Pop-punk seems to be a dirty word in American music. It’s the proprietary domain for 12-year-old goth kids who aren’t hardcore enough for the band HIM, but old enough to know that there’s no musical value in Good Charlotte. Yellowcard is one of the more successful bands from this genre, and seemed to display a modicum of talent on its wildly uneven “Ocean Avenue.” Its new album, “Lights And Sounds,” not only exceeds “Ocean Avenue” in every way, but is better than most other pop-punk albums of recent memory.
The most surprising and compelling part of “Lights And Sounds” is the toning down of the band’s trademark violin. Whereas it over-saturated “Ocean Avenue,” now the violin only appears at the forefront of songs when it’s organic and musically necessary. This simple
realization becomes the first step toward helping Yellowcard rise above its novelty act status.
The album is not without its faults, such as the song “City Of Devils,” which simply tries too hard. It’s a weepy, overwrought ballad that’s not only out of place, but ill-conceived and poorly executed. But there are some obvious standouts, such as “How I Go.” Inspired by Tim Burton’s film “Big Fish,” frontman Ryan Key’s vocals soar through a pounding orchestral track that shows Yellowcard definitely has the talent to create more diverse works. As if nothing could derail “How I Go,” the track is helped considerably by backing vocals from the usually insipid Natalie Maines of the Dixie Chicks.
As is stands, “Lights And Sounds” is a good piece of pop-punk. Yellowcard knows the genre buttons to push and does so while admirably slouching toward something greater.