‘Complete Mess’ over 5 Seconds of Summer’s newest album
Photo Courtesy of NME
Two years of waiting are over: 5 Seconds of Summer’s (5SOS) fifth studio album, “5SOS5,” was released Friday, Sept. 23.
On the eve of the album’s release, their global livestream, “The Feeling of Falling Upwards,” was taped at London’s Royal Albert Hall to celebrate. The four Aussies performed oldies and new favorites off of the 19-song set list. The title for the on-demand special is fitting, as this record gives the sensation of being suspended in the air.
The band took to Instagram to define the release as “a journey of friendship, brotherhood, exploration of self-identity,” saying, “We entered this era focused on creative freedom and a liberation of the band’s truest voice to date.”
The mature intimacy that marks this album lies in the evolution of members’ relationships with both themselves and one another. While building this project, they were also growing individually. Drummer Ashton Irwin released his solo album “Superbloom” in 2020, with lead vocalist and rhythmic guitarist Luke Hemmings following suit in 2021 with “When Facing the Things We Turn Away From.”
Songs such as “COMPLETE MESS,” “Take My Hand,” “Me Myself & I” and “Blender” introduced the eccentric sounds and deep lyrical content fans would expect. Meanwhile, the final single, “Older (feat. Sierra Deaton),” held its place as the only ballad.
In a Spotify interview, Hemmings said, “It feels like the first album, but it doesn’t sound like it.” This phenomenon could be a result of returning contributors, including John Feldman, or simply the boys’ ability to enhance their style while remaining authentic to their artistic process.
Longing is shown through “Easy for You to Say,” which explores their early rise to stardom. The lyrics speak for themselves, and nostalgic is what this song is. It was played in New York City at Pier 17 during the “Take My Hand World Tour,” but the studio version meditates on its introspective spirit. Meanwhile, “Bloodhound” has a fast and powerful tempo dressed with a dominant bass as if it were made for the stage.
Irwin named “HAZE” and “Caramel” as his top picks. His vocals blend with Hemmings’ in a way that complements the melodic ups and downs of each track. Both guitarist Michael Clifford and bassist Calum Hood highlight their voice in “You Don’t Go to Parties” and “Emotions.”
Although “Emotions” is flatter, with more straightforward language, it can be equated to the role “Jet Black Heart” played in “Sounds Good Feels Good.” It exposes the raw tenderness that was poured into this project, proven by the first few seconds filled with soft guitar strums.
A similar delicacy opens “Moodswings,” but the intensity escalates with a forceful bridge, a pattern the hallucinogenic harmonic echoes of “Red Line” displays. This is a slight contrast to the heavier pop influence that dictates the sound of “Flatline.”
Lyrically, “5SOS5” doesn’t fall short. In “Best Friends” the lyrics state, “Life is like a poem written on a bathroom wall.” These unique similes describe the band’s bond in a relatable way. Imagery in “Bleach” tells a story indirectly without screaming emotional distress.
The sentiments musicians deal with in their search for success are examined in “CAROUSEL,” especially through the lyrics, “I’m a tiger in the circus ring again / Every time I jump, it’s gettin’ higher, never ends.” Since age 15, Hemmings and his bandmates have been on a constant journey filled with press, recording, touring and creating. It’s almost ironic that this whirlwind of emotions is captured by a childhood ride.
The ending track “TEARS!” is full of edgy harmonies that resemble those in “Teeth.” The drums in this song pull you down from the journey in the air and provide a perfect conclusion that is inspired by their pop-punk roots.
