It’s rare that you find an album that makes you hate the people who wrote it, while simultaneously wanting to be their best friend. This is exactly what Major League’s There’s Nothing Wrong With Me does. As a product of earlier years of pop-punk, I have high expectations for sophomore albums, and I am so glad to say this one doesn’t disappoint.
Major League is back with their original guitarist Brian Joyce taking over as lead vocalist, and still consisting of guitarist Matt Chila, bassist Kyle Bell, and drummer Luke Smartnick. These four boys came out with an album that not only tugs at the heartstrings, but follows up their debut album with a more advanced and mature sound, without straying too far from their roots.
“Wallflower” opens the album with a perfectly classic pop-punk feel. What’s so refreshing about it, and the rest of the album in general, is the lyrics. They’re all too powerful right from the start, and honestly, it’s everything you’ve been looking for from Major League. It goes directly into “Graves”, which is a perfect follow up. It has a gritty and rough feel that you can’t and don’t want to get out of your head. Between the intense drums, and Joyce’s powerful statements, it’s a fighting song, and one we won’t soon forget.
“Pillow Talk” opens with beautiful guitar riffs that are still buzzing in my brain. Joyce’s vocal style on this differs a bit to the two previous songs. It’s a bit cleaner, but still holds the intense emotional weight all the same. It’s probably the first song on the album that struck me as a bit weaker than the others, but with such strong songs surrounding it, “Pillow Talk” has its own hold on you all the same.
“Kaleidoscopes” goes back to the grittier vocals and it’s a definitive pop-punk song from beginning to end. With catchy lyrics and a flawless state of the band behind Joyce, it’s hard not to fall in love with this one. With the clear change up to “Just As I Am” Major League really shows the beginning of their diversity throughout this part of the album. It acts as a medium between the songs surrounding it, and Joyce’s voice is much softer and more calm. However, the upbeat yet relaxed music in the background keeps it the smoothest flowing song on the album.
“Montreal” is, hopefully, going to become an anthem for anyone who has been through depression. It honestly hit home so much for me, that I had a hard time objectively listening. It is truly a beautiful and honest song that is a perfect break in the album with the pairing of the acoustic guitar, Joyce’s voice, and the honest lyrics that you can’t escape. It is my personal favorite on the album.
“Little Eyes” is a heartbreaker, but it’s a perfect transition from “Montreal” into the rest of the album with the lighter guitar parts and easy going vocals throughout the beginning before getting into the heavier side of the song that sets up the remainder of the album. “Little Eyes” is able to take us back to that rough punk sound that Major League does so well, and leads us right into “Recovery.” This song has more of a change-up thrown in. It’s a bit mellower throughout the verses, but the chorus keeps that passion and raw vocals that make the album so great. The contrasts between the mellow and rough parts of the song probably make it the most diverse and different on the album.
“Devil’s Advocate” doesn’t disappoint either. It’s a high-energy song that propels the album into its final two songs. The lyrics are extremely addictive, and the high-strung guitar and drum parts match Joyce’s voice effortlessly. It does flow really well into “Bruiser.” Although, this one is a bit more of a generic pop-punk song. Lyrically, it’s fantastic, the words themselves are strong and easy to remember. The music is catchy, but it stands out the least to me on the album. It’s a great song, a good transition between the two around it, and it fits the album well, but it’s not a song I’d pick to stand alone.
“Rittenhouse” is another extremely personal song from Joyce, and it’s hard not to get addicted to it. With a bit of a relaxed feel to the beginning of the final song, it’s easily one of the best on the album. When the full band comes in, you really get a sense of the powerful emotions behind the song, and it wraps up the album beautifully.
The album itself is a great glance into the future to Major League with a sincere respect to their past. Pick up a copy of There’s Nothing Wrong With Me today here! Also, be sure to check them out on tour with Mayday Parade this fall, and Silverstein early 2015!
By: Shelby Chargin