Jeff Rosenstock’s new album is called “WORRY.” but the only thing worrying about it is how good it is.
Rosenstock is a punk rock journeyman, playing as part of and alongside of all kinds of punk bands and artists for around two decades. In 2012, he finally released his first solo record, charmingly titled “I Look Like S***,” and in 2015 he released the introspective and well-received “We Cool.”
Through the past two records, Rosenstock has certainly found his niche in energetic, gleefully, self-deprecating punk music that treads the line separating fun and depressing. This brutally honest, self-awareness has always been key to his allure.
This element is present on “WORRY.” in many shapes and forms. Whether he is bellowing about his lack of belonging on “Wave Goodnight To Me” or delivering lines such as “Did I creep you out like a scary movie?” on “I Did Something Weird Last Night.”
While “We Cool” was rife with this sort of humor, “WORRY.” expands its horizons and Rosenstock tackles all sorts of problems that plague his particular style of living. With consistent themes such as dealing with immaturity, fear of loneliness and even all sorts of anxieties about being evicted and living a fulfilling life. Rosenstock leaves no stone unturned as he actively tackles issues, not too intimate to be included. Lyrically, no punches are pulled and he delivers clever yet straight-to-the point lines.
Refreshingly so, Rosenstock also includes his thoughts about topics that feel more big-picture. On “Festival Song” he thrashes against the commercialization and bastardization of music as all good punk artists are known to do. Both “The Fuzz” and “To Be a Ghost…” takes on the seemingly never-ending cycle of police brutality, specifically in the context of internet pseudo-activism.
Rosenstock is able to maneuver through all manner of topics making him very relatable, especially to the youth. A sound bte at the end of energetic second track “Pash Rash” even goes as far as to dub the track the anthem of the American dorm room.” The genuine manner in which each line is displayed means the music comes off as pandering or condescending, which is undoubtedly the appeal to his sound. It really just feels like the man cracked his head open and just poured out its contents all over the record.
Rosenstock’s sound can often be misleading, at least when listeners connect the sound with the lyrics. It is punk smattered with a healthy handful of pop quirks. It is invigorating and catchy as hell, all without sacrificing any lyrical substance.
The music expands past typical punk music as Rosenstock plays conceptually with a very interesting sound at around the halfway point of the record. When the very brief 38-second track “Pietro, 60 Years Old” the album takes a turn, becoming a sort of musical stream-of-consciousness type deal. Like a punk rock river, almost every track flows into the next flawlessly. No song over stays its welcome and the resulting feeling is both distinct and dynamic.
The final track on “WORRY.” is titled “Perfect Sound Whatever.” Rosenstock laments loudly that “Perfect always takes so long because it don’t exist.” With a loud crowd supplying the raucous background vocals, chants break out, proudly proclaiming that perfect “DOESN’T EXIST.” “WORRY.” is proof of this. It is not the perfect record. But that does not matter because it is still really good.
