What’s up, bromigos? Hope all is well and that we’re having a kick-ass day.
I want to get us started off by diving into what could possibly be my favorite newly-released album at this particular moment.
Now this comes after my glorious experience at 5SOS’ live set at the Toyota Pavillion in Irving a few weeks back, so the way I feel about this record now is absolutely not what my first impressions were. This took some time, thought, and a few dozen (hundred) listens to really get a sense of the personality of this album.
So without any further ado, let’s unpack the wonder that is Youngblood.
Opening up with the titular track, “Youngblood” immediately sets the tone for a more mellow yet critical development in the four-man-group’s sound, as if the expectation for what follows should be a defining milestone in the band’s progression. The opening of the first chorus, in particular, absolutely strikes a chord in our bones and sends chills down our spines.
The lead singer’s vocals are also noteworthy on this track—his easygoing and almost southern demeanor contrast with the very deliberate beat. There’s a bit of a drawl in the way he sings the verses, whereas the chorus is belted like a war-cry or a call to arms. Absolutely intoxicating, to say the least.
Moving on, we’re met with the radio-hit “Want You Back,” which legitimately went from my favorite track on the album to, like, the seventh. Maybe.
That being said, I absolutely love the subtle twangs in the background, the melody, the easy-going vibe that’s ironically stimulating—all of it. The thing that speaks to me about this track is how the music video pairs with it. I’ve only seen it a couple of times, but now anytime I hear this song, all I can imagine are vibrant, neon colors swirling around in my head. Synesthesia aside, the ethereal sound evokes a sort-of longing for a love that may not be the best for you, but makes you feel damn-near celestial. 12/10 would recommend.
Skipping around a little bit, the tracks “Talk Fast” and “If Walls Could Talk” are wonderful in all their swanky, funky glory. The former gives me some vague 80s feels, while the latter just makes you feel good all over. This is one of those tracks that I never listened to all the way through before the live performance, but since then, I’ve played it at least 5 times every day.
“Better Man” follows it with a very cool, very suave beat. I’m not sure why, but the arrangement vaguely reminds me of JB’s “Sorry.” The tracks aren’t really anything alike, but I think they’re on the same artistic wavelength.
Circling back to a track that you can’t help but dance to, we’re given “More,” in every sense of the word. There’s a choral background throughout the song, but the main voice carries an interesting mix of a solid and airy presence — the best I can come up with is a sort-of tense breathlessness, if such a thing exists. It’s aggressive and boppy and so very sexy.
Next we’re given the self-proclaimed anthem of every fan to their number-one celebrity crush, more commonly known as “Why Won’t You Love Me.” This track is basically me to Dylan O’Brien, wondering why he hasn’t noticed me yet. *sigh* As much as I like the build-up during the pre-chrous, this song isn’t really my vibe. That being said, as a whole, I feel the album does gain an added degree of experimentality with its presence.
The same can be said about “Woke Up In Japan” and “Moving Along,” which do add to the personality of the album, but fall short of really making a statement on a record with downright bangers. I will say that “Woke Up In Japan” did get me for a minute with the very intense self-deprecating attitude. I mean with lyrics like “best I ever had // it was more than half empty,” it’s like we’re bred for a negative outlook on life. Lovely.
“Empty Wallets,” on the other hand is absolutely up my alley with the ominous yet vengeful intro that just keeps getting better as the track goes on. The lyrics and vocal work are wonderfully bitter in a very sexed-up kind of way, like that feeling when you end up sleeping with someone that pisses you off to high heaven, but you keep finding yourself drawn to them nonetheless.
Pulling a 180, “Ghost Of You” does well to remind us all of that high-school love that we swore we would love forever, and maybe we still do, but the relationship ended way worse than we would have preferred. ‘Cause that’s exactly what I needed to be reminded of today…
Regardless, the vocals are beautiful, the lyrics are relevant, and the piano really sings this one home for all of us. The part that I feel carries with it the brightest spark is the final section when there’s just the vocals and piano. The notes remind me of a ticking clock, which give a tangible feeling of time passing with every stroke, personifying grief and longing in a very physical sense.
“Monster Among Men” starts off so strong in my opinion, but the chorus is actually when it loses me. The shift between the verses and chorus, like many tracks on the album, give the song its own identity, and I do give it praise on that note. While not my fave, the track is still a weekend jam that I can vibe to.
I wish I had some final thoughts for “Meet You There,” but the only thing I’ve managed to get so far is that it’d be great to play in the car on your way downtown to meet your friends at the club. Props on ingenuity, but that’s all I got for you there.
