The Finer Things
Derek DiScanio is the reason The Finer Things rises above a crowded style. He gives State Champs' bright, fast songs a voice that can move from a rough edge to an open melody without losing its momentum. The band keeps pace around him, fitting small guitar and drum details into arrangements that remain easy to follow.
“Elevated” sets the standard. Its opening quickly turns into a full push, and DiScanio makes the chorus feel like an arrival instead of a repeated section. There is confidence in the music even as the writing works through uncertainty. The song captures the appeal of the album in miniature: personal worries delivered with enough lift to make them feel manageable.
“Hard to Please” brings a more animated exchange between the vocal phrases and the instruments. The drums get increasingly busy without pulling attention away from the hook. On “Prepare to Be Noticed,” the guitar and bass movement gives the verses their own character. These choices matter because the band rarely steps far outside the usual pop-punk structure. The interest comes from how well the parts are put together.
“Remedy” is another good example of the gap between subject and sound. Its unhappy thoughts ride music that feels eager to leave the house. That tension gives the performance more depth than the words always provide on their own. Some relationship complaints are generic, and the steady upbeat drive can make one grievance resemble the next. A little more contrast in perspective would have made the songs easier to distinguish emotionally.
Still, eleven tracks give the album enough room to establish its strengths without overcomplicating them. The production keeps the harmonies clear and the guitars active, while DiScanio supplies a recognizable personality throughout. The Finer Things earns its appeal through performance and construction. It is an unusually assured debut whose best songs make a familiar formula feel full of possibility.
