By Connor LaLone

Toronto based pop-punk group PUP (“Morbid Stuff”) released “THE UNRAVELING OF PUPTHEBAND” on April 1. The band’s fourth studio album is an intriguing blend of sounds for a group that has come to be known for their authenticity and distinctiveness in a genre that can often feel very imitative. 

As touched upon in a previous review of singles “Waiting” and “Kill Something,” frontman Stefan Babcock’s vocal style is unique. Babcock frequently “talk-sings,” utilizing his natural speaking voice yet emphasizing specific words in a musical fashion. This style is comparable to Brian Sella of the Front Bottoms (“The Plan.”) Musically, PUP has come to be known for heavy guitar riffs that occasionally (and sometimes intentionally)  drown out Babcock’s vocals. “THE UNRAVELING OF PUPTHEBAND” sees the group diverge from this at times, experimenting with different musical styles while maintaining the band’s relatable storytelling nature. 

Those familiar with PUP’s past work will be able to immediately observe that this release differs from “PUP,” “The Dream is Over” and “Morbid Stuff” upon listening to “Four Chords,” the first track from the new album. The offering features Babcock likening the band to a corporation and suggesting that the “board of directors,” the other members of PUP, are meeting and struggling to agree on the group’s direction: “We try and determine how best to proceed/I said, ‘I play piano, I start learning last Thursday/I spent every cent of the label money on this thing.” 

Musically, “Four Chords” is initially light, with Babcock playing a piano to back his vocals. Upon playing a dissonant note and uttering an expletive, Babcock gives way as the song erupts with guitars, drums, synthesizers and brass, giving a unique feeling when compared to essentially any PUP release before. This cacophony seamlessly transitions into the album’s second track. 

“Totally Fine” feels like a much more “traditional” PUP track, with verses that explode and a chorus that slows the tempo and provides a more introspective and pensive tone. The song deals with the concept of feeling depressed yet finding a strange comfort within that sadness. Babcock states: “Lately I’ve started to feel like I’m slowly dying/but if I’m being real, I don’t even mind.” In an email sent to fans, PUP acknowledged that “Totally Fine” was the first track recorded for the album, and that is evident in the way in which it closely mirrors tracks from “Morbid Stuff” while other selections from the album are exemplary of the band’s desire to experiment with slightly unfamiliar musical concepts. 

After another very clean transition, the album’s third track “Robot Writes a Love Song” begins. The song was written in 15 minutes and the vocals were recorded in the back of Babcock’s car, but the track feels just as catchy and upbeat as anything from “The Dream is Over.” An interesting concept, the song is written from the point of view of a robot who is experiencing human emotions, similar to the idea that is explored on the album’s very next track, “Matilda.” 

Babcock speaks about his shame and guilt with regards to not playing his favorite guitar for years, but wrote the song from the perspective of the instrument. This creates a strangely unique experience for the listener, as Babcock essentially wrote the song to himself. Lyrically, “Matilda” may be PUP’s greatest compositon yet, Despite the odd premise, the song is easily understandable and relatable, and features outstanding wordplay: “As you fret my frets decay/You pick   up your other and you strum away/I listen from the other room/Try to pull you out of tune.” Babcock references The Beatles (“With a Little Help From My Friends”) with lines: “George and his lover they gently weep/but I don’t even get to breathe/I hardly make a sound.” PUP’s witty lyricism and songwriting prowess is on full display throughout. 

Following “Matilda,” is “Relentless,” which would easily feel at home on “Morbid Stuff,” with its depressing subject matter and classic PUP musical style. At just over four and a half minutes, it is the longest track from PUP’s latest release, but the majority of the runtime consists of low-key guitar work from Steve Sladkowski and steady, if unremarkable drumming from Zack Mykula. As Babcock reprises the chorus, the instrumentation builds again, with some expert guitar runs and bass riffs hidden beneath the surface of the frenetic vocals. 

Babcock continues the theme of PUP as a business in “Four Chords Pt. II: Five Chords:” “The board of directors are growing impatient/The budget is shrinking and we can’t agree/So we vote on the issues/Like, ‘Are we tuning the vocals?’/I say ‘No, and I vote to end democracy in this f***ing band.” The half-minute song  is again piano heavy, and serves as a bit of a reprieve before diving into another single released by the group.

“Waiting” is, like “Totally Fine,” a song that is reminiscent of earlier albums, featuring catchy guitar riffs, witty lyrics, and an instrumental break roughly two-thirds of the way through the song that  works its way into a reprise of the chorus. Originally released last November, “Waiting” was paired with another track, “Kill Something,” which strangely does not feature on “THE UNRAVELING OF PUPTHEBAND.” 

Another notable and distinct addition to the album is “Habits.” The intro to the song has a very unique and electronic pop feel that suggests progress and willingness to evolve for the band. Lyrically, “Habits” deals with a very familiar subject matter, depression, anxiety and feelings of inadequacy. If not for Babcock’s unmistakable voice,  one may believe the track to be from a completely different band altogether. Despite straying from the typical PUP formula, “Habits” is one of the stronger offerings from “THE UNRAVELING OF PUPTHEBAND,” suggesting the group is capable of producing a more mature and introspective sound.

“Cutting Off The Corners” follows the example set by “Habits” by being a slow tempo, soft and brooding piece. Babcock’s lyrics discuss the concept of losing someone, but not necessarily moving on from the lost relationship: “I still see you everywhere you go/Before you shaved your hair/It was you in the back seat/It was you in the back of the crowd, I swear.” Many of PUPs songs have dealt with this concept, but “Cutting Off The Corners” provides a new template for Babcock’s grief and anguish.

The album’s tenth track, “Grim Reaping” is also notable for the way in which it addresses typical PUP concepts while utilizing new musical styles. The bridge features a Front Bottoms-esque brass section, giving listeners a sense that PUP is growing as a band. Thematically, “Grim Reaping” has strikingly similar emotions to songs like “Suburbia” and “I’ve Given You All” by The Wonder Years (“Local Man Ruins Everything,”) discussing the pains of growing up/living in a small town and the anxiety, depression, and feelings of hopelessness contained within. 

After an incredibly brief piano and vocal interlude (“Four Chords Pt. III: Diminishing Returns,”) the album concludes with a strong summation in “PUPTHEBAND Inc. Is Filing For Bankruptcy.” 

“THE UNRAVELING OF PUPTHEBAND” is a unique, pseudo-concept album from PUP, and represents a self-aware group that is looking to mature and progress stylistically. The result is a set of compositions that are thoroughly enjoyable to listen to due to their freshness, but also because of the manner in which they preserve the nature of what makes PUP a fantastic pop-punk group. 

Image from puptheband via YouTube