Skip to main content

IN REVIEW: Joyce Manor - "40 oz. to Fresno"

 

The sixth album by Joyce Manor finds the Californian power punk poppers entering their second decade as a band in much the same headspace as they've been in since their inception; while detours have been few and far between (2016's Cody a little grungier, 2018's Million Dollars to Kill Me a bit more melodic), Joyce Manor have gotten very good at what they do, which is offer up quick and easy slices of anxiety-ridden rock for a generation of fans with shrinking attention spans.

Indeed, 40 oz. to Fresno continues Joyce Manor's streak of short, sweet albums; including the new one, their entire six album discography can be consumed in under two hours. There's a built-in old man yelling at cloud diatribe that comes with the slightness of Joyce Manor's records, but I have to acknowledge that issuing albums in the twenty minute range (40 oz. to Fresno has nine songs and runs about seventeen minutes, only two of which crack the two minute mark) is probably the smartest move a band can make in the age of stream, consume, move on. Rather than bellyache about the economics of paying X dollars for 17 minutes of music, I'll instead tip my hat to them, because they're going to make more streaming dollars pennies since fans can listen to an entire album of songs in less time than it takes to spin Shine On You Crazy Diamond.

Anyway, having established that nearly everything you know and love about Joyce Manor is intact here (including, as I mentioned on reviews of both their previous records, an increased maturity that comes with age and experience), I'm not entirely sure what I can actually say in regards to the music itself. If you've enjoyed them in the past, this one doesn't colour too far outside the lines. If you're not familiar with them, 40 oz. to Fresno isn't the best nor worst place to start your exploration; personally, I'd recommending starting with 2014's Never Hungover Again. No matter what you choose, though, rest assured that Joyce Manor is highly unlikely to waste your time.

June 10, 2022 • Epitaph
Highlights You're Not Famous Anymore • Gotta Let It Go • Dance With Me

Comments

Popular posts from this blog

Year in Rock 2025

  Alright, I've got some explaining to do.   By now anyone who's visited this blog is well aware of how infrequently I've used this space in recent years; aside from the occasional fertile year of content, I really haven't posted all that often over the last five years or so. There are many reasons for this, which have already been outlined in previous apology posts; but, essentially, it boils down to my own laziness and the cold reality that blogs are, like Refused (again), fucking dead. So, I wouldn't hold my breath for a triumphant return to reviews, or even semi-regular posts, but:   a) I feel like Year in Rock posts have always belonged here and, even though I've experimented with different methods of presentation recently and been satisfied, the "blink and you missed it" unveiling via Facebook stories this year was perhaps ultimately a disservice to the records I lauded. After all, cramming the list into short videos isn't too far off from ju...

Year in Rock 2011 Nominee: Sam Roberts Band

SAM ROBERTS BAND I Feel You From: Collider Released: May 10 Having already endured the breakout success ( Brother Down was Canada's it rock song of 2002), the tentative dabbling in the U.S. market, as is the rite of passage for all moderately successful Canuck artists (2003's debut We Were Born in a Flame was the best time to try; one of the best albums of the year, it made a small dent in the American mindset upon its release there a year later), the difficult, druggy third album (the aptly named 2005 disc Chemical City ), and the subdued creative step backward (2008's Love at the End of the World , aside from hit single Them Kids , was really kinda bland), it seems according to script that Sam Roberts would start settling in on his fourth album (and first with the band credited as equal contributors), Collider (you know, I think it was a bad idea to give me brackets). Well, as far as settling in goes, Roberts does and doesn't on Collider .  W...

IN REVIEW: Rancid - "Trouble Maker"

As far as punk rock goes, it's hard to name a hotter hot streak than the trio of records Rancid cranked out between 1995 and 2000; the star making ...And Out Come the Wolves , the far-reaching Life Won't Wait and their balls-to-the-wall second self-titled album solidly positioned Rancid as leaders of the second generation of punk. It also preceded a period of slow progression, as Rancid would take eleven years to release their next three records. By the time ...Honor Is All We Know came in 2014, many fans (myself included) had to wonder whether or not this was the end of the road. Such concerns are handily dealt with on the closing track of the standard edition of their ninth record, the positively punishing This Is Not the End . Well, okay then, that's sorted. Now, what of this new record? What do we make of the use of their original logo on the cover, a logo that hasn't graced a Rancid record in 25 years? Is this a throwback to the band's heyday, a new begin...