Banner Pilot - Souvenir (Cover Artwork)

Banner Pilot

Banner Pilot: SouvenirSouvenir (2014)
Fat Wreck Chords

Reviewer Rating: 3
User Rating:

Contributed by: matt_bmatt_b
(others by this writer | submit your own)

Ed- This is a counter-review to: this review. Nearly every song on Souvenir, the fourth full-length from Minneapolis' Banner Pilot, addresses an abstract "you." 10 out of 12, actually. Using the second person pronoun is common in pop music: sing about a person in ubiquity and the song can apply .
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Ed- This is a counter-review to: this review.

Nearly every song on Souvenir, the fourth full-length from Minneapolis' Banner Pilot, addresses an abstract "you." 10 out of 12, actually. Using the second person pronoun is common in pop music: sing about a person in ubiquity and the song can apply indiscriminately. Nick Johnson is prone to this type of writing: purposefully sentimental, often injecting his own first person pronoun, singular and plural. If the girl on the cover with the flowers for eyes is any indication, Johnson is probably singing about a woman in his life. I don't want to be dense: there are certainly instances where he's shooting for bigger breadth, but if he intended it to be black and white he just as well could have used names and he didn't. After nudging the Midwestern pop-punk envelope (at least for them) on 2011's excellent Heart Beats Pacific, Souvenir is a return to form of sorts, bringing the group back closer to the sound refined on Collapser: big earwormed melodies built on catchy bass lines, snappy drumming, minimal guitar finesse and raspy vocals. Sure, the formula is trite, but they manage to keep it relatively fresh, which is Souvenir's biggest success.

For just guitars and drums, Banner Pilot know how to subsume their instruments to create fantastically relevant music. More often than not songs reside in a midtempo range (not dissimilar to other emotive bands). Occasionally they'll accelerate ("Heat Rash", "Hold Fast"), but typically rely on Nate Gangelhoff's thumbing bass and Danny Elston's crisp snare/hi-hat beats to produce a familiar charging feeling. They're at their best when the mix rhythms, like on the regretful "Letterbox", where they maximize the remorse by dropping the tempo in half during the interlude, and bring it home by speeding back up through the outro. It's a small maneuver, but it works. Banner Pilot aren't trying to recreate the wheel; they just make their own adjustments ‚?? no doubt with the help of producer Jacques Wait, making his third appearance manning the boards behind a Pilot record. Instead of palm muting the verse on "Heat Rash" they strike each chord a few times and cut them, letting the bass and drums carry the song. The transition to the chorus is a clever 4-chord upward progression, lifting Johnson's message of resiliency and perseverance ("I can walk with broken legs/ I can crawl my way out of sinking ground"). Their proclivity for suspense survives on surrendering sound for restraint. For nearly three minutes, "Dead Tracks" never breaks stride except for the last thirty seconds when the bass exits, leaving a palm muted guitar and tenuously defiant drums to hold Johnson's raspy concession (a vocal quality half abandoned on Heart Beats Pacific) before each part returns to full strength. And of course, the Jawbreaker comparisons have never been more apropos: the first three chords on "Shoreline" are almost identical to the beginning of "Ache" off of 24 Hour Revenge Therapy; it even assumes a similarly bruised, unmotivated cadence.

Johnson's propensity conforms to the musical disposition ‚?? a trait that turns on as many people to Banner Pilot as it turns off. Yeah, the lyrics can be mawkishly cringe-inducing at times: "What does it take to feel live?"; "Still time to reinvent yourself‚?¶you want to be from somewhere else." It can come off as emotional sloganeering, at best, and disingenuous, at worst. But Johnson's introspection is both coherent and engaging. There is nothing specific in a line like, "I've made a few mistakes on the way/ I'll make a couple more" from "Dead Tracks", but it's universal appeal is as comforting as it is cathartic. For every less-than-stellar metaphor ‚?? I wouldn't call relating lucid clarity to falling down a rabbit hole "inspired" ‚?? Johnson has an equally thoughtful observation ("Every turn and every scar, it all makes sense if you don't think too hard"). Even if some of his postulates aren't the most original, Johnson's impassioned delivery ‚?? gritty and strained ‚?? makes the awareness feel novel and esoteric ("We're miles out at sea/ we're miles from where we want to be").

