Final Round

Is time-travel possible? It's a question we have been speculating for years and years, thanks to novels by such authors as H.G. Wells and films like Back To The Future. We still have yet to figure out whether or not if such an incredible idea is possible, but sometimes, especially in the music scene, you wonder if it's been done somehow, somewhere.

Chicago's powerpop/pop punk quartet, Final Round, sound as if they came from 1996 and bring the classic pop-punk sound made famous by bands like MxPx and blink-182 to a full-throttle, electric blast of energy on their debut full-length, None Of Us Will Ever Leave A Legacy.

Bringing three-chord sticks of dynamite to match against bombastic hooks, tracks like "Let Her Go" and "Close Calls" will reel in listeners who have an enthusiasm for old school pop-punk with comfortable ease. Taking a cue from records like Enema Of The State, Life In General and Say It Like You Mean It, Final Round may ultimately sound too familiar for some listeners; for others, it might be just enough nostalgia to enjoy during one of the many hot car rides this summer.

The dual vocals (brought to us by Matt Hampson, Kevin Mager and Dan Lowes) enhance the harmonies on the album, which make it hard to believe that this young band is merely beginning, pushing out some finely-tuned hooks in their arsenal of pop-punk fury. "I.W. Mebs" contains elements of Lionel Ritchie's "Hello," while keeping up a steady pace; "That Right One," arguably the disc's most shining moment, contains a chorus that will stick in your head for days; and "Carry On" will bring back memories of Burn Out-era Slick Shoes. "You Didn't Notice" is the album's main weak spot: while having a memorable hook, the song overuses it, making it very redundant and tiresome, stretching it on far too long.

The instrumentation by Hampson, Lowes and Mager is akin to Unwritten Law's hard rock sound and the guitar work is quite reminiscent of Rivers Cuomo (of Weezer). While it may not be up to Cuomo's level (or even the level of veterans like Chad Gilbert), the guitar work and rhythm section balance each other out, making some big waves in a small pool. Simple progressions and big riffs add up to nothing new or anything groundbreaking, but give us good reasons as to why we can enjoy the simple-nature of faster paces steeped over traditional song structures.

As previously mentioned, it may be just a bit too familiar for some listeners, but anyone who has a fondness for older pop-punk should be able to take away something from Final Round. The record may not leave a legacy, but for a lot of fans, it's not meant to do that: it's supposed to keep your head bopping, your toes tapping and your mouth smiling. While pop-punk is said to be disposable and trite by many music fans, for those who enjoy being revved up by monstrous melodies and three-chord riffs that stay in your head, No One Will Ever Leave A Legacy just may be your new favorite record to slide in when the sun heats up the summer street. - AbsolutePunk.net