THY ART IS MURDER with Emmure, Fit For An Autopsy & Justice for the Damned 170 …
Another slice of the alternative world’s secret love affair with pop is revealed! With 13 tracks to devour, Punk Goes Pop is back for a seventh volume and it follows its predecessor into an era where people can admit to loving Justin Bieber without ridicule. Andy Black’s When We Were Young is suitably cheesy (embracing it is the only way to cover Adele) and featured vocalist Juliet Simms provides a nice counterbalance. Boston Manor are in peak form with Twenty One Pilots’ Heathens and hit exactly what Punk Goes Pop aims for. Ditto for record opener State Champs whose pop punk version of Shawn Mendes’ Stitches could easily pass as a single by itself. Considering The Chainsmoker’s Closer is the definition of four chord pop, Seaway aren’t given much to work with. On that note, some just don’t show as much creativity as they should. The trend towards electronic synths recently in pop means some bands have their work cut out for them to match the catchiness of their lighter counterparts. Grayscale and The Amity Affliction’s contributions are straight up by the numbers. The Weeknd’s Can’t Feel My Face is arguably the biggest pop hits of this decade so more screamed vocals from singer Joel Birch would help the band match Abel’s swagger. It’s surprising how well Drake’s Fake Love translates to Capsize, but a cursory glance at the lyrics should’ve given a hint they’d do well with it. For those still on the outside, Volume Seven has more than enough bangers to provide the pop-averse an excuse to belt out the catchy lyrics the world fell in love with.
STICK THIS NEXT TO: The bands we mentioned
STANDOUT TRACKS: Stitches, Heathens, When We Were Young