Album Review: The New Sidewalk by Such Gold

Ever read so much hype about a major change in direction for an upcoming record, that when it drops the shift isn't as seismic as everyone touted, so you're kinda let down? The quality of the music aside, you're there just waiting to grasp what the band and every writer's been talking about. Suffice it to say, while The New Sidewalk does shift the trajectory for Such Gold, it isn't anything monumental that'll have fans up in arms. What it does do however, is gear them down from a pacey, melodic-hardcore-punk vibe into a less brash side of things.

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Melodic hardcore band Such Gold refine their wiry, physically powerful take on punk rock with their second full-length album, 2014's The New Sidewalk. The Rochester, New York four-piece recorded the album at the Blasting Room in Fort Collins, Colorado with producer Bill Stevenson, a veteran of the Descendents and Black Flag, and The New Sidewalk is a creative step forward for Such Gold as they step back from the poppier accents of their 2012 debut, Misadventures, and embrace more complicated song structures and deeply personal lyrical themes. The New Sidewalk also introduces a new lineup for Such Gold, with the addition of Jon Markson on bass and vocals and Matt Covey on drums alongside singer and guitarist Ben Kotin and guitarist Nate Derby.

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Progression is the name of the game for 'The New Sidewalk', but is that a good thing? Hailing from upstate New York, melodic hardcore punks Such Gold are back with a second album that doles out ass-kickings at will. Intricate, emo-tinged riffs weave in and out of relentless beats, while vocalist Ben Kotin’s yelps are still the dominant force and compete with genre-leading contemporary Parker Cannon. Lead single ‘Faced’ finds the finest balance between old and new and boasts the catchiest chorus on this full-length.

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On its 2012 debut, “Misadventures,” Such Gold laid down a bristling melodic mission statement that shot it to the top of the list among a spate of young bands galvanizing the pop-punk and melodic-hardcore genres. While it would be inaccurate to apply the loaded designation maturing to this follow-up, the 12 songs here are more fully realized: the result of a band comfortable pushing against, while still embodying, the touchstones of its form. On “Faced,” the harmonies are precise while threatening to edge into screaming.

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