Sing It Loud – Come Around
Release Date: September 23, 2008
Record Label: Epitaph
To be honest, when I received this album in the mail, I just assumed that Sing It Loud were another brightly-colored, annoying electronic/dance trend band being grinded out. But I was surprised to hear that this Minneapolis quintet sounded more like Motion City Soundtrack and Valencia than shit bands like Metro Station. And while Epitaph hastily signed the band after they’ve played only four shows, it makes sense that Sing It Loud is on the same label as MCS, as guitarist Josh Cain produced the band's debut Come Around (and Justin Pierre makes a guest appearance on “We’re Not Afraid”).
While the MCS comparisons are valid – both bands hail from the same city, the keyboards play a vital role in each band, and members of MCS have their talents mixed in – Sing It Loud is missing one thing, and that’s the charm MCS possesses.
Granted, like any pop-punk release, there are a good amount of decent tracks. Pierre’s guest spot on the aforementioned “We’re Not Afraid” saves the track from being completely boring, while the title track is the first song that really gets you excited, as the catchy bridge is very infectious. “Don’t Save Me" snoozes along until the final minute or so while “Give It Up” features a drumbeat that’ll get your head bobbing as the guitars and keys combine to drive the point home. And despite featuring vocals from Alex Gaskarth of All Time Low, “No One Can Touch Us” is ultimately forgettable.
“Marionettes” is easily the best song on Come Around, as it hits hard and has a slight edge to it. Vocalist Pat Brown really commands the track, as his voice soars in the chorus. Closer “Best Beating Heart," a solid track that finishes up the album nicely, will definitely remind you of Sherwood. It also helps you forget the five or six songs that aren’t up to par. These two songs really show off the potential of the band and if they could channel this kind of passion and emotion throughout an entire album, we’d be on to something here.
For a pop-punk album to be effective, it needs to catch its audience immediately with the first hook. Sadly, Sing It Loud doesn’t do this until the third track. Come Around is what most pop-punk albums are these days: not bad, not great, ultimately disposable. The album could have gotten a bigger push among listeners if it could have been released in say, June, but releasing a pop-punk album in late September will very rarely have any staying power. Oh yes, Sing It Loud has a lot of potential to stick with the kids who enjoy Valencia, Motion City Soundtrack, and Sherwood, but their sound is still a little wet behind the ears. Hopefully it all comes around on the sophomore effort.