While it isn't always clear who exactly Johnson is speaking to (or for), he's rather explicit in details about time and place. On "Modern Shakes" he soliloquizes a day "on your rooftop in the spring time," describing the rainfall and a "red wine-colored sky." By the end he is walking along the tracks listening for the "faded sound of you." But like the abstract second person pronoun, it's effectively inconsequential when and where these places exist, if at all. References to city streets, sidewalks, railroad tracks, the sea and times of season ‚?? all are thinly veiled allegories for Johnson's large rumination: getting up and getting on. Souvenir presents an individual torn: on the one hand, he's revitalized and excited by finding himself ("Colfax"); on the other hand, he knows its time to let it all go ("Effigy"). He's experiencing an immense amount of frustration ("I can't remember all these twists and bends/ I'm never leaving, this is it now/ This is where our story ends"), but isn't ready to give up ("I bet it's about time to take this new shot").

Or give it up, because at the crux of Souvenir is just that: a collection of intangible artifacts that serve as reminiscence and catalyst. Taken at face value, Johnson's only mementos are the times he's fucked up ("Turning around, try to remember something good, but I forgot"). But the truth is he understands fully the benefit in acknowledging the past ("nothing's ever lost forever"), and the release in looking to the future ("I know I wont break, but maybe one day, go ahead and burn it up in effigy"). He isn't necessarily prescribing this approach ‚?? others believe in stowing the artifacts from your past ‚?? but he does endorse it. If you weren't a fan of Banner Pilot before, Souvenir isn't going to change that. But for those craving more introspective, gritty pop-punk, this will certainly suffice.


People who liked this also liked:
Banner Pilot - SouvenirThe Lawrence Arms - MetropoleThe Menzingers - Rented WorldDear Landlord - Dream HomesNothington - Borrowed TimeTeenage Bottlerocket - Freak Out!Red City Radio - TitlesIron Chic - The Constant OneHeartsounds - Internal EyesThe Menzingers - On the Impossible Past

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Fine Print: The following comments are owned by whoever posted them. We are not respon sible for them in any way. Seriously.
RobsGeiger (May 9, 2015)

song by effigy really nice.. like those bass line. :)

nitad (April 27, 2014)

Wow, this review. It's weird. It's no Collapser but it's still great.

elliot (April 24, 2014)

Hahah, I just found out I was COMPLETELY wrong, so I thought I'd come back and apologize. Sorry. Also, my research staff has been fired.

garrspete (April 24, 2014)

Someone tried way too hard.

kidpresentable (April 24, 2014)

@elliot Nate does not write all of the lyrics, you dumbo.

matt_b (April 24, 2014)

Sorry @thrusters - advances don't come with liner sheets. I did the best I could. Obviously fucked up.

Thanks for sticking up, though, for what as already settled in this interview.

http://www.punknews.org/article/45344/interviews-na te-gangelhoff-banner-pilot


thrusters (April 24, 2014)

If you're going to analyze the lyrics with this much depth, it would help your case if you actually looked at the liner notes and got them right rather than trying to guess them by ear:

"I'm never leaving this is it now / this is where our story ends" is "I can't believe that this is it now / I can't believe that this is where our story ends."
"I bet it's about time to take this new shot" is "I know now's the time to take this moonshot"
"I know it won't break, but maybe one day, go ahead and burn it up in effigy" is "I know I won't break, but if you want, take all I have and burn it up in effigy"

like, I get what you're trying to accomplish here in this review but this is like writing an academic paper by going off of memory rather than looking at sources and actually citing them Even if you're mostly right, the professor would still fail you.

and also no way that this sounds more like Collapser than Heart Beats Pacific.

also also to the guy who posted a few comments below me, you're wrong about Nate Gangelhoff writing the lyrics. He writes the music, Nick writes the lyrics.

telegraphrocks (April 23, 2014)

Much more accurate review (in my eyes).
Biggest disappointment of the year... so far.

elliot (April 23, 2014)


Their bassist, Nate Gangelhoff, writes all their lyrics.

You're welcome!

cyanotic (April 23, 2014)

I like Banner Pilot, but their lyrics do not really necessitate this level of analysis.

stevenj (April 23, 2014)

This review reads something like "My name is matt_b and I own a thesaurus."

filbunke (April 23, 2014)

Have to agree with the guy below. You have already heard all of these songs on their other albums. It's pretty good stuff but nothing new here. Still, I like their sound, so I give the album 3 or 3,5 stars.

danperrone (April 23, 2014)

because we needed a 6/10 counterpart to a 7/10 review, right?

anyway, i haven't listened to this. i've given up on these guys. they're as much of a one-trick pony as pennywise ever was.

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