Artist: The JV Allstars
Album: Hold On to This
Genre: Pop-punk

This is (whisper it) a pop-punk album I actually like. Mainly cos it’s actually gone out of its way to not sound very much like a pop-punk album at all, but the point stands. The JV Allstars have a lot to say, and say it in catchy, twisting, brazen little anthems that throw in a sharp sense of realism for every humorous dig at a foe. There is, obviously, the same hallmark sound that finds its way into every album of this genre, but allied to this is a smart willingness to play around with the sound and structure of their songs which sets them a tad apart.

The opening tracks offer us some solid pop-rock jams while slowing the breakneck tempo somewhat, allowing the songs to be properly heard and digested instead of whirling by in a hail of distortion and feedback. “Portland, Then” has an acoustic, rather emotive opening that seems intent on reflection, before the music kicks properly into gear and it becomes more sprightly and rambunctious. It’s sprawling but controlled, highlighting expression over atmosphere and adding a gnarly breakdown towards the end in a welcome glimpse of creativity. “Side by Side” moves from a stilted beginning into an eye-catching first verse, wherein an idealistic solo guitar acts as an idle accompaniment to the vocals. The chorus is hefty, wry and melodic and very catchy as it captures the song’s earthier tone.

“Dollar Menu Date Night” features Chris Fogal of The Gamits and while I’m not too familiar with them, and therefore can’t vouch for his impact on the song, I can speak for its quality. It laments the forced distance of being on tour, being separated from loved ones and familiar spaces, but not in the slightest air of sentimentality. It’s almost snide, in fact, quite rough and ready with a real cutting sharpness to its music. Further along the album, “Prevention Kids” also features a guest musician (Jeff Todd, I Call Fives), with similarly joyous results. It opens big with a sprawling solo, an early indication of the bold and brave musicianship on this track that lays such a solid foundation the vocals have little to do over it. The track thumps with an infectious sense of urgency, ably bridged by an ambitious mid-section solo.

“Leaving Degrassi” opens on a faint note of grim acceptance, before fading into unabashed musical apathy. Or at least, the instruments are so brash and energetic they seem entirely removed from the lyrics. This unfazed eagerness contrasts with the deadened tone of the vocals and remorseful elements of the words. The soaring music vividly offsets the dejected air of the singing in one of the more compelling tracks on the album. “Okay” captures the rawness and impetuosity of youth in its gushing music, though its lyrics are a little heavy-hearted as they nostalgically address the fading of friendship. The amusingly-titled “Strawdka” also stands out, with its gentle music diverging from the trend for a heartfelt, tender, and sincere portrait of feeling.

The band offer two alternative perspectives on touring and the music industry in “Hope IS A Good Thing” and “Hope Is A Good Thing???” The former is a 47 second tribute to fans and the most faithful to their pop-punk ambitions. It’s fast, ardent, and uproarious despite its brief running time. The latter takes the more cynical approach, describing the disappointment, hardship, and rejection that being in a band inevitably entails. The music is chaotic, bursting with fierce enthusiasm and while the song is obviously marked by a touch of disdain and disillusionment due to its subject matter, the intimate picture painted actually adds to it. It’s relatable and vivid.

“Summon the Rat” includes a hidden track, the latter adding some of the flair that’s missing from the nominal album conclusion. “Summon the Rat” is warm and quite enjoyable. It’s not quite the heady punch that it could have been to add a fittingly rousing conclusion to the album, but it is hearty and full of cheer. The hidden track offers further insight into the difficulties faced by struggling bands, allowing for a note of realism and frankness even if it is a bit emotionless and grim.

Hold On to This is very impressive. It seems a bit more marauding and savage at times than the overall sound would have you believe, and these glimpses of something sharper and edgier set it apart. The band have definite potential and a keen ear for musical detail, highlighted in their intricate use of discord and melodies. Its upfront subject matter makes it engaging, and further, it’s a more enjoyable and appealing take on the genre that should be rewarded.

SCORE: 8/10
Review written by Grace Duffy

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James Shotwell

James Shotwell is the founder of Under The Gun Review. He loves writing about music and movies almost as much as he loves his two fat cats. He's also the co-founder of Antique Records and the Marketing Coordinator for Haulix. You should probably follow him on Twitter.

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