There's definitely some hits on this album, starting with the opening track, "Stitches" by State Champs. Taking the original and giving it just the right amount of angst and punk flair, State Champs continues to show that they can take something that isn't theirs and make it their own. Their version of "Stitches" feels so natural for them; if I didn't know the original song and heard the cover, I would've assumed it was their own song and not a cover. They have become a very solid band in the pop-punk scene, one that I have really enjoyed watching grow and tighten up their sound over the years.
"That's What I Like", originally by Bruno Mars but this time performed by Dance Gavin Dance, is another great song that the band was able to retain the original essence of the song while still giving it their own flair. The song still has the swagger of the original, with a balance of clean and screaming vocals that doesn't cause you to grind your teeth. There's some great guitar work on the song as well, with the lead guitarist really showing off his chops. This type of cover reminds me of why I really enjoyed the PGP series in the beginning; it combines a heavier band with a poppier radio hit and the result is both hilarious and enjoyable.
One of my favorites (possibly my favorite of the album) is "Gangsta" by New Years Day, originally by Kehlani. This is an example of why I do really enjoy this series of releases, despite the inconsistent nature of the material. The band took a song that you wouldn't have thought to hear them perform, and they completely owned it and took it to a new level. The dark nature the band brings really fits the vibe of the song, and replacing the hip hop beats and Kelahni's sensual nature with roaring guitars and Ashley Costello's haunting vocals really emphasize the twisted nature of the song, in a way that the original just couldn't.
"Let It Go" by The Plot In You is a rare example of a band not straying far from the sound of the original but still managing to create a captivating performance. The vulnerable, stripped down nature of this song ended up really working for the band, despite my initial feelings that they should have tried to push the sound and build into a huge climatic ending. The lead singer, Landon Tewers, is the real star of the song, showing off his range and vocal sensibility as he switches from soft and gentle to a strain that's almost heartbreaking in it's emotional depth.
"When We Were Young" by Andy Black & Juliet Simms was one that I initially skipped, partially because I had heard the original and didn't have too much interest in a cover. However, I'm glad I ended up listening, because this one is an easy contender for the best song on the album. The vocal performances from both singers are impressive, to say the least. Andy Black has the makings of a great solo career ahead of him with a voice like that; almost country sounding, but full and powerful. Juliet Simms has a couple of moments where she soars so high that you find yourself distracted from whatever it is you were doing because it's just an enthralling voice. It's not a super "punk" song overall, but that's something that's been present in PGP throughout all their volumes.
"In The Name of Love" as performed by Too Close To Touch is the last song, and crept its way into the hits section of this review. I initially didn't give it much thought (not knowing the band or the song they were covering), but I listened to the original and then came back. And boy, that made quite the difference. Keaton Pierce's soaring vocals, that switch from having almost a pretty quality to having a hint of a scream, combined with the very well layered instrumental give the song a definite epic sense. PGP did not want this volume to go out without a bang, and Too Close To Touch certainly provides that.
"In The Name of Love" as performed by Too Close To Touch is the last song, and crept its way into the hits section of this review. I initially didn't give it much thought (not knowing the band or the song they were covering), but I listened to the original and then came back. And boy, that made quite the difference. Keaton Pierce's soaring vocals, that switch from having almost a pretty quality to having a hint of a scream, combined with the very well layered instrumental give the song a definite epic sense. PGP did not want this volume to go out without a bang, and Too Close To Touch certainly provides that.
Despite a number of hits, there were some misses on the album as well. Seaway's rendition of "Closer" wasn't necessarily bad, but the band turns the dials back a bit too much to the point where the song feels almost like it should be a slow song for a high school dance instead of an overplayed radio hit. It just didn't quite click for me. The same could be said of "Love Yourself" by Grayscale and "Can't Feel My Face" by The Amity Affliction. Both songs aren't bad, but they're also not the best. "Love Yourself" has this weird tempo thing at the very beginning, where the vocals and guitar are off just enough at points for it to be too distracting. "Can't Feel My Face" really turned me off with the abrupt jump from clean vocals and synths to the addition of screams; I actually skipped the song the first time I heard it because it killed the momentum the song had, for me. The chorus is probably the best part of the song, and comes out pretty well, but there's a dark aspect of the original song that the band didn't quite tap into, and it comes off as wasted potential. "I Don't Wanna Live Forever" by Ice Nine Kills starts off really well, with a well done intro and beginning verse, but the screaming that comes in for the pre-chorus derailed the sensitive emotional vibe they had begun with.
Some of the songs were in-between great and bad; Capsize takes Drake's "Fake Love" and makes it brooding and angsty, with the chorus being the high and the verses being just okay. Boston Manor gives Twenty One Pilots' "Heathens" a bit of a grittier twist, but with a little less of the swagger that TOP brought to the original. Eat Your Heart Out gives a nice rock makeover to Ed Sheeran's "Shape Of You", although it feels a bit like the lyrics come out more hollow in this rendition.
Overall, this release grew on me a lot more than I expected. Despite not knowing a lot of the bands or being as current on the scene, the latest addition of Punk Goes Pop shows no signs of slowing down or becoming stale.
Rating: 6/10
Recommended: "Stitches", "In The Name Of Love", "Gangsta".
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