“I lost myself trying to get you to spit me out.”
Few bands in the alternative scene are as cherished as Movements, and deservedly so; the Orange County quartet (consisting of vocalist Patrick Miranda, lead guitarist Ira George, bassist Austin Cressey, and drummer Spencer York) have always had a mastery over their brand of post-hardcore. Towing the line between emotion and relatability, their music has resonated with many people, especially their beautifully-crafted debut album, Feel Something, which is widely considered Movements‘ magnum opus by their adoring fanbase. Their direct and confessional style of songwriting set them apart early on, tackling difficult issues such as mental health, dementia, and relationships.
In recent times, in step with the band members’ lives, their music has grown noticeably upbeat; it would be difficult, or perhaps feel inauthentic, to write about depression if one wasn’t still depressed, after all. Taking their relatable attitude to a new sound, RUCKUS! is the end product. This new era of Movements is characterised by a groovy, attitude-laced sound that feels more angsty, and even sensual at times. Such themes were definitely explored on sophomore album No Good Left To Give, but are greatly expanded upon here with a clear purpose. The band ushered in this new sound with standalone single “Cherry Thrill”, and it continued in earnest onto the record’s first two singles, “Killing Time” and “Lead Pipe”.
Album opener “You’re One Of Us Now” invokes a darker, post-hardcore sound that’s considerably heavier than most of Movements’ current catalogue. An angrier track about a toxic relationship, the emotion is encapsulated with expected poignancy by the line “I gave my mind, and gave my health. It looks like heaven, feels like hell,” among many others. The track hits the ground running and starts the album strongly. Miranda’s signature delivery works well here with his well-utilised gritty singing, conveying emotion well as he’s always been able to.
The album spans various moods and topics, all while maintaining this more upbeat sound. There’s the energetic, momentum-filled “Fail You”, which is a true highlight of the record. With its groovy, syncopated rhythm in the intro, it seamlessly flows into a vibey chorus, backed by a delectable tremolo lead. The track is packed with fun while also tackling some rather real themes in the lyrics, showing that the group’s sonic development is a deliberate choice rather than a vehicle for lazy songwriting.
There’s also the undeniably, unapologetically horny “Heaven Sent”. Perhaps the successor to “Skin To Skin”, the track’s sultry lyrics are delivered over a deceptively innocent pop rock backing. It’s quite an entertaining track, to say the least. Perhaps Miranda has been listening to too much Bad Omens or Sleep Token as of late.
Midpoint track “Tightrope” stands at an impressive height, reintroducing the overtly melancholic sound people know and love Movements for. Although a more subdued, pop rock-inspired track, the subtlety creates a direct and effective pathway for the emotion of the song. The heartbreak of not being enough for a loved one is very strongly felt. Ironically, it does leave the rest of the album to balance precariously, introducing familiar ground in an album that’s trying to cover new territory. While I appreciate the variety, it may cause the album to be polarizing to some, as a tease of their classic sound amid a plethora of more tentative cuts.
Most of the album tends to take on the energetic sound presented by many of the previous tracks. Pop and alternative rock influences are the most prevalent here, although they do not feel disingenuous. It may be strange for some to hear Movements in this light, being such a significant shift. The best word I can use for this album is “fun.” Miranda’s vocal performance hardly disappoints on the album, as he utilizes his truly impressive range to weave into the various moods of the album. His chops are arguably one of the strongest parts of RUCKUS!
The album closes with “Coeur D’Alene”, bringing back the sad sound one last time before the album ends. Many of Movements’ songs detail stories with personal details, and this is no different. The prominent acoustic instruments on this track create for an intimate experience, and it rounds up the album on a strong note.
In many ways, RUCKUS! can be compared to making progress in mental health. A degree of sadness and anger may linger, but one’s outlook on life can start to become more positive. The album parallels that sonically, with its brighter tones and livelier rhythms. I do feel, however, that fans who have a strong emotional connection to prior releases such as Feel Something or Outgrown Things may struggle to connect with this newest iteration of Movements.
As a full album, there are points where it can feel lacking. Certain tracks get left by the wayside as their more exciting counterparts outshine them. While no individual track is bad per se, there are definitely tracks that are noticeably stronger than others.
Bands that make sad music, pursuing a happier, more accessible sound is a trend we see all too often. Most of these attempts feel forced and manufactured, a futile attempt at remaining relevant. The same can’t be said for RUCKUS!, as the album still feels authentic to Movements and does indeed feel like an accurate reflection of where Miranda and co. are in their lives. It’s no doubt a wonderful thing. Ultimately, although RUCKUS! is nowhere near as strong as their previous releases, the band can’t be faulted too much for exploring different themes in a manner as genuine as this record.
7.5/10
RUCKUS! releases next Friday, August 18th, via Fearless Records, and you can pre-order the album here.