12 Songs, 40 Minutes

EDITORS’ NOTES

All Time Low's fifth studio album finds the band back on Hopeless Records. But a return to its indie label doesn't warrant a return to its indie roots. Rather than backpedal for the sake of nostalgia, this Baltimore quartet injects the pop half of its emo-pop sound with sonic steroids. “The Reckless and the Brave” opens, boasting what sounds like impressively expensive and pristine production. Multilayered guitars, a metronome-timed rhythm section, and Alex Gaskarth's overlapping vocals were mixed with the laser precision of a classic AOR album by Journey or Boston. This makes most of the songs on 2012’s Don’t Panic play with a larger-than-life feel suited for arena-sized stages and commercial radio airplay. But if you like catchy, unflawed guitar pop, this is hardly a bad thing. Check out the unarguably catchy “Sometime in Neverland,” a salient single that chugs on power pop chords à la Weezer or Fountains of Wayne before triggering a chorus peppered with more barbed hooks than a tackle box. “For Baltimore” celebrates the band's hometown with similarly exaggerated pop aplomb.

Parental Advisory: Explicit Lyrics.

EDITORS’ NOTES

All Time Low's fifth studio album finds the band back on Hopeless Records. But a return to its indie label doesn't warrant a return to its indie roots. Rather than backpedal for the sake of nostalgia, this Baltimore quartet injects the pop half of its emo-pop sound with sonic steroids. “The Reckless and the Brave” opens, boasting what sounds like impressively expensive and pristine production. Multilayered guitars, a metronome-timed rhythm section, and Alex Gaskarth's overlapping vocals were mixed with the laser precision of a classic AOR album by Journey or Boston. This makes most of the songs on 2012’s Don’t Panic play with a larger-than-life feel suited for arena-sized stages and commercial radio airplay. But if you like catchy, unflawed guitar pop, this is hardly a bad thing. Check out the unarguably catchy “Sometime in Neverland,” a salient single that chugs on power pop chords à la Weezer or Fountains of Wayne before triggering a chorus peppered with more barbed hooks than a tackle box. “For Baltimore” celebrates the band's hometown with similarly exaggerated pop aplomb.

Parental Advisory: Explicit Lyrics.
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Ratings and Reviews

4.8 out of 5
2K Ratings

2K Ratings

Shane O'Donohue ,

This is how the All Time Low of 2012 should sound.

While Dirty Work had a few gems, I was not the biggest fan of the album (and neither were many other ATL fans). I was somewhat apprehensive of the follow-up, yet hopeful that it would be a comeback album of sorts. AND IT IS.

Don’t Panic is All Time Low at its finest; this record feels like a greatest hits album! “Somewhere in Neverland” is classic ATL, “So Long Soldier calls back to The Party Scene days (chorus of “Circles,” anyone?), “Backseat Serenade” is a flat-out jam, and “Outlines” sounds like one of the best songs Fall Out Boy never wrote (although it was co-written with P. Stump). I could go on and on about how good these songs are, but you should just make the purchase and find out for yourself. The only hiccup is “The Irony of Choking on a Lifesaver,” which is still better than most of ATL’s previous pop attempts. Overall, it’s the most solid album ATL’s crafted!

This is the album that All Time Low regains fans and acquires new ones, while keeping the dedicated rest of us. Congrats, boys. This is the record we’ve been waiting for!

Chonie Meza ,

They are back!!!

I feel All Time Low has made a comeback. They went back to their roots and this album is amazing!!!!

sikesy7 ,

I think my ATL days are over...

I don't want to be too harsh or crtical. I honestly haven't liked anything they've come out since "So wrong it's right." "Nothing Personal" is when things started to go down hill in my opinion atleast for me. People say bands change all the time but I think it's actually more accurate to say I think us fans change. So I'm not going to put all the blame on them. When I first started listening to ATL in 2004 I was 16 and I was into this music they being from the hometown I digged it. But now I'm almost 24 and I think its safe to say I've outgrown them or maybe even this genre. "The Party Scene" their first full length is and in my opinion will always be their best album. It was raw and not over produced like it is now. I'll take it for what it's worth. ATL you were a huge part of my music life in my teen years but being an adult now I think it's time for me to move on. This is the last ATL album I buy.

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