The career of Boston pop-punk outfit Transit has been characterized by musical baby steps. Its first effort, ‘This Will Not Define Us,’ was surprisingly derivative in definition, blending melodic sensibility while flying the no-holds-barred flag of the New England scene. The group showed its mosh-pit chops on its ‘Stay Home’ EP, maintaining ferocious power while also paying tribute to one of the more prolific acts in the late-’90s emo scene, American Football.
2010’s ‘Keep This to Yourself’ saw Transit blending the best of both worlds: it’s a meat-and-potatoes pop-punk album with brandishes of emo, alt-rock and more experimental fare. Using a letter as a clever framing device in its song titles and execution, the LP would set the stage for the phenomenal ‘Listen & Forgive,’ released in 2011.
Blending the seemingly disparate elements of their discography, Transit entered a dizzying contract with Rise Records — a label built on the backs of the hair-gelled harbingers of cookie-cutter metalcore — and delivered their best work to date. Ambitious in its production, flawless in its sequencing and undeniably honest in its songwriting, ‘Listen & Forgive’ continues to be an example of smart pop-punk.
But Transit’s latest album, ‘Young New England,’ isn’t a fluid progression. At its core, the 13 songs play out like a loose concept album — a chronicling of where Transit proudly calls home. It’s a bold move, eschewing the first-person character sketches of their back catalog for an all-encompassing audio tour. And in parts it does seem to work.
The lead single, “Nothing Lasts Forever” reeks of salty air and summer vibes. The title track is a jaunty drinking song — an odd addition for the thematically sober group — but it works within the context of the tracklist. “Weathered Souls” has an awesome shout-along chorus, primed for drives with the top down. It’s more apt as a statement for what ‘England’ is as a whole than the title track, a coming-of-age tale bred on the streets of Boston. “Summer, ME” pages ‘90s pop-rock for a sunny number that could very well have been unfinished by the Gin Blossoms.
Unfortunately, the cracks in the formula begin to show early on in the album. With Joe Boynton experimenting with his vocal abilities, each track varies. The exasperated yelp on “Second To Right” clashes unceremoniously with the excellent instrumentals from the rest of the band. “Hang It Up” sports an odd nasal twang, which plays out almost as contrived as the synth leads on “Thanks For Nothing.”
“So Long, So Long.” is the album’s most compelling track. Though characterized by Boynton’s ever-changing voice — this time it’s Aunt Jemima syrupy — the song is peppered by stick clicks and delicious harmonies. “Sleep” — the album’s saving grace — echoes Jimmy Eat World: chord stabs interwoven with a slurred diary entry gives way to an infectious chorus. “You’re always giving me those same dirty looks / and cliched analogies,” a line laments. Ironically enough, the album itself suffers from some of those same tired conventions.
“Don’t Go, Don’t Stray” continues Transit’s infatuation with the ‘90s adult-contemporary circuit, with a lyric set akin to Dashboard Confessional’s basement tapes. “Hazy” is a strange inclusion, a slow crawl with smoky, alt-country flavor. “Bright Lights, Dark Shadows” has promise — a boisterous chorus and noodly guitar lines — but doesn’t stand up to better tracks. Closer “Lake Q,” with its unique drum pattern and movie-soundtrack ambience, starts out strong, but doesn’t really bring the album to a coherent conclusion.
‘Young New England’ is a different stroke of talent from Transit, but it’s not wholly as compelling as a fan could hope. But remember, nothing lasts forever.
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