Based on the name, pop-punk sounds like a limited genre. There are a million bands that sound like the Ramones. There are also a million copycats of that stuff that hit big in the early Aughts. But we aren’t going there… What Goes Up proves that you can make emotional, driving, yet poppy punk rock tunes that vary in sound from one track to the next while also clearly fitting in-genre. This band from Japan play short, fast, and tight singalong songs with mostly sugary vocals. “Mostly” is the operative word here. Indi’s bright voice establishes a sunny disposition, but then Matty’s brings the contrast with super-gruff backing vocals and harmonies. It’s a tale of two worlds -- bright and dark -- with both coming together for something enjoyable yet relatable.
You’ll find a lot of familiar sounds in here. I think of the 1990s Lookout Records catalog, East Bay punk, plus more modern bands that take a pop structure and upbeat focus while contrasting it with more cynical themes like Rational Anthem or maybe Dear Landlord. Expect both soft “whoa-oh” vocals and coarse, pained shouts that somehow find harmony between them. “Unfit” has a building, potent melody meanwhile the lyrical refrain is how “I don’t want to die here.” Other song titles, like “Stages of Regret,” “Stumble,” and “Brakes” continue that negative side, which is neatly countered by titles like “Everything’s Alright.” The album name, Laws of Gravity says as much: what goes up also comes down. Of course, that’s just writing about the tone of the record. The lyrics are often personal but without being heavy-handed. “Kai” sounds downright pretty…until you listen to the words, which are ultimately empowering but only after calling out some tough times. The two singers highlight the light/dark contrast, with “Brakes” spotlighting how the two ideas overlap.
With 11 songs overall, there’s surprising variety in sound while still clearly donning that pop-punk label. The bass solos and vocal tradeoffs play a big role, letting the rhythm section drive the ship instead of the power chords. My only complaints are that Indi’s lead vocals easily set the defining tone of the album, but they do start to sound a little same-y by the end. A little more range (in line with the varied song structures) would give it a little boost. Similarly, Matty’s vocals can sometimes counter her lines just a little too much. It’s a fine line between gruff and jarring. But that’s nitpicky. This is a really strong album. I love the pick-me-up of “Everything’s Alright,” including the subtle tempo shifts, the hyper elements of songs like “High Bar,” and “My Friend” showcases how they can mix up their sound with some super-fast guitars that transition into that verse/chorus/verse singalong format you were expecting before the curveball opening. It’s not a perfect record, but it hits so many moods that I know it will be on heavy rotation for the near future.
