The Carry Ons – Succession

When you’re really into a band, embracing change can be challenging, especially when said band has only just started exploring their potential in previous releases.  In the case of Atlanta, Georgia’s The Carry Ons, their first full length, Is Anybody Listening, absolutely blew me away with track after track of sing along anthems.  So when the quintet announced that their sophomore full length, Succession, would include an “all new direction and taste,” my gut churned.

When the disc finally arrived, my first impression was like that of ordering a new dish from a menu already brimming with personal favourites.  Metaphorically speaking, I met the first bite with instant regret, wishing I had stayed with something more habitual.  But over the course of the meal, my pallet adjusted, and by diner’s end, I was scrapping the plate madly for every last morsel.  Less abstractly, the once-gruff ska punk influenced band has shed the jumpy chords of their 2008 effort, and dawned the jaw snapping chords of tough punk rock, thankfully, without sacrificing their knack for track after track of stadium filling anthems.

After a few listens, Succession quick became a preferred listen, erasing any sense of doubt as to whether the changes would stunt progress.  With embracing more speed and rock leveled riffs, dual vocalists Neil McCarty and Nick Pursche push their melodic strengths as they overlap rhythm with vicious solos as yet another effortless layer to their already firm repertoire.  The lyrically straightforward, musically well-planned “Wake Me Up” serves as a prime example.  Abram Mersaris might repeat the title line convincingly for the final leg of the track, but the accompanying gang vocals, sweeping “woahs,” dark piano keys, and most importantly, revved anticipation built from spiraling guitar solos that flood one’s conscious.  There’s a real chemistry to the group – think the spirit of The Have Nots, but without the Boston underpinnings.

The Carry Ons also succeed from adding a couple subtle new elements.  The first, a duet between a female vocalist and Mesaris, rears its head in “West End.”  The unaccredited woman takes a nod from smokey but ragged vocalists – like a combination of Biff Naked and former Leftover Crack member “Nico De Gallo.”  The result is a confident but playful tradeoff accented by a big stylized finale.  The piano also serves as a notable new player, sparingly added to tracks in either intros or bridges, as per “Smells Like Greene Spirit.”

As in past work, Succession continues The Carry Ons trend of pairing well-composed arrangements with intelligent content.  Fueled by rich descriptors and unwavering optimism, many tracks challenge listeners to make tough choices and stay true to themselves.  The vocally swaggered “Cut It Out” challenges listeners to brave self destructive trends and “break the cycle,” with “Smells Like Greene Spirit” encouraging listeners to trust their gut (“we’re at a cross roads without guides or plans”).  “Rivers Of Asphalt” comes across particularly well spoken as Mersaris repeats how he refuses to follow in his parents’ footsteps, firing off questions at point blank of motivation and work ethic (“will you give up everything?  Will you follow your heart?  …can you work this hard?  Will you carry on if it all falls apart?  Stand clear of the cynic and stay clear to your heart – you can’t have glory without sacrifice”).  It might have been three years since their last record, but the quintet remains grounded in their roots.

There’s no way around it, Succession is a grower for those familiar with The Carry Ons, and an easy choice for newcomers.  Succession’s “new direction” might reorient some key influences, but it certainly doesn’t sacrifice any energy.  The lyrics remain smart, and the songs dynamic.  Succession is a breath of fresh air for free thinkers and a powerful dose of fist pumping anthems for defiant punks.  Well worth looking into.