New York’s State Champs have won the hearts of a genre many times over, creating a new legacy in a very pre-established subgenre. Elitism is a real problem in pop punk. However, even the most stubborn have a soft spot for the Champs, and for plenty of good reasons. The band’s self-titled effort enlists the help of heavy-hitter producer Anton DeLost (Mayday Parade, Hawthorne Heights), solidifying their love for pop-punk. Vocalist Derek DiScanio finds himself in his prime; it shows in both his delivery and his lyricism. He’s able to lead the way throughout this record with his head held high, a testament to dedication.
“The Constant” is a peek behind the wizard’s curtain, a page straight out of DiScanio’s journal. Thankfully, it’s not whiny, but rather venting healthily about something deeply personal. DiScanio’s iteration of breakup song tropes scratches untapped surfaces. He isn’t afraid to dig deeply into his personal world, reminding his audience of State Champs’ band core values. Though straightforward, ambiguity is prevalent throughout the verses. One could easily apply its meaning to friendship breakups, giving the song movement and extra life.
State Champs picked exceptionally strong singles for this record. “Silver Cloud,” “Light Blue,” and “Too Late to Say” take the spotlight, reiterating key themes of the record. Still, DiScanio left little to the imagination, allowing listeners to find solace in his lived experiences. State Champs stand out thanks to their vulnerability. Though they can take notes from their favorite bands, like Fall Out Boy or Green Day, they maneuver their individuality perfectly by writing about their lives. There may be plenty of State Champs copycats, but there could never be an exact replica.
The Champs have a knack for adding depth and texture to traditional pop-punk production tactics. Album tracks like “Sobering” and “Tight Grip” feature fascinating composition, a necessity at the meaty center of a full-length LP. Unsurprisingly, State Champs is a record best consumed from front to back; both the a-side and the b-side are packed full of goodies. The rhythm section are working overtime in the record’s b-side, with some of Ryan Scott Graham’s best performances floating around the latter half of the LP. “Tight Grip” showcases some phenomenal bass work from Graham and incredible drumming from Evan Ambrosio. Tyler Szalkowski has plenty of opportunities to shine throughout the record. His guitar playing takes center stage, guiding the way for these mostly upbeat tracks.
Though, it doesn’t feel like State Champs are slowing down any time soon. Their efforts in the studio are reflective of a band with tons more gusto to go, regardless of personal circumstances that might convince others to stay home. DiScanio has evidently found a lot of peace writing these songs. The cathartic energy can be felt in each one, even just listening to them through AirPods. Rebuking societal norms by showcasing real, raw emotion is admirable in itself, immediately making State Champs an intriguing LP. It’s enough to convert innocent bystanders into long-time fans, drawing wallflowers in from the corners of rooms simply by the art of self-expression.
State Champs is perfectly indicative of a dedicated band’s decades-long career, culminating into what may be their magnum opus. They have honed in on their skills as individuals, learning how to bring them into the studio to curate a cohesive body of work. This is the same kind of magic delivered by legacy acts before them; it’s about time the baton was passed. This record explores the complexity of modern life, from social media-age relationships to expectations of the self. Ironically, State Champs have hustled long enough to rebuke hustle culture’s everlasting pressures—Their work speaks for itself now.