“Babylon,” on the other hand, I do have some strong feelings for. Feelings such as total admiration, reverence, adoration, you name it. The song itself is about a love that “burned too bright,” and as a result burned out altogether; something I’m sure we’ve all come across at one point or another. The chorus has a very dizzying effect—the sound genuinely makes the listener want to spin around to the beat. This was a song I don’t think I listened to once before seeing them live, and it ended up being the first track on the setlist. Needless to say, it’s been on my morning-commute-to-work playlist ever since.
Moving our way back to track #3, aptly titled "Lie To Me," all I really have to say is just rip my fucking heart out and throw it down the garbage disposal, why don’t ya..
I mean seriously, my guy (@the dude who wrote this song), who hurt you? Do you need a hug? I mean, this is what you listen to when you’re so depressed that the only “logical” thing you can think to do put yourself in a self-induced depression coma. RIP…
The part that kills me is towards the end when we’re all singing “la la la” like we aren’t legitimately singing about the worst fucking element of our goddamn existence. Normally I’d laugh and appreciate the contrast between the lighthearted melody and the slit-my-fucking-wrists lyrics, but this was just too damn much.
The worst part is that the lead singer mentioned this was his favorite track on the album before the live performance, which just gives me so many more questions than answers. Sending positive vibes your way, bro. #ItGetsBetter
And finally, last but certainly not least: “Valentine.” I’ve struggled with what I really want to say about this track for awhile now. My experience with it has been one hell of a rollercoaster ride, and I have to say that after about 200 listens, I fucking love it. Like, really love it.
Let’s break this down: first of all, the song as a whole gives off a very “Nightmare Before Christmas” vibe, and you can absolutely get that sense before watching the music video (the skeletons definitely help, though). The beat and rhythm are very cheerful and whimsical, but the vocals are rather ominous and, uhh, hungry? And I mean that sexually.
Which brings me to my favorite fucking aspect of this song: whether intended or not, this track personifies sexual appetite and eroticism to a fetishizing degree. You listen to this song enough times, you will absolutely find yourself imagining someone breathing hot air down your neck and calling you “Valentine.”
For those of you that might be gasping in disbelief at how this song could turn so sexual so fast, I encourage you to journey with me for these last couple of paragraphs.
Breaking down the lyrics themselves, it’s very much an ode to an unquenchable love, through-and-through. We open up with “I love the light in your eyes and the dark in your heart,” which is fairly sweet and tame(ish). We get a bit of “we’re classic together like Egyptian gold” and “fall more in love every day,” all very lovey-dovey. However, these sentiments are absolutely inconsequential compared to the many sexual innuendos that follow, including:
“the bite of our bark” // “your DNA’s being messed with my touch” // “have your cake and eat it too” // “got nothing but love for you” // “SO DEEP”
AND MY PERSONAL FUCKING FAVORITE: “be combative or be sweet cherry pie,” // “it don’t matter just as long as I get all you tonight”
The music video is just as fucking pervy in the best possible way. After the screen rolls and the title disappears, the song starts with a close up on each of the boys’ lips mouthing “dum” with the beat. In case you haven’t had the pleasure of observing the video, trust me when I say that it’s fairly stimulating... if you catch my drift. They then follow it up with a close-up of the bassist and guitarist strumming (or, more colloquially, FINGERING) their instruments, which are conveniently labeled "Valentine."
A little bit of singing, then the line “we’re classic together like Egyptian gold” is brought back up. Now, taken without the video, this lyric is pretty much rated-G. However, if you remember that Egyptians used to paint their whole bodies in gold, and then you watch this video, which now shows the bassist singing with his lips and lower jaw painted in gold… followed by a shot of his fingers now covered in gold… I don’t know about you, but my first instinct that ya boy quenched a particular appetite. *wink wink*
If that’s not enough, the way the lead singer vocalizes the bridge and tilts his head back with his eyes closed sounds (and looks) suspiciously like a breathless moan. That may be totally unintentional, but it’s all I can fucking hear at this point.
All joking aside, when you put the lyrics, the vocals and this video together, we drift away from subtle innuendos to full blown eroticism. Like, this isn't the "I just had sex for the first time" type of song; this is venturing into the "I've tried every position in the Kama Sutra at least three times," dominion. And I mean that with every possible degree of praise.
Now I’d like to follow this with a disclaimer that I don’t actually have it on any authority that this much thought or intentionality was put into the sexual nature of this song, but I hope that some of you can at least appreciate this gem of a track with me. Few things tickle me more than when young stars grow up to start writing songs or taking on roles that explicitly involve sex. It’s probably the southerner in me, what with the “abstinence only” bullshit that we’re fed throughout our entire adolescence, but every time it happens I can’t help but giggle with an insurmountable appreciation. Congrats on the sex, boys. Safe travels!
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