Review: Christian Stanger
Canadian punks, PUP, have been through a lot over the past decade. They have toured relentlessly, battled medical issues and released three albums (plus an EP) filled with self-loathing, dystopian post-hardcore/pop punk tunes. After taking the longest breather between albums in their history, the band has finally returned with a new release in which vocalist Stefan Babcock directs most of his anger inwardly over the catchiest of tunes released yet this year.
The new collection of 12 tracks follows from 2022’s The Unravelling of PUP The Band, almost a concept album that took chances with irreverent, piano-based piss-takes like ‘Four Chords’, alongside more conventional pop-punk tracks like ‘Robot Writes a Love Song’ and ‘Totally Fine’. This time, PUP play it tighter, delivering another pacey, aggressive set that feels like a spiritual return to The Dream Is Over (2016) territory – all traumatised subject matter, unfiltered fury, and raw, back-to-basics production.
Starting from the first two tracks, there is a departure from previously tried formulas of a slow-building, understated intro. Both ‘No Hope’ and ‘Olive Garden’ are at once discordant and abrasive, catching off guard anyone who thinks they know what to expect from a PUP record. Follow-up melodic killer, ‘Concrete’, rights the ship though, and from there, the dystopian punk/post-hardcore vibes barely miss a step.
The depressive imagery so poetically encapsulated in the lyrics are often accompanied by the happiest of punk guitar hooks and sing-along gang vocals. First single (are they still a thing?), ‘Hallways’ is full of major chords and big choruses, while vocalist Stefan Babcock talk sings lines like “I’m losing the will to keep dragging on, but I can’t die yet ’cause who will look after the dogs?”
Stripping things back has brought the polished production of The Unravelling of PUP The Band down a notch but the songwriting remains razor sharp, incorporating several complementary guitar parts on standout track ‘Concrete’, and shoegaze-soaked effects on side 2 banger, ‘Best Revenge’ – which includes a contender for best lyric of the album: “the best revenge is living well, and I’ve been living like shit…” over the chirpiest of chord progressions.
Elsewhere, ‘Paranoid’ is a balls-to-the-wall punk belter, feeling every bit as angry as its vocals and lyrics convey, building to a cathartic, chaotic close. And, it goes without saying the the legendary Jeff Rosenstock’s contribution on ‘Get Dumber’ makes for the highlight of an album as Jeff addresses the PUP worldview, offering the advice ‘you should try getting high more often’, over fast-paced, minor-key pop-punk gold.
In a reprieve from the harsher-sounding tracks, ‘Shut Up’ closes the album with a mostly solo track with Babcock’svocals and a single guitar, before dissolving into another big chorus and a guitar solo to shut the show down.
Welcome back, PUP. You have been missed, and those August Australian tour dates cannot come soon enough.
