John Nolan.
Nolan, by the way, is woefully underused for the second
straight album. It appears that Taking Back Sunday has finally completely
abandoned the trade-off vocals in favor of having Nolan echo whatever it is Lazzara
is rambling at that moment. It would be nice to just see Nolan perhaps take lead
on a song here or there, as he is as talented an accomplished a musician as
Taking Back Sunday has to offer, but he is largely in the shadows here.
There is no doubt, though, that there are snapshots of the
band’s former greatness present on Happiness
Is. The most apparent of these is the album’s lead track, "Flicker, Fade," which will go down as one
of Taking Back Sunday’s best tracks when they decide to hang it up for good.
The song takes the dynamic of bridge-loud chorus outro that Taking Back Sunday has
ridden to such success and amplifies it, with both Lazzara and Nolan nearly
screaming as the song leads up to its climactic moment. “Beat Up Car,” on the
contrary takes much of its energy from the pulsating rhythm delivered by
O’Connell and bassist Shaun Cooper, as well as what sounds like a brooding
synth line.
The surprising album highlight is “Better Homes and
Gardens,” a mid-tempo number which finds Lazzara yelling “It was all for
nothing, yeah, it was all a waste” in the chorus. The songs subject matter is
reminiscent of Jimmy Eat World’s Damage in the sense that it is an “adult
breakup song”. The mature subject matter, coupled with the verse’s infectious
vocal rhythm, helps to buoy the mostly skippable back-half of the album.
As I’m sure it’s easy to surmise from my review of Happiness
Is…, Taking Back Sunday is a band that I have come to expect a lot from each
time they release an album. It is because of these expectations, however, that
it becomes difficult to be as forgiving of missteps as I would be for a band
that I’m new to listening to. Although in the words of Uncle Ben in Spiderman, “With great power comes great
responsibility,” I don’t think that holds true for this album. Taking Back
Sunday, by virtue of writing two absolute classic albums and many other
phenomenal songs, have earned the “great power” that they had to go independent
and write the album that they wanted to write. They no longer have any
responsibility or necessity to prove anything. But wouldn’t it be nice if just
one more time they could put out another album that is front-to-back as
consistently great as Tell All Your
Friends or Where You Want To Be.
Perhaps we should just get used to this as the new Taking
Back Sunday standard: 4-5 good tracks, and 6 forgettable-to-terrible tracks
every three years going forward. If that is the case, then I am appreciative of
the standout tracks that Happiness Is
has given me and I look forward to the next set that Taking Back Sunday has to
offer.
6.0/10
Very interesting topic
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