REVIEW: Trophy Eyes – ‘Mend, Move On’

Artist: Trophy Eyes
Album: Mend, Move On
Label: Hopeless Records
Genre: Melodic Hardcore, Pop-Punk

Australia’s Trophy Eyes are a band whose star is well and truly on the rise, and if their debut full-length, Mend, Move On, is any indication of things to come, then that star is sure to shine very brightly indeed.

An intense, passionate and at times disturbingly honest record, Mend, Move On incorporates all of the elements that have seen these melodic hardcore/pop-punk wunderkinds make the leap from the relative obscurity of a garage in Newcastle on New South Wales North Coast, to the roster of Hopeless Records and impending critical acclaim. An eleven-track journey into the furthest recesses of the mind of vocalist John Floreani, Mend, Move On takes the stories and memories that have defined Floreani’s life and sets them to a crushing melodic-hardcore soundtrack that utilises a variety of subtle songwriting intricacies that serve to accentuate the intensely personal manner of the stories being told.

A remarkably mature sounding record for a debut, Mend, Move On opens in positively confronting style with the distinctly hardcore leaning “My Name On Paper” hitting you over the head in a ferocious statement of intent that will serve as a perfect introduction to the quintet’s style for the uninitiated, while eliminating any concerns fans may have had about the album’s direction.

In the first of many examples of inspired sequencing, “My Name On Paper” is followed by the slightly gentler and more introspective leaning “Come Clean,” a track which highlights Floreani’s ability to convey emotion as the track opens with lightly-distorted guitars and a sombre yet tender refrain before exploding to life with fire and bombast as Floreani barks desperately amidst a heavily-distorted backdrop. “Convalescence,” “Family Name” and “Responsibility and Structure” follow in quick succession with all three tracks featuring moments that suggest there is significantly more to the music of Trophy Eyes than that of their supposed contemporaries. “Convalescence” in particular is a showcase for the band’s songwriting chops, with every instrument given the space to shine. One of many tracks that are home to some deceptively technical guitar work from guitarists Kevin and Andrew, “Convalescence” establishes itself with Floreani’s desperate cry, “I know that you’re scared / but it doesn’t make you any less of a man,” maintaining frenetic pace before descending into a monster breakdown in a track that is somewhat reminiscent of Defeater. “Family Name” is a different beast built around a groove-laden rhythmic structure that hints at the band’s more pop-oriented influences and gives drummer Callum and bassist Jeremy a chance to truly show off their wares. Lyrically brilliant (as is the status quo for this release) it displays a level of depth rarely held in this genre, while maintaining a melodic sensibility that has been hitherto untouched by the band.

“Responsibility and Structure” is simply devastating. A dynamic track driven by some of the most aggressive riffs on the record, it is home to one of the album’s catchiest choruses, a remarkable achievement considering the rather dark lyrical matter being addressed and the fact that Floreani screams the whole way through. “Best Man” provides temporary respite from the onslaught (musically speaking, anyway) and features the band wearing the influence of the likes of The Story So Far and Such Gold upfront as they pump out a banger of a track that should have the Warped Tour crowds–that appear to be their destiny–screaming for more of the same.

Singles “In Return” and “White Curtains” are next. Perfectly placed in the middle of the record, these two tracks serve as both the centrepiece of Mend, Move On and the quintessential example of why many believe this band is destined to achieve great things. Essentially a heartfelt apology to his mother in the form of 3 minutes of the finest punk-rock released this year, “In Return” is a deeply personal tune to Floreani and he gives an almost uncomfortably honest performance as he reflects upon and apologies for the insensitive and destructive behaviours he engaged in following his parents’ divorce, and the negative impact that had on his mother’s life. Set to a barnstorming melodic-hardcore backdrop that only underpins the sense of urgency the vocals evoke, the track is given extra weight when you learn his mother is now confined to a wheelchair due to the degenerative disease Multiple Sclerosis. The lines that address this fact are arguably some of the most passionate and genuinely moving lines ever delivered in this genre. Sounding on the brink of tears as he cries, “The tests came in / you were sick / it wasn’t that I didn’t care / I just couldn’t hear it / a wheelchair could never take my mum / if I just ignored it / you said we’d never have it any different to the kids who were given everything / so instead I threw it back in your face / the thought of letting someone in,” you can hear a near decade of guilt weighing him down relentlessly as he acknowledges the destructive impact of his actions and marvels at the selfless manner in which his mother kept on loving him anyway (“Even after everything I’ve done / all I ever had to do was call / but I’ve lost sleep over the thought of forgiveness”).

The equally emotive “White Curtains” is every bit as impressive as “In Return” and is a killer track that packs a weighty emotional punch over its 3-minute running time. Arguably the band’s finest instrumental hour to date, “White Curtains” displays Trophy Eyes’ unique brand of pop-punk infused melodic-hardcore in all its glory and the result is a track that will have you screaming at the top of your lungs as you shout every syllable of Floreani’s passionate refrains of “Torn between / being a child my whole life / or the man that you need.” The all-too-brief yet brilliant “Choke” provides a perfect transition into the decidedly hardcore sounding “Ugly Pattern.” Opening with some frantic guitar work, “Ugly Pattern” combines an unrelenting pace with a killer breakdown and some instantly memorable and infectious chanted vocals (“Watch me destroy myself!”) to create a track that sits sonically in between Such Gold and Comeback Kid. Certain to become a favourite at live shows, “Ugly Pattern” is the perfect penultimate song and sets the scene for the epic closing track, “Penfold State Forest.” Every great album needs a great closer and in “Penfold State Forest” Trophy Eyes have more than delivered. An infectious and joyful sounding track with a heavy pop-punk influence, “Penfold State Forest” finds the band pushing a more positive message as they reflect upon the cathartic process of writing the record and the growth they’ve experienced as a result. You can feel the weight of the world lifting off of Floreani and his bandmates’ shoulders as they sing “I’m tired of writing sad songs” over the top of a glorious half-time chorus/refrain that sees them finishing the record in a lively and energetic manner.

Uplifting yet confronting, crushing yet melodic and at all times honest, Trophy Eyes have performed the ultimate alchemists’ trick by taking a lifetime worth of challenging circumstances and spinning them into gold in the form a truly special debut record that encapsulates the awkward transition between childhood and adulthood with stunning clarity. These are songs that make your heart beat faster, your mind tick over and your legs want to pogo uncontrollably. We identified them as a band you should be listening to in our inaugural Sounds of The (Down) Underground column and if Mend, Move On is as successful as it deserves to be, you’ll have little choice but to do so.

SCORE: 9/10
Review written by Brenton Harris (follow him on Twitter)

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