Artist: Bayside
Album: Killing Time
Genre: Rock
Label: Wind-up

Bayside’s new album is a surprise package. It did nothing for me at first, a despondent mood (on foot of recent viewing of a despondent film) blinding me to its charms, as the apparent cheeriness of the music seemed out of sync with my mood. On revisiting it however, that self same trait – despondency, but a more enraged, vocal form of same – is what sold it. Irony, indeed, and a lesson not to judge a book by its cover.

So, generally, I like the fittingly-named Killing Time. It’s quite spunky and bold, it’s fun and vivacious. It features a delectable midpoint reflection with “On Love, On Life”, a standout with a very interesting message, but it is easy, refreshing listening. It can be difficult to single out individuality and true flashes of creative flair in this sort of music, a lot of it (regardless of source) tends to sound similar and kind of blandly Americanized. However, Anthony Raneri has a fascinating voice – not just in how he sings but what he says – that makes Bayside that little bit more appealing.

From the outset, the record kickstarts with such intent urgency that the order of songs plays second fiddle to the emotions on show. Everything hints of tongue-in-cheek and irony, as potent guitars blaze through the background. “Already Gone,” the opener, is a fine example of same. It brandishes more than a generous helping of venomous admonition and is ably followed then by “Sick, Sick, Sick,” a rousing indictment of what would be appear to be promiscuity and broken promises. It’s charged and aggressive, painfully dismantling the falseness and empty emotions, venting everything in one bitter and unapologetic tirade.

“Mona Lisa” is a little more melodic, guitar harmonies excelling brightly, though the lyrics remain as inherently vicious as ever. At one point, Anthony Raneri hollers “Your bed’s made…go die in it,” which will give you some idea. Lyrical moments like this are what made me revise my initial feelings towards the album. Underneath the punky, lightweight feel, there’s a tremendous vat of darkness and anger, and that lends the album a tad more character. This trend is further evident in “It’s Not A Bad Little War,” in which Raneri rasps tellingly, “If faith should fail us, then hope will see us through…stand for something, cos something’s overdue.” The crisp sharpness of the lyrics is pervasive and stirring, demonstrating real creative acumen and setting the record apart in the aforementioned sea of similar types. Too many bands out there are content to sing about the last two-bit nothingness that broke their easily-offended heart. When someone can unveil more conscientious colours, people respond actively. One doesn’t have to sing in Iron Maiden “Infinite Dreams”-style complexity, but having something vaguely interesting to say can go very far.

The rest of the album acquits itself equally admirably. “Seeing Sound” is loud, rambunctious, and sleek, ending on an uproarious drum roll. The Wrong Way is a treatise of bad choices and self-infliction. It features a spectacular breakdown oozing with jazzy swagger and amused aplomb, filtering into a bursting and raucous guitar solo that’s nothing short of glorious. “On Love, On Life,” the song I’d select as a highlight, follows this. It’s a standout not just because it’s the slower number – piano driven, with some complementary strings in the background, but also cos it’s a genuine pause for thought that forces one to turn inward. The vocal harmonies during the chorus are exemplary and the mood takes on a poignant note as the swelling strings serenade lyrics such as “Can we stop taking ourselves too seriously?” The late appearance of a brass element undoes this a little as it veers into vaguely pompous territory, but it’s still a highlight of depth and serenity on an album more given to the upfront.

At risk of being verbose, I’ll summarize here and leave something to the imagination. Essentially, this is a deceptive album. It doesn’t sound like much at first, but it has the potential to be a fantastic grower, as each new listen unearths some new charms and qualities that eke it that little bit further into your favour. It’s not perfect, by any means – musically the heroics are minimal, but for word content and attitude it’s wonderful. So listen, really listen, and be blown away.

Rating: 8/10
Review written by: Grace Duffy

• Author
• Recent Posts

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.

Latest posts by James Shotwell (see all)

• 2015’s Most Underrated Films - December 29, 2015
• Passing The Torch: The End Of An Era For UTG - December 1, 2015
• UTG PREMIERE: Before The Streetlights – “Private Browser” - November 26, 2015