Mala-Joyce

One of the biggest ‘10s names in punk is unquestionably Joyce Manor. When they hit the scene with Joyce Manor in 2011, it took the punk community by storm. The California group released two more LPs with a similar sound in Of All Things I Will Soon Grow Tired and Never Hungover Again. The band became synonymous with their comically short albums, punk bangers and almost iconic lyrics.

With their fourth LP, Cody, Joyce Manor took a complete left turn with a sound that was softer and more indie rock in tone. The songwriting was still the same, it’s just the sound was unquestionably matured. People either loved or were disappointed by it. There were some softer ballads, catchier and more accessible hooks and some straight up love songs. Cody would without a question be the blueprint for Joyce Manor’s newest record, Million Dollars to Kill Me released off of Epitaph Records.

The singles for this album are “Think I’m Still In Love With You” and “Million Dollars to Kill Me.” Both tracks are clear sequels to Cody. “Think I’m Still In Love With You” has a charm in its simple guitar chord sequence. It laments a relationship that is no more and the insecurities of doubt that go with that. The protagonist questions whether he still loves the prior girlfriend, and this is that newer love song that Joyce Manor has worked with. “Million Dollars to Kill Me” follows that same idea, lamenting a girl you need. Lead singer Barry Johnson says, “And one day you will realize / You are nothing, nothing with her / You’re an asshole from a bar, on a break in a break room / And you’re never happy.” These lyrics embody that punk love relationship that so many great bands before Joyce Manor have talked about.

“I’m Not The One” is an acoustic track that is soft-spoken and very reminiscent of Cody’s “Do You Really Want To Not Get Better?” It’s cute–which is something you wouldn’t usually say about a Joyce Manor track. The famous shout of Barry Johnson is replaced with a somber yet passionate vocal track.

“Friends We Met Online” is about the most millennial idea of the internet age. It revolves around the interactions we have on social media and how we look positively upon the recognition or support that we get through likes and clicks. It may be poisonous from time to time, but it surely helps every once in a while. Although it can be embarrassing, Johnson understands the tool the internet can act as.

The album ends with “Wildflowers.” It really is a great track to end not only the album but the summer. It has great bass from Matt Ebert, and Johnson’s vocals channel that soft-spoken sound mentioned before. He hits higher notes here than he usually showcases in the Joyce Manor discography. Behind all that punk and tattoos, there’s unquestionably a pretty voice there.

When Joyce Manor changed their sound, the peanut gallery started to chirp that this was now a Weezer-core band–one of the laziest things music media can call a group to describe their sound. Although this probably annoys lead singer Barry Johnson, as it does many other artists in the category, he recently said on the Culture Creature podcast that although people only tend to praise the first two Weezer albums, there are still some hidden gems and appreciable qualities about their next two albums Weezer (Green Album) and Maladroit. What Johnson didn’t realize is this is probably how a lot of original Joyce Manor fans look at their first three albums (as the iconic ones fans will remember.) But Cody and Million Dollars to Kill Me are without a doubt fun, relaxing and catchy–for sure Maladroit-esque. It may take time, but eventually, people are going to appreciate these records as pieces of a maturing group that maybe doesn’t want to scream anymore. But that’s okay.