When a band states that they’re going back to their roots, it can go one of two ways; it’s either a resounding success or the worst decision they’ve ever made. But when You Me At Six said those very words, there was never any doubt that what was to come was going to be special.
‘Deep Cuts‘ is the anthemic lead single from the album, and immeadiately bursts into life, with lead singer Josh Francheschi’s voice greeting the listener like an old friend, and lyrical moments like “death by a thousand cuts, and lover’s touch hurts twice as much” certainly provides much of the emo nostalgia the band seeks to tap into.
Speaking of emo nostalgia, the essential long title names make a return, with ‘Mixed Emotions (I Didn’t Know How To Tell You What I Was Going Through)‘ that’s a bit more than a mouthful to say. Ironic then, for a cathartic track that deals with the emotional turbulence of dealing with past mistakes and an inability to explain what you’re thinking.
‘God Bless the 90’s Kids‘ is a rare miss in the album, and while it’s incredibly reminiscent of the roaringly triumphant pop-punk that the band cut their teeth on, it suffers from the same lyrical clichés that the genre had over a decade ago.
However, tapping into nostalgia definitely wasn’t a mistake for the band, with ‘After Love In The After Hours‘ feeling very reminiscent of albums gone by, and is a track that is definitely fit for the arenas that the band fill these days.
From the past to the future, ‘No Future? Yeah Right‘ is a much more modern track, but leans into the heavier rock sound the band is capable of, with Francheschi’s vocals sounding powerful, and Enter Shikari‘s Rou Reynolds feature is one the highlights of the album as a whole.
Love is a prominent topic throughout much of the band’s discography, and the track ‘heartLESS‘ is no different, discussing the moment when you know you’re falling in love with someone despite having been so traumatized by previous breakups. ‘Mydopamine‘ is another one of the love-themed songs on the album, and while it is another of the tracks that feel lyrically clichéd, it’s cliché in all of the best ways.
‘Breakdown‘ is another one of the album’s great moments, neglecting the nostalgia of the pop-punk roots of the band for a moment to produce a rock-tinged pop anthem that feels both raw and vicious.
‘A Smile To Make You Weak(er) At The Knees‘ is another one of the tracks that feels like the band is playing it safe, both lyrically and instrumentally. However this is remedied quickly by the penultimate track ‘Ultraviolence‘, a rumbling modern rock song that features some of Francheschi’s best vocal performances on the album, with a spoken yet snarling verse and a catchy chorus that makes the track arguably one of the best songs in recent years.
The album’s finale ‘A Love Letter To Those Who Feel Lost‘ is a beautifully poignant one, with Franscheschi duetting wonderfully with the fresh innovator Cody Frost, who’s voice rings wonderfully across the electronic beat that manages to remain authentic to both artists.
Truth Decay then is a throwback album that makes good use of the emo nostalgia of the moment to create something for the new wave of alternative. It’s an album that will certainly be loved by many of the band’s loyal fans, and despite it’s slightly flawed lyrical moments, it’s still a solid rock album with great moments.
