Last Call
Dog Years
Broken Arrow Collective (2012)
Score: 9/10
Last Call has an interesting story to tell. After releasing two EPs, 12:57 and Stay On the Outside, they returned to Paul Miner’s studio to record their first full-length, Dog Years, which was to be put out through Mightier than Sword Records. Unfortunately, the label fell apart in the midst of recording, and after raising funds to finish the record, they decided to form their own Broken Arrow Collective to release it. People often say that disasters are blessings in disguise…would this prove true for the Las Vegas band?
“Generation Gap” makes a bold statement from the get-go as frontman Austin Jeffers shouts “we’re all liars and hypocrites!” and listeners are taken through a steady, toe-tapping mid-tempo beat. “Bones” is undoubtedly one of the album’s highlights because of its infectiously catchy guitar leads and chorus. “Winter Clothes,” the album’s poppiest song (and possibly the poppiest song in the band’s catalog) hits all the high notes despite the stylistic gamble. Continuing on themes of loss and despair, songs like “Live Like Roark” and solid closer “Small Town Blues” display Last Call’s close attention to detail with electric build-ups that lead into fitful releases.
Despite several lineup changes over the years, fans can always count on solid guitar work from Last Call. Best heard on songs like “Live Like Roark” and “Braid,” lead guitarist Ryan Stokke has written some of the catchiest leads I’ve ever heard on a pop-punk record. Drummer Adam Blasco contributes more vocal harmonies this time around, even taking the lead in some songs. The end result is a nice change of pace from Jeffers’ vocals, and it’s great to hear the two switch-off on “No Bridge Back.”
Generally speaking, Dog Years brings forth a solid, cleaner Last Call than what listeners have heard in the past. It’s a logical evolution from last 2011’s Stay On the Outside, straying away from it’s angsty, fast and hard roots to focus more on songwriting. The songs are generally lengthier with more complex breaks and interludes. The only gripe I have is with the mixing. Build-ups come off as weak (a good example is the re-recording of “Glassell St.”) and it seems like beyond the layers, the band has lost some of their punch.
Despite that complaint, Last Call has written a solid full-length from front-to-back. As their most ambitious endeavor yet, they’ve avoided many of the pitfalls of pop-punk full-lengths and put together a consistent, polished LP.
-Ian Caramanzana
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