Survivor's Guilt | Drop The Girl
3.0Overall Score

Playing to their finer methods of skulduggery, it appears the post-hardcore, punk-propulsion of Gloucester, VA’s own: Drop the Girl just taught their little doggie an invigorating new trick.  Scaled through endless bounds by way of a fresh-off-the-cuff EP gainfully-titled, Survivor’s Guilt, these ne’er-do-well hooligans yearn for more amidst a soaring batch of tantalizing tracks.

Gilded on the heels of their no-holds-barred template, the wayward sons of Drop the Girl hit the road-less-travelled circa a tour-de-force dead sprint opening with their breakaway hit: “Heaven.”  Poised in credible pop-punk, anti-establishment irony, the mega-charged cut calls to task the trappings and missteps of the Christian-religion in the modern era.  Lyrically-driven under the guise: “I’ve got a bone to pick…with the pearly gates…God never showed his face around here,” the message is terse.  Tackling an all-too historically-taboo stitch of subject-matter, the front-and-center, ringleader: Michael Owens takes the vocal-reigns with qualified-assurance.  Vetted as a promo-music video under the directed-lens of Alex Heider, “Heaven” is a worthy opening-milestone cut to lay their formidable claim abroad the pantheon of punk-encroached majesty.

Finding just the right stride for an amalgamation of emotional-poignancy con violent ferocity, Gloucester’s finest take a plethora of cues from mentors and peers: All Time Low and Fall Out Boy.  Following a flanging lead-in amid the rhythmic guitar-riffs, the second-dity on the EP, “Home” soon scours on the up-beat by drum stretches ear-marked for such a defining chasm in rock perfunctory.  While having initially seen its release date as a single from March of last year, “Home” showcases the songwriting talents of both lead-crooner Michael Owens and bassist Aaron Bucklin at their most earnest.  The track issues one of the catchiest chorus hooks the quartet has ever laid on tape.

Marred by a refreshing change of temporal pace, Survivor’s Guilt does finally settle into its conclusion in the form of: “White Lines.”  It’s a fervently-morose tune that finds its footing at the helm of subversive-melody juxtaposed with angst-laden vocal-yells and screams.  While they clearly offer quite the arsenal in their own right, Drop the Girl ultimately still succumb to a paint-by-numbers routine better pioneered by their influences: Senses Fail and Chunk! No Captain Chunk.  There is certainly room for more growth by a burgeoning-breakout of a band on the cusp of greatness.

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