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Bad Vibrations
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Bad Vibrations
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Bad Vibrations
A parody of their debut album "And Their Name Was Treason", but the only difference is that it is animated and it is called "Bad Vibrations". The man is looking at train tracks. The train reads "Bad Vibrations" in pink. "ADTR" can be seen on the train. Bricks appear above the train, as well as next to it in both ways. The ground is made of wood. Wood appears as well at the bottom of the train.
Studio album by
A Day to Remember
ReleasedSeptember 2, 2016 (2016-09-02)
Recorded2015
StudioThe Blasting Room, Fort Collins, Colorado
Genre
Length41:43
Label
Producer
A Day to Remember chronology
Common Courtesy
(2013) 		Bad Vibrations
(2016) 		You're Welcome
(2021)
Singles from Bad Vibrations
  1. "Paranoia"
    Released: March 11, 2016
  2. "Bad Vibrations"
    Released: June 3, 2016
  3. "Bullfight"
    Released: July 25, 2016
  4. "Naivety"
    Released: August 19, 2016
  5. "We Got This"
    Released: September 1, 2016
  6. "Same About You"
    Released: January 23, 2018

Bad Vibrations is the sixth studio album by the American rock band A Day to Remember, released on September 2, 2016, by ADTR Records and Epitaph Records. This is the second album since the band's departure from Victory Records, and their first and only album to be featured in partnership with Epitaph. The album debuted at number two on the Billboard 200 chart, making it the band's highest-charting album in the United States.[1] The album was supported by six singles: "Paranoia", "Bad Vibrations", "Bullfight", "Naivety", "We Got This", and "Same About You", and was met with widespread critical acclaim.[2]

Background

[edit]

In December 2011, it was announced that A Day to Remember had plans of filing a lawsuit against their label, Victory, due to breach of contract. Claiming withheld royalties of over $75,000, the group had reportedly started legal action against Victory on May 31 of that year.[3] Victory has said, on their behalf, that the lawsuit is actually about the band's refusal to fulfill their 5 album contractual commitment to Victory and their new-found desire to move to a major label.[4] While this lawsuit was ongoing, the band self-released Common Courtesy through their own label, ADTR Records in 2013.[5] Following the album's release and tour cycle, the group took a break. Vocalist Jeremy McKinnon explained the band was "doing our own thing, taking it easy and trying to recharge the batteries".[6]

Composition

[edit]

At the start of 2015, the group rented a cabin at Horsetooth Reservoir, located in Dakota Hogback ridge, west of Fort Collins, Colorado. The cabin was surrounded by woods.[7] According to McKinnon, the group "just wrote together in a room, which was the polar opposite of the last three albums we've made".[8] Typically, McKinnon would have some material saved to show the group, however, this time round he didn't have any.[9] McKinnon went on to describe the album as containing "an element of returning to our roots", in that the album was their first since For Those Who Have Heart (2007) to feature full contributions from all members of the band.[10] For Bad Vibrations, it was the first time since For Those Who Have Heart that the group had written together in a room. While some of the group's previous albums were written while on tour, McKinnon considered it "important to me and the rest of the band to get everybody involved in a room, properly involved and just write a record together".[9]

The group wrote music "casually for fun" without any expectations, according to McKinnon.[11] For the most part, McKinnon would have either a chorus or melody idea that the rest of the group would flesh out into a song. On some occasions, the group would jam and have a finished song in an hour.[12] For their past two albums, What Separates Me from You (2010) and Common Courtesy (2013), the group had trouble naturally writing heavy songs. McKinnon reassured that there was "a lot of heavy songs on there".[9] Cody Quistad of Wage War often accompanied the band for these writing sessions.[7][nb 1] The group wrote for 30 days, completing at least one song per day. Writing sessions lasted eight-to-ten hours.[7] By the end of this period, the group had around 40 songs in total.[9]

Music and lyrics

[edit]

