Happier is the second album by Nottingham based pop-punk act
As December Falls. Following on from 2019’s self-released, self-promoted and self-titled debut, this sophomore effort sees the quartet stepping up in terms of both confidence and production value without compromising their independent spirit. Combining the style of vintage pop-punk stalwarts like
Blink-182 and
Sum-41, emo-tinged 10’s acts like
Basement and
Citizen with the anthemic sensibilities of more broadly accessible arena rock is no mean feat, but the band’s efforts have come close to matching their ambition, resulting in an album that will grab the attention of any fan of the genre from start to finish and leave them with a solid complement of choruses stuck in their head.
Pop punk has become something of a dirty phrase in recent years, as many acts large and small have eschewed the punk half of the equation in favour of a softened, more mainstream friendly sound. With this in mind the fact that opening track ‘Afterglow’ kicks in with thunderous drums, spiky lead guitar and actual riffs is an absolute joy. In addition to the reassuringly prominent instrumentation, distinctive vocalist Bethany Hunter acquits herself very well from the start with energetic vocals full of the sort of earwormy hooks that are archetypal of the genre done right. The band themselves have been very outspoken in their determination not to conform to external trends and pressures, instead focusing on remaining true to their own vision. The result is a sense of vitality, fun and genuine enjoyment that permeates the entire effort – something potentially brought on by the enforced long wait to actually start playing together again on account of lockdowns.
“Each of the eleven tracks are built on well-trodden pop-punk foundations but, in welcome fashion, bring in elements from the broader rock canvas.”
The album starts as it means to go on, with each of the eleven tracks being built on well-trodden pop-punk foundations but, in welcome fashion, bringing in elements from the broader rock canvas here and there. The guitar work in particular is worthy of praise, with guitarist Ande claiming to draw from the pantheon of classic rock and citing the likes of Hendrix and Slash as his idols. It shows – his contributions to the record are consistent highlights with surprisingly blistering licks popping up at frequent intervals. The unexpected solo and subsequent gang vocal chant in ‘I Don’t Feel Like Feeling Great’ is arguably the standout moment of the record as a whole. Whilst most of the songs are fairly raucous from the get-go, the band show a good grasp of build and release, with tracks such as ‘Tears’ and ‘One Last Song’ starting off in minimalist fashion and building to anthemic choruses.
Diverting all of their energy into songwriting following a cancelled 2020 tour, the album is lyrically rooted in the sort of introspective themes that have become very prominent in the alternative music scene of late. Whilst the likes of ‘All Of This is Over’ and ‘HNA’ deal with relationships, ‘Fake Company’ and the title track, both written during lockdown, deal with social anxiety and other mental health issues which Hunter admits were exacerbated during the pandemic. This personal touch means that the songs are delivered with emotional authenticity and conviction that is matched by the dynamic instrumentation, John Mitchell’s production job is also very fitting, allowing the judicious use of synths and vocal effects to remain tasteful and enhance the soundscape.
As December Falls have successfully combined many of the winning elements of early 00s and more contemporary pop-punk whilst keeping both feet firmly planted in rock territory and throwing plenty of red meat to those of who would rather maintain a semblance of rawness and urgency in instrumentation.