Monsters in the Closet
Mayday Parade build Monsters in the Closet around a familiar mix of pop-punk energy, large choruses and quieter songs about difficult relationships. There is no major change in direction on their fourth album. Instead, the stronger guitar work and carefully arranged vocals give that established sound a little more detail and confidence.
“Ghosts” opens with voices before the full band enters, making the harmonies an immediate part of the album’s identity. The guitars also have more to offer than simple support for the chorus. Lead parts and solos give the songs extra movement, while Derek Sanders’ singing keeps the melodies at the centre of the arrangements.
The interaction between Sanders and Jake Bundrick adds another useful layer. Their voices can give a familiar refrain more character, especially when the song leaves enough space for both. At times, though, Sanders carries so much of the material that the vocal approach becomes less varied than it could be. The stronger harmonies make that missed opportunity more noticeable.
“Last Night for a Table of Two” brings a firmer rhythm and a prominent guitar solo, showing that the band can add weight without losing the hook. The softer material is often more convincing still. “Even Robots Need Blankets” lets the piano support a more exposed vocal performance, while “12 Through 15” gives the emotional delivery room to work without pushing everything towards another fast chorus.
The record becomes stronger as it moves into its later songs. “Demons” offers another memorable moment, and “Angels” gives the ending more scale, with strings adding depth to the arrangement. The band sound most persuasive when the emotion comes through a clear melody and a considered change in texture.
There are weaker stretches. Some of the faster songs feel too close to familiar Mayday Parade patterns, and the relationship writing can become predictable. “Girls” has an obvious hook, but it also shows how easily the band’s direct approach can become overly simple. The album would benefit from a more consistent first half.
Monsters in the Closet is an uneven but worthwhile set. Its best ballads, harmonies and guitar details offer more than routine pop-punk, even if the writing does not always match the strength of the performances.
