Searching for purpose in a new world

It’s been approximately seven years since San Diego-based rock group Angels & Airwaves have released a new record. From the onset of the COVID-19 pandemic, to lead singer Tom DeLonge officially parting ways with pop-punk legends blink-182 in 2015, and even DeLonge creating an entertainment company with aerospace and science divisions dedicated to finding extraterrestrial life, it is safe to say that things have been pretty out of the ordinary. Nevertheless, the band has finally made a comeback with Lifeforms, a steadfast yet no less fun pop-rock laced with sparkly electronics, proving that they are not only a group with ambition but also with purpose.

The record starts off with “Timebomb,” their latest single and what could be argued as a jarring, yet satisfying introduction to what the album has in store. It begins with an intricate, synth-heavy melody that creates the feeling of being in the center of a sci-fi movie, on the run and in a race against time to save the world. The chorus is where DeLonge is able to shine, both sonically and lyrically; as he holds power and range within his vocals, the lyrics share a message about staying sane and “holding on” in times of uncertainty (“But in such a very sad world/ There are still things to discover/ It’s possible to hang on/ ‘Cause your story isn’t over”), which is definitely a message that all of us need to hear.

The next track, “Euphoria,” is a change of pace from its predecessor, combining synth melodies with a booming drum beat and an in-your-face guitar riff. Once again, the chorus is where DeLonge stands out the most, during which the layering of vocals allows for his vocal range to take control, adding a layer of depth to the angry, take-charge lyrics.

Passionate and unafraid to call things as they are, the content in Lifeforms is a side of Angels & Airwaves (ΛVΛ) that has never been explored before, but it proves to be a powerful one that suits them perfectly. “Euphoria” is meant to serve as a comment on toxic masculinity and sexism, while “No More Guns”—arguably their most politically charged song off of this album—addresses the presence of systemic racism and gun violence in modern society and issues a proclamation (“We’re in a fucking nightmare/ There’s a hundred-thousand victims/ If we can’t protect them safely/ Then they die from their complexion) that something needs to be done to change this, and soon.

Despite this feasibly long leap into a new direction, there are times where their ambitious decisions fall short—primarily with how they incorporate EDM-style synths into their sound. Plenty of groups have placed strategic beeps and boops with their guitar riffs and drums in recent years—ΛVΛ included—but when it comes to how ΛVΛ handles the electronic melodies, they can sometimes miss the mark. The flourish of synths that kick off the opening track “Timebomb” can be a little jarring and feel somewhat generic, while the synthy harmonics of “A Fire in a Nameless Town” reminds you of the ’80s in a way that isn’t nostalgia-inducing but uncomfortable.

Overall, it is safe to say that Lifeforms is a successful return into a new era of alt-pop-punk for the group. Other than the reference to extraterrestrial life in “Losing My Mind,” (“I said we’re not alone/ And the government knows it) Lifeforms is full of grit and light on ego, making it the most relatable that Angels & Airwaves has ever been, to old and new fans alike.