Table of Contents
5 Seconds of Summer
- Genre: Pop
- Date: 23 Sep, 2022
- Content: explicit
- Region: USA
- Track(s): 19
- ℗ 2022 5SOS, LLC under exclusive license to BMG Rights Management (US) LLC
A “very personal” and “almost accidental” album, “5SOS5” examines the significant changes in the band members’ life since 2020’s “CALM.” The band tackles genuine emotion on a dynamic scale through all the joys and pains life has to give in these songs, which are all based on a mesmerizing sound and take an unexpected psychedelic twist. Even in its stripped-down, more vulnerable moments, the record heralds a promising new era and bright future. It is a tense rollercoaster of mostly synthesized pop.
They seem to have produced their most outstanding and well-rounded work to date with “5SOS5.” Despite the fact that the influences they draw from indicate that their sound is poised to grow even more, they have finally discovered their place within the atmospheric pop genre. The meticulously made album, which is arguably their finest when it comes to poetic writing and complex production, accurately encapsulates their ten years of expertise and demonstrates that taking chances and venturing outside of your comfort zone can be profitable.
Album Cover Art
Four red and blue exuberant figures make up the cover art of this album. The figures appear to be in the same mental state, sharing similar emotions, expressing themselves and tripping out in unique, exciting ways.
Tracks and Features
“Complete Mess,” the album’s opening track, is classic 5 Seconds Of Summer. It skillfully strikes a balance between an enormous, grandiose vibe and a modern pop sensibility, embracing a variety of influences including Kasabian and Massive Attack. The layered vocals that propel the rhythm and through incorporating the instruments one at a time that slowly culminate in the choruses carry the steadily growing, stripped back track. Compared to the band’s earlier material, which drew inspiration from artists like Green Day, “Complete Mess” offers a more mature approach to pop music.
Airy, ambient soundscapes with delicate guitar strumming, razor-sharp percussion, and precisely synchronized head-voice vocals may be heard on “Bad Omens,” “Bleach,” and “Red Line.” The heartbreakingly poetic jams’ allegorical themes include ignoring warning signs, letting go and moving on, and unrequited love. With their swellng synths and beats together with lead singer and guitarist Luke Hemmings’ flawless vocals, they exude a sense of tranquility.
The chirpy and lighthearted song “Best Friends” acknowledges the real strength of friendship and touches on the band’s unshakable bond. Indulging in nostalgia, the admirable song conveys appreciation for their special times together while Hemmings fervently declares his affection for the other members of the band.
However, “Emotions” stands out as the album’s most underwhelming track. Clifford’s strong, soulful vocals, which have previously been heard in other songs but are underutilized here since they seem strangely lifeless on this track, are harmed by the subpar and superficial, TikTok-like lyrics. Heavy rhythm and bass lines can be heard in songs like “BLENDER” and “Me, Myself, & I,” however, listeners anticipating for similar sounds throughout the album may be dissatisfied with some of the album’s pop-style tracks.
Dance tune “Haze” starts with an indie repeating guitar melody and a deep muted bass, while “Carousel” transitions into a cathartic but restless confessional. The penultimate track, “Bloodhound,” which is mocked with a groovy, all-encompassing bassline, chases down “Flatline,” which is driven by a dark, driving energy as it takes surprising vocal changes and matches them with thumping synths. The funk-punk songs have straightforward melodies, but the expert production that permeates the entire album greatly elevates them.
The new album contains a number of songs on friendships and romantic relationships. However, it’s more about acknowledging that you might not have as many emotional analytical capabilities to determine why they effect you.
|2||Easy For You To Say||4:00|
|4||Me Myself & I||2:57|
|5||Take My Hand (Joshua Tree Version)||4:57|
|9||You Don’t Go To Parties||3:15|
Ashton Irwin, Calum Hood, Colin Brittain, Jason Evigan, John Feldmann, Jon Bellion, Luke Hemmings and a host of other great producers handled the album’s production.