{"id":98857,"date":"2025-05-08T20:48:08","date_gmt":"2025-05-08T19:48:08","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=98857"},"modified":"2025-05-08T20:48:08","modified_gmt":"2025-05-08T19:48:08","slug":"review-the-wonder-years-burst-decay-vol-iii","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-the-wonder-years-burst-decay-vol-iii\/","title":{"rendered":"Review: The Wonder Years – Burst & Decay Vol. III"},"content":{"rendered":"

\"TheBy now, you’re probably aware of what to expect from\u00a0The Wonder Years<\/strong>‘\u00a0‘Burst & Decay’<\/em> series, but that doesn’t mean they’re forgettable acoustic reimaginings. This third volume is a rich and earnest collection that highlights Dan Campbell’s songwriting and the community TWY<\/strong> is part of.<\/p>\n

‘Junebug’<\/em> is the only original new song, and to an extent, it shows. Its hushed acoustics transition to tight electric riffs and earthly drums. Nevertheless, the warmth of Campbell’s writing persists, as he sings about his youngest son. The remainder of this nine-track outing sees TWY<\/strong>, and often The Little Kruta String Ensemble<\/strong>, reworking fan favourites. ‘The Greatest Generation’<\/em>s\u00a0‘Teenage Parents’<\/em> fit the expected ‘Burst & Decay’ <\/em>mould to a tee; drifting percussion, swooning violins, and laid-back acoustics.<\/p>\n

However, Campbell and company do attempt to mould songs such as\u00a0‘The Ocean Grew Hands to Hold Me’<\/em> and\u00a0‘Oldest Daughter’<\/em> into something more. The latter considerably tugs even more on the heartstrings than the original. Again, the Little<\/strong><\/span>\u00a0Kruta String Ensemble<\/strong> have to be praised for providing a towering, mournful tone. While the former maintains the pace of the original, partly thanks to drummer Mike Kennedy, only for\u00a0Zayna Youssef of Sweet Pill<\/strong> to provide some succulent vocals in its middle-8.<\/p>\n

She’s not the only cameo on here. Joe Taylor of Knuckle Puck<\/strong> props up on ‘Came Out Swinging’<\/em> to add its introspective pop-punk tone, retaining its anthemic quality. Meanwhile,\u00a0‘I Don’t Like Who I Was Then’<\/em> sees\u00a0Origami Angel<\/strong>‘s Ryland Heagy team up with Campbell on vocals. With its piano base, brush-hand percussion, and rich strings, it’s a fitting, stripped-back take of the ‘No Closer to Heaven’<\/em> number.<\/p>\n