Turn Around
Following a few singles earlier in the year, the Ontario-based Moore Ave released their newest album, Turn Around, on June 16. The group is Shawn MacDonald, and three brothers - Josh, Joe, and Jack Gaudette. Together, they have been touring around Canada and often host gigs at their own home. Moore Ave embodies the nostalgic pop-punk vibe and does so with serious skill and cohesive sound. Turn Around was produced by iconic Canadian artist, Wade MacNeil, at a studio in Welland, ON.
Moore Ave kicks off Turn Around with “ELE.” The track is almost entirely instrumental, with the exception of a distorted recording from Semi-Pro. Throughout the album, there are a few recordings peppered in to underscore the tracks’ messages, and in this case, we hear that “ELE” stands for “everybody love everybody.” Instrumentally, the 70 second track starts with a gritty guitar, but the reverb and distorted recording add a fuzzy layer, almost as if the listener is falling asleep while watching a movie. Once the recording fades out, a powerful guitar line cuts through, and the album has officially begun. It’s an out of body experience, and the listener falls into Turn Around.
Turn Around album art via Moore Ave
Moore Ave sticks with their strategy and uses another recording to kick off the next track. This time, it’s Paul Rudd saying, “Look at us” to Sean Evans on Hot Ones, which is a clever nod to the track’s title, “Look at Us Now.” Once the recording ends, the instrumentals start abruptly with a total wall of sound, led by Joe on guitar. Josh shows off his signature style - that early 2000’s nostalgia with a quintessential pop-punk tone. The main melody remains smooth and easy, but gritty backing vocals keep the intensity alive. Lyrically, Josh reflects on his growth with pride, acknowledging the obstacles that he and the band have had to overcome. As the track comes to a close, feedback swallows the melody and flows effortlessly into the third track, “Antisocial.” If “Look at Us Now” represents self-acceptance, then “Antisocial” represents a rebellion against everyone else. From the get, the track is grungy, gritty, and angsty. The guitar swirls, with building chromatic notes bubbling up from underneath the surface. Harmonic progressions in the chorus add dimension and colorful tension. Josh’s vocals are staccato and seem to sit inside the instrumentals instead of on top. When paired with the harmonic tension and unrest in the guitar line, it feels as if he’s trapped behind a mental barrier, desperately trying to break through. The track distorts and fades to a close.
After “Antisocial,” Moore Ave slots in their singles, “Second Best” and “Binge Drinking.” These singles have been reviewed here already, so click their titles to read more. In the architecture of Turn Around, the two tracks fit as an exploration of self-worth. “Second Best” is a plea for others to stop accepting less than deserved, and to let go of relationships that no longer serve. However, “Binge Drinking” is more introspective, discussing self-sabotage, self-destructive behaviors, and loneliness. The heavier subject matter in “Binge Drinking” fittingly leads into Turn Around’s only ballad, “More to Say.” The break-up song’s soft vocals and acoustic guitar create a break from the previous intensity, beautifully dividing the album into two segments. A flute-like synth holds out long notes under the guitar melody, deepening the track and adding wistful sadness. The lyrics are loving, but Josh is pleading for more time. He isn’t ready to give up on this bond but has to face the truth. His self-destructive behavior has consequences, and it’s time to deal with them. Deep, resounding bass rumbles like thunder, bringing the track to its end.
The second half of the album starts off the same way as the first half did – with a recording. This time, it’s only a few seconds long, with a clip from Bojack Horseman about the cognitive dissonance between wanting to get better but the fear of change and failure. This sets the stage for “Relapse.” After the setback of losing the relationship, it’s time to face reality that this lifestyle isn’t working. It’s time to get better, but the fear of relapse can be paralyzing. Squealing guitar lines pair with unyielding drums from MacDonald, encompassing the listener and conveying how overwhelmed Josh feels. This general sentiment is continued in the following track, “Turn Around,” but this time with more determination. He is still grappling with some internal and external setbacks, but there is no more pity. Instead, he’s using the frustration to fuel his writing, even though the self-doubt is high. Syncopated rhythms and distorted guitar are more frantic than in “Relapse,” as if this is a final push to get across the finish line.
Turn Around concludes with a cover of Sublime’s hit, “Santeria.” Interestingly, the blend of Moore Ave’s signature sound with Sublime’s writing feels like surf-rock, which is a fun take on the cover. Even though the lyrics might not be their own, “Santeria” fits in well with Moore Ave’s journey in Turn Around. It’s time to find a new relationship, new goals, new life. Just steer into the skid and you will find your way back. Overall, Moore Ave continues to prove that they deserve their spot at the table. They continuously play into their strengths as a unit, while also taking some personal risks. Even though their summer tour has ended, they still play frequently around the Ontario area, so be sure to check them out.
