Remember what Fall Out Boy did with their ‘Save Rock And Roll’ reinvention? This feels like the post-hardcore version of that moment. ‘The Chase’ features heavy ‘Riot!’-era Paramore vibes – most likely courtesy of producer David Bendeth – while on ‘One Man Army’, a stripped-back verse soars into an uplifting, epic chorus that shows off Kellin’s vocal range.Įlsewhere, ‘I Need To Know’ combines PVRIS-esque guitar with a moving, arms-in-the-air ballad that’s built for late nights, outdoor venues and phone lights. ‘Empire To Ashes’ sizzles with electronics and chunky riffs and features the heaviest moment of the album – a truly chaotic breakdown – while lyrics like, “You can call it cynical, maybe I’m just miserable / But there’s no way I’m giving in” feel like a pre-emptive response to the backlash this album may well face. Handclaps and sleazy instrumentals that are minimal on guitar but big on drama and melody rule, while Kellin Quinn croons “Don’t believe the lies you heard about me” – the band’s first major sidestep away from the scene they grew up in. That’s never more evident than on the title track and album opener. With their fifth album, they’re not just shooting for something bigger, but for something entirely new. They travelled the world, got a whole lot bigger and pretty much dominated last summer’s Warped Tour off the back of it. And with ‘Gossip’, Sleeping With Sirens are most definitely twisting.Ģ015’s ‘Madness’ did well commercially and critically it was a glossy, breakneck combination of everything we’ve come to know and love about the Florida quintet. They have to decide whether to continue with what’s working, or to strike out in search of something more. Bigger than album artwork and song titles or which record label to go with (if they even want one). There comes a time in pretty much every band’s career when they have to make the decision.īigger than their look.
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