The unremitting passage into radio rock band-land continues as Sleeping With Sirens sheds its weathered post-hardcore skin with a dynamic new album, “Madness.”
Released on Epitaph Records after the band's recent departure from Rise Records, Sleeping With Siren's fourth full-length studio album is a testament to the band’s newfangled sense of musical maturity.
If you’ve followed Sleeping With Sirens since its debut album in 2010, then you are aware of the bands progressively mainstream endeavor.
“Madness” is yet another big step in that evolutionary process. In other words, if you were expecting a clone of “With Ears to See and Eyes to Hear,” then prepare for a tidal wave of disappointment to violently crash upon those hopes.
John Feldmann (The Used, Panic! At The Disco) was at the helm of the production on the album which heavily influenced the prevailing sound.
Essentially, half of the music is comprised of catchy rock anthems, while the other half consists of heartfelt acoustic ballads (which is still relatively unexpected from the band).
There are pop gems such as “Heroine” and “November” that feature orchestral sections and soft piano melodies layered under acoustic guitar, subtle electronic drums and fiery lyrics.
And then there are pop-punk tracks like “Go Go Go” and “Save Me A Spark” that have grandiose choruses that would almost bear a resemblance to the band 5 Seconds of Summer if it weren't for Kellin Quinn’s distinct falsetto vocals.
(Photo courtesy of Epitaph Records)For fans of the early Sleeping With Sirens sound who may feel estranged at this point, there is still a faint gleam of hope for you. It appears as though the band did not completely abandon its post-hardcore roots just yet.
“Kick Me” and “We Like It Loud” are easily the heaviest songs from the album, with down-tuned guitars and Quinn’s angsty screaming that is reminiscent of the group's first album.
The new rhythm guitarist Nick Martin didn’t miss the opportunity to prove his high-energy guitar riff capabilities on these two tracks.
The message that lingers throughout “Madness” is one of positivity and empowerment.
The lyricism, both impassioned and free of deceit, represents the voice of the underdog, the malcontent youth and those bearing the travails of growing up.
In fact, the title of the album was conceived from Quinn’s efforts to interpret himself as an individual in midst of his chaotic life.
The verdict?
With a brew of high-energy pop-punk anthems and polished serenades, “Madness” seamlessly bonds a wide variety of songs under one banner, all while managing not to alienate early fans. While nearly teetering on the fringe of incoherence, this album offers a little bit for everything that is sure to please everybody.
If you’re particularly a fan of “Let’s Cheer To This” and “Feel,” then certainly don’t sleep on this album. And for those fans of the inceptive post-hardcore sound, the same applies to you, don’t fall asleep at the helm on this album.
Reach the reporter at zmoranno@asu.edu or follow @thezackarymoran on Twitter.
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