You Can Be My Wave

When looking back at Four Year Strong's 2015 self-titled album, it's hard not to see it as a story of redemption. In the years prior, the band were navigating incredibly choppy seas. After firing keyboardist Josh Lyford to chase a more straightforward rock sound, they delivered 2011's In Some Way, Shape, Or Form; a dime-a-dozen, arena-rock effort that polarized many fans, myself included. It disappointingly didn't leverage the band's strengths; the guitar heroics, the pop/hardcore dynamic, and their happy-go-lucky quirkiness were all absent. After a lackluster reception, a departure from their label, and a subsequent hiatus, I'll admit I was skeptical that they could ever truly recover.

Fast-forward to 2015, and the stars began to realign. Finding a new home with Pure Noise Records and entering the studio with Converge's Kurt Ballou, the signs pointed toward a massive comeback. The aptly self-titled result wasn't just a return to form, it was the natural, mature evolution the band had failed to grasp four years prior. The trendy, often cliché easycore tropes weren't entirely discarded, but they were used more strategically. With no concern for meeting any sort of genre quota, the breakdowns, gang chants, and the chugging passages hit harder. More importantly, the focus shifted back to where it belongs: the formidable guitar work of Alan Day and Dan O'Connor. Many tracks are grounded by catchy, unforgettable riffs that stick with you long after the song is over. The cherry on top is that it is also the band's best, and most fitting sounding record thanks to Ballou's authentic approach to production. While I will always have a soft spot for the dated charm of the Rise Or Die Trying era, objectively, I think you can make a strong argument that the album that launched their second act is their best.

The album kicks off with I Hold Myself in Contempt, a killer opener that immediately signals that the Four Year Strong we loved is back in full effect. It features an uncharacteristically off-kilter groove and melodic lines that balance sweetness with a deliberate, sour edge. That momentum carries into We All Float Down Here, a standout for its high-speed, NOFX-style skate-punk riffs. The track is a rhythmic roller coaster, constantly shifting between half-time and double-time tempos, and I particularly love the stereo separation in the chorus that allows one guitar to hold the fort while the other emphasizes the kick drum pattern.

The influence of 90s alternative is felt heavily on Wipe Yourself Off, Man. You Dead, where the main riff carries a distinct Billy Corgan swagger. It's packed with great pull-off riffs and the kind of high-energy gang vocals that are reminiscent of rowdy evenings with the boys. However, the true rager of the record is Who Cares? It's a speedy punk tune driven by a vexatious attitude and yet, still competently pulls off some intricate chord progressions. My favorite element here is the inclusion of cartoonish melodic runs that pop up to dispel the tension; they add a campy touch that is uniquely Four Year Strong. The good times continue rolling with Here's to Swimming with Bow-Legged Women, a song that takes the prize for my favorite riff in their entire catalog. It's a tightly interwoven sequence of bends, pull-offs, melody, dissonance, and chromaticism that you could loop endlessly. While I could meditate on that main riff forever, thankfully the guitars never let up when the band moves on. The verses boast intricate riffs that serve both rhythmic and melodic functions, and duelling guitar leads usher in one of the punchiest choruses on the record.

As the record nears its end, The Sound of Your Heart initially sounds like the band is running out of steam. However, they're just biding their time, ramping up towards a truly epic finish. The heavenly cooldown, led by choir-like vocals, explodes into a triumphant passage with passionate hollers from Day and O'Connor. The emotional potency increases as the drums switch to a half-time groove and chiming guitar leads soar over top. The track eventually is swallowed by noise and feedback, segueing beautifully into the closer. Go Down in History (originally the title track of a preceding EP) acts as the feel-good, highly motivating finish. While I wish it shared Ballou's production signature, the "carpe-diem" energy is infectious, especially when Day yells passionately at the absolute peak of his range.

Critiques for this record are few and far between, but there are a few moments where the momentum dips. Stolen Credit Card leans into an angsty, post-hardcore, 'back against the wall' vibe that feels a bit too serious for my taste. I've always gravitated toward the quirkier, lighter side of the band. Similarly, while I don't dislike them, Gravity and I'm a Big, Bright, Shining Star feel like they are missing that special something that makes the rest of the tracklist so memorable, naturally landing them toward the bottom in my personal rankings.

Four Year Strong's self-titled record is more than just a fan-service comeback; it is the definitive statement of a band that learned how to mature without losing their vital spirit. They achieved this by once again leveraging the guitar strengths of Day and O'Connor, and working with a producer that can more accurately capture the raw, punchy qualities that complement their sound. It proved that the easycore label was always too small for them, but success lay not in chasing the radio, but rather chasing the next righteous riff.