The self-titled fourth studio album from New Jersey rock band Bleachers was finally released after lead singer Jack Antonoff first teased it in 2021, saying it would be released in 2022.
“Bleachers” is the first album where Antonoff is not the sole musician, with his touring band becoming actual members as of 2023. Antonoff’s connections to huge artists like Taylor Swift, The 1975, Lana Del Rey and many more boosted his career to new heights. The group explores themes of reminiscing on the past and the confusing trials of moving forward amidst these conflicting feelings of nostalgia.
“Modern Girl” is the first lead single. Its upbeat, saxophone-heavy production evokes the 80s sound artists like Billy Joel were making in their prime. This song is fun and joyous, describing a fun night out. The line “Bodycam, only flams” is a phonetic reference to OnlyFans, which is silly.
“Alma Mater,” featuring Lana Del Rey, is the next single, showcasing yet again the concept of lazy Lana Del Rey features where she provides nothing but backing vocals that contribute nothing to the song other than her namesake. This song humors me as referring to an ex-partner as an “alma mater” is wildly disrespectful. If I was called that, I might turn into the Hulk.
I love the jazzy horns throughout this album, especially on this track and other songs like “Jesus is Dead.” “Tiny Moves” is right after, talking about the consequences of small actions. This beat is way too amusing for a song so emo, but its simplicity makes it likable, even if it drags on for a while. “Me Before You” is, unfortunately, monotonous. It is well sung and lyrically comprehensible, talking about the fears of a new relationship and the life before they met, but the music is missing something that I cannot place my finger on.
I can understand the pain that Antonoff has gone through, like the death of his sister to brain cancer and childhood traumas that will plague his life forever. I am disappointed in this album, as it is not as powerful as his last tape. I sense the maturity and experimentation that Antonoff was going for on this record, and you can tell that he is becoming more in touch with his fears and showing progress in conquering them. A song like “Isimo” is thought-provoking because the lyrics about his childhood and wanting to grow from his trauma are inspiring, but the drab composition sounds like those commercials about sick dogs.
“Woke Up Today” is one of my favorites. I enjoy the Mt. Joy or Passengers-esque style of folk music. His message about his relationship and finding comfort in God, even if she is not present, is empowering, even for those not spiritually or religiously interested. Another highlight is “Call Me After Midnight,” where Antonoff and R&B singer-songwriter Sam Dew smoothly vocalize their frustrations about being in a manipulative situation. They hope their person would put more effort into forming a genuine relationship and is unhappy with strictly a booty call. BROCKHAMPTON scrapped this song during the “SATURATION” rollout.
There are some purely annoying parts of this record. “Ordinary Heaven” is not a bad song. It does sound like a Morrissey scrap or something you would hear in “Wreck-It-Ralph, “but the length is unnecessary. The autotuned singing on “The Waiter” and screamed vocals on “We Are Going to Know Each Other Forever” genuinely make me angry. I am also gravely confused about why Antonoff references the death of Kobe Bryant and the controversial Pepsi commercial featuring Kendall Jenner on “Self Respect,” a song about regretting settling in a short-term relationship. Alongside countless annoying parts, there are plenty of references throughout. “Hey Joe” has plentiful mentions of the 4th of July, the Vietnam War documentary by Ken Burns, and a person named Joe, who I assume is President Joe Biden, but that is unconfirmed.
“Bleachers” marks a substantial transformation in the band’s dynamics. Despite the anticipation induced by Antonoff’s musical connections and exploration of themes like nostalgia and moving forward, the album falls short of expectations. While commendable, the album’s experimentation with sound and themes sometimes results in compositions that feel disjointed or overlong. Moreover, certain elements, such as autotuned vocals and confusing references, detract from the overall listening experience. While Bleachers’ latest effort shows promise in artistic evolution, it ultimately struggles to captivate and inspire me.
