Written by Andy Katz

I saw The Second After a few years back at an emo night in Raleigh, North Carolina. I believe Emo Raleigh put it together (big shout out to them, it was a wonderful night). To be quite honest, I thought they were quite good; bringing lots of energy, but sort of generic. I decided to give them a follow and checked in on their page from time to time. Their previous material was decent, but I glossed over it after a listen or so. The story should end there, right?

As of about last week or so, I was perusing through Spotify and saw that they released a new EP, and let me tell you, I’ve been hooked on it like my recent obsession with “Most Stuffed” Oreos at approximately 9:30 pm every night. We Are Who We Are is laminated with extraordinary, sugary sweet vocal delivery at just the right times. Let me explain: there are certain, very diminutive aspects to pop-punk that can really keep a listener engaged, or completely uninterested. The vocals are always the forefront of this genre. The delivery and tonal characteristics of the singer need to round out run-of-the-mill rhythm guitar progressions with a bouncy hook, that’s both melodious and subtle. This EP embodies that approach. The Second After is certainly not rewriting the blueprint of modern day pop-punk, but they certainly know how to execute all the minor nuances that give the genre it’s special place in the scene. 

As expected, the EP is a quick listen, but as it progresses, the tracks become more dynamic and gripping. Michael Greason, the vocalist, is going to be my main focus on this review. The record’s opening track, “A Change in My Condition,” provides a prime example of what makes this EP written so well. The first verse doesn’t take long to appear, and it seems like Greason doesn’t take a breath either. He leads the band on full force, cutting grooves just as the progression rounds each bar with no time to spare. The energy and hype are very present and engaging. The chorus maintains that very same energy, just fusing that classic bounce groove with a smooth transition to a second verse. The song has a really enjoyable finish that captures the vocal-centric point I keep driving home. Between layers of “oohs”and “ahhs” is a nice and short half-time breakdown, acting as an amuse-bouche to the rest of the record. 

“Riptide” was a single off the record, and I believe the band made the right choice in doing so. It is not my favorite track, but it does encompass the core essence of their sound in a tight, well presented package. Again, the song delivers on that vocal dynamic and shatterproof, bubblegum pop-punk energy. This song just nails all the roots and basics of what makes this genre perfect for a drive down to the shore (sans the Seaside, NJ tribal tattoo wearing meathead that can’t finish their LIT without puking on their $2,000 retro Air Jordan’s). 

The last two tracks are the highlights of this EP. In “Daily Ritual,” the first few lines of the song are absolutely addicting in the way they are delivered. Greason sings, “Daily ritual / force myself to stare into / the mirror in my room,” and it’s absolutely awesome. I’ve gone back and rewound that part so many times, and I still can't get enough. Again, it’s that nuanced raspiness in his voice that overlays a constant, yet simple guitar lead and a timed, choppy bass progression that makes it sound so good. I am really not trying to glorify that simplicity, but those progressions are the foundations of great pop-punk. That small moment on this record is what would drive me to see them play again (I also only live like 3 hours away from Raleigh, so it’s really not too bad at all).

On the last track, “S.O.L,” the band captures a perfect feel-good energy vibe. The drumming carries the torch on this track, and it pays off. Ryan McDonald is at the forefront, driving the song that had me visualizing myself at 18, picking up my friends and heading to the NJ date of Warped 2008. This song feels like what the Years Gone By would be writing if they were still making music in 2020. That elegant and clean picking lead guitar pattern really shines through when it’s combined with that snare. I love the nostalgia and simple jovial rhythm textures that round out this song, and the entire EP. The vocals call and respond the entire track, doubling down on that nostalgia. 

Honestly, this record just made me feel really upbeat and buoyant. I needed that feeling, and We Are Who We Are delivered. It’s crafty and evocative songwriting that’s honest and to the point. The band wears their hearts on their sleeves and I think any fan of the genre is going to appreciate that, and this EP.