Returning after a hiatus that came and went in the blink of an eye, it seems weird to consider that As It Is is a band revisiting old material. In their initial decade of activity, the Brighton-based group carved out an admirable career that honed in on earnest pop-punk. They were a band that found its place in the higher echelons of UK pop-punk, yet rarely showed signs of going beyond a mid-sized venue act. Nevertheless, it’s clear the quartet, now consisting of vocalist Patty Walters, guitarist Ben Biss, bassist Ali Testo and drummer Patrick Foley, were respected by their peers. It’s that respect, along with some influential impact, that has led to this re-worked version of the band’s debut album.
As its title suggests, ‘Never Happy, Ever After X,’ sees the Transatlantic quartet re-record their first full-length ten years on, with a cast of cameos. These consist of influences, past touring pals, and some newer names who consider As It Is as an influence.
In terms of song structure and style, very little, if anything, has been tweaked. The opening pairing of ‘Speak Soft’ and ‘Cheap Shots & Setbacks’ still bursts with energetic pop-punk. Sleeping With Sirens‘ Kellin Quinn’s tender voice elevates the former’s middle eight, albeit briefly. The latter is a 2010s UK rock/pop-punk gathering with Mikey Chapman of Mallory Knox and Alex Adam and Alex Costello of the now-defunct ROAM bringing a celebratory tone throughout. Later on, Trash Boat‘s Tobi Duncan provides some bite to ‘Concrete’s relentless bounce.
Some of the most notable guest spots come from Mikala Delgado of Yours Truly, and Lucas Woodland of Holding Absence. Delgado brings a sultry and warm tone to ‘Sorry’s sugar-rush pacing. While Woodland fits in ‘Dial Tones’ impassioned emotional tone like a glove, bouncing off Walters effortlessly. Meanwhile, Sum 41‘s Dave ‘Brownsound’ Baksh adds a scorching guitar solo to ‘My Oceans Were Lakes’.
When it comes to the new crop of guest appearances, there’s Rae Brazil of Scottish alt-rockers ARTIO, Joe Cabrera of Beauty School, and NOAHFINNCE. All three leave an impression. Rae’s takes over on ‘Turn Back To Me’ second verse, allowing them to show their impressive range. Cabrera’s soulful voice matches ‘Drowning Deep in Doubt’ breeziness, emphasising its soaring moments. NOAHFINNCE pops up on ‘Can’t Save Myself’. The track feels looser, even slicker, than its original without sacrificing its emotional heart. Like Woodland’s appearance, Noah slots into the track with ease, bouncing off Walters and Bliss.
It’s clear As Is It do, or at least did, have a knack for writing bold pop-punk choruses. However, they’re still able to tug at the heartstrings. The closing pairing of ‘Silence’ and ‘You, The Room & The Devil on Your Shoulder’ are examples of this. ‘Silence’ is a plucky, towering number that sees Walters exchange lines with Joe Reo and Rob Freeman from one of his most beloved influences – Hidden In Plain View. With layered vocals dominating its conclusion, it provides a resolute tone that is maintained on ‘You, The Room & The Devil on Your Shoulder’. On this tender finale, Walters is joined by Ella Meadows (fka Joe Boynton) of Transit/narrowcast. Together, they provide a reflective, at times haunting, closure that brings things back down from a euphoric high.
The main issue with releases like these is that they are drenched in nostalgia. The hooks of ‘Cheap Shots & Setbacks,’ ‘Can’t Save Myself,’ and ‘Dial Tones’ still flourish with an almost timeless quality. However, unless you were an admirer of some of ‘Never Happy, Ever After’s deeper cuts or the guest contributors, you’re unlikely to take anything away from it. Nevertheless, it’s a celebration of a band that may not have had the biggest of impacts, yet feels worthy of putting something like this out. Alternatively, this could be seen as a reintroduction to As It Is, one that allows them to give a nod to their past before they can look forward with new music.
‘Never Happy, Ever After X’ by As It Is is released on April 18th on Slam Dunk Records.
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