Admirably, BAYSIDE has weathered line-up changes, grueling tours, and failed personal expectations in the time since the release of last year’s Sirens and Condolences. On this self-titled full-length, the band aims squarely for a slice of the currently sweet-tasting “Victory Pie.” Surrounded by labelmates that have reached stunning levels of success in a moderate amount of time, BAYSIDE has made no bones that this release is their shot for the spotlight. Fortunately for the band, it’s not a bad shot at all. Remarkably, BAYSIDE have gotten a good deal heavier with this full-length. Obvious credit should be given to the production team of Shep Goodman and Kenny Giola (whose more famous releases include Mandy Moore and Aaron Carter, though also material by HEAD AUTOMATICA and CUTE IS WHAT WE AIM FOR). Short of being overproduced, but armed with plenty of power in the guitars and with clear bass lines, BAYSIDE suddenly sound incredibly professional. Not to knock Sirens Condolences, but the level of growth between the releases is impressive (just take a listen to the eighth track, “Existing In A Crisis (Evelyn)” to see what the band is become capable of writing). Stylistically, comparisons to ALKALINE TRIO are still inescapable, but I no longer see it as a case where BAYSIDE, or for that matter, lead vocalist, Anthony Raneri, can be chided for being a “poor man’s” Matt Skiba. Raneri’s vocals are more self-assertive and booming, though he struggles mightily through the acoustic tune “Don’t Call Me Peanut.” BAYSIDE’s lyrics are mostly grim tales of regret, resentment, and relationship insecurity – nothing you haven’t already heard in some form or another (and done better by countless others), but thankfully not up to the level of schlock where it’s off-putting or a case of trying-too-hard (though the finale, “Dear Tragedy” is a wee bit overblown with lines like “Each day it’s harder to pretend that your eyes aren’t lying as much as your mouth did. I’d grab your head by your hair and I’d hack it off and put it on display at the front of the yard on a stick that’s decorated with a little pink bow and a sign that says ‘Her friends and family should have taught her more about love.’” Hmmm..). As with so many bands straddling the line between their punk rock foundations and buoyant pop leanings, BAYSIDE is at its best with uptempo material, particularly on the leading single “Devotion and Desire,” and the hard-nosed tenth track, “Half A Life.” Most of the mid-to-slow tempo material is filler (tracks five through seven essentially), and that drags down the effectual punch of the album. Nonetheless, BAYSIDE have come out stronger than ever on this album, and instead of withering away when times were rough, they’ve prepared themselves well for what may just be the run of their lives. Or Victory Records might put it, “for fans of TAKING BACK SUNDAY and HAWTHORNE HEIGHTS!!!!!”

Victory

www.victoryrecords.com