Into It. Over It. – Standards

Into It. Over It. is amongst this generation’s quintessential “punk / emo” groups we have. Or maybe I’m just a fan. Evan Weiss has a way of mixing beautiful melodies with grooving sections or hard hitting moments to get your body moving. (Dance, dancer.)

And with their third LP, Standards, Into It. Over It. is still kicking. Evan has talked heavily of which records were difficult to create and which were free flowing. Standards, as he says, was free flowing. It’s recorded on tape, which leaves little room for error (as if no room is little room). He described this as a fun challenge to tackle, but at least not one he hasn’t tackled before. Notably, he recorded analog (on tape) with Their / They’re / There for Analog Weekend (makes sense now, right?). It was recorded in three days. I think we can guess which ones at this point.

As with previous records, Evan writes through his own eyes. At 30 years old, he writes how barely things have changed. Things are still the same. I could wring out what this album has to offer lyrically, but this line in particular has me stopped in my tracks: “Distort your work, bleed it dry. Your entitlement determines what you painfully scrutinize.” It may be in a different context, but there’s a situation to derive in everything. And I won’t bleed it dry for you. At a quick glance and listen, everything flows. It’s prose about loss (fading / out of touch), losing friends to opinionated conversations, and the fear of being out of touch (“There’s really no need for one more of me when there’s no more of me”).

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Coming from Proper and Intersections, LP 1 and 2, Standards sonically is much different. I’ll leave it up to you if that’s good or bad. Personally, I think it’s both. But it can lean more towards the wrong end at points. The production is muddy where I don’t believe it needs to be at all (a downside to recording on tape or a creative decision, I can’t decide). The guitar work shows through most when it’s straightforward and in the background when it actually gets intricate. This is very much a drums and vocals record. And the thing that gets me the most confused is, it’s inconsistent. It’s difficult pointing to two songs to try and understand how and why each sound was picked. I don’t remember where I heard this, but it fits here: “This is like a compilation of great hits from Evan Weiss that nobody has heard before.” I can listen to this album no problem, but not start to finish. There isn’t that finesse anymore.

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Overall, I was excited to hear new stuff from Into It. Over It. – and no doubt I enjoy the songs, but as an album in a cohesive sense it falls rather flat. Puts on one hell of a show, though.

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