Yung Beathoven and Brogan the band’s pop-punk EP PITY PARTY taps into the genre’s tropes to create the familiarity of early 2000’s teen angst while keeping itself firmly in the present day.
Everything is much as you’d expect from something of a pop-punk inclination. “PITY PARTY” and “FAKE LOVE” agonise over the dynamics of young love, while “MONSTER” questions the world’s seemingly inherent sociopathic nature, and “FUN” glorifies senseless hedonism.
However hidden amongst the power chords and infectious beats lies something indefinable, at least to me. It’s an intangible sense that no matter how much the music may hark back to a bygone musical era, it is firmly rooted in the present day.
Maybe it comes from Yung Beathoven’s extremely subtle hyperpop influence or maybe it’s down to a new generation’s inclination to adapt the old to their new, their need to make everything they touch distinctly their own.
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Whatever this metaphysical phenomenon may be it’s given an unmistakable freshness to an offering that, in all honesty, isn’t pushing any boundaries.
Feature pic supplied by artist