Flipsyde – On the Edge of Everything

On the Edge of Everything

I almost feel bad doing this review. Simply put, I’m not a huge fan of pop-punk or ska. I think both these genres have certain likable aspects, and the occasional song or two can be a nice inclusion to my day if it occurs at the right time. However, the genre quickly wears thin. Perhaps that’s why I didn’t really enjoy the new record by Flipsyde, On the Edge of Everything. So instead of looking at the album as a whole, I want to focus on the tracks that I enjoy as single-shot doses. That way, I hope to give the band (based in my current home in the Twin Cities) a fair chance at exposure to potential new fans.
“Progression and Regression” starts the record with an unsurprising mix of power chords and speedy hi-hats. The vocal harmonies add some much-needed depth to the mix. Still, nothing really stands out until the final minute where the horns take control and make the entire proceedings much more memorable. The fifth song, “No One Else,” features a metal-like intro that flows into a surprisingly angular ska-style section. The vocal delivery comes off a little forced, with multi-syllable phrases jammed into the tinniest of timeframes. That said, the horns save the song from falling apart, contributing a melody that actually reminds me of the old-school Mega Man games. I wish the band would extend the horn passages further, because they would greatly aid the entire record. Finally, “Thirteen” has contagious energy that separates it from the other tracks. The intro is cool, and the horns once again deliver the goods.
The rest of the album readily fits into the pop-punk template, with the addition of the acoustic title track. Basically, if you dig this sort of sound, you’ll probably love Flipsyde. Otherwise, there’s just not much else going on.