McKinnon states that the album's title, Bad Vibrations, is derived from feelings of stress and anxiety.[10] The album's sound has been described as metalcore[14][15] and pop-punk.[14] "Bad Vibrations", written by McKinnon, guitarists Kevin Skaff and Neil Westfall, and Cody Quistad,[16] was the final song written for the album. According to McKinnon, the song is about "being overwhelmingly stressed and what it does to you".[7] The breakdown during the song is heavily inspired by a drum pattern that Mark Castillo of Bury Your Dead would play, according to Shelnutt.[12] One day the group were working on a song but had hit a roadblock with it and were about to call it day. McKinnon heard Skaff playing a random riff. McKinnon then "immediately heard the first half of Paranoia. I immediately showed everybody in the room how to play it".[9] The group composed the breakdown together, finishing "Paranoia" under 30 minutes. McKinnon was writing the lyrics with Skaff and Westfall during the evening, and recorded a demo the following morning.[9] The song's lyrics were inspired by an event McKinnon and his girlfriend experienced during Halloween a few years prior: a kid banged on McKinnon's window at 3 am, an experience he called "terrifying".[17]

"Naivety", written by McKinnon, Skaff and Descendents drummer Bill Stevenson,[16] talks about loss of innocence. According to McKinnon "it's that feeling before you try, and then you get killed".[17] "Exposed" was written by McKinnon, Quistad, Westfall and Skaff.[16] McKinnon described it as being "a heavy song, but it's less 2000s hardcore than a riffier, modern-heavy sound".[9] The song is about the way people make negative comments about the world.[18] "Bullfight", written by McKinnon, Westfall and Skaff,[16] is about a person who is changed when something positive happens to them. "Reassemble" was written between McKinnon and the group's long-time producer Andrew Wade. McKinnon showed it to the band and they adapted it to fit the group. The song talks about someone who struggled with addiction.[7] "Justified", written by McKinnon, Westfall, Quistad, Stevenson and Skaff,[16] came about from an idea Westfall previous had.[9] The group loved the song early on in the writing process.[7] Lyrically, the song is about judgemental people who have a distaste for others for simply having different beliefs to them.[17]

"We Got This", written by McKinnon, Westfall and Skaff,[16] is about when you are a young person in "a music scene people don't really understand or respect, but then going to these shows and realising this is something you love".[9] The song was attempted during sessions for Common Courtesy, but the group weren't happy with it. With help from Stevenson, the group resolved the problems they had with the track.[9] "Same About You", written by McKinnon, Westfall, Skaff and drummer Alex Shelnutt,[16] talks about a person who tells you something, which causes you to look at them differently. "Turn Off the Radio", written by McKinnon, Westfall, Wade and Skaff,[16] was another song that was intended for Common Courtesy. The song's original bridge contained a rap beat and was intended to feature rapper Rick Ross.[7] Ross asked if the group were satanists. McKinnon responded: "Evidently, somebody told him yes and we never heard from him again."[19] "Forgive and Forget", written by McKinnon, the band's former guitarist Tom Denney, Skaff and Wade,[16] is about being addicted to a significant other.[17] "Negative Space" was written by McKinnon, bassist Josh Woodard and Skaff. "In Florida" was written by McKinnon, Westfall and Skaff.[16]

Production

[edit]

The band demoed all of the material they had live-in-the-studio with producers Stevenson and Jason Livermore at The Blasting Room in Fort Collins, Colorado.[9] McKinnon spoke to TeamRock about his initial concerns when preparing to record the album, stating that he was "terrified" and "stuck in this weird, high-stress mindset every day".[10] Selecting the material to be recorded for Bad Vibrations, the group narrowed the number of songs down to those they loved the most regardless of genre.[7] Previously, McKinnon would be "a little bit more "in control"",[9] having co-produced several of the band's past albums,[13][20] however, for Bad Vibrations, he "took a step back" and let Stevenson be in control.[9]

McKinnon added that he "went in to record [the album] with nothing much to offer – with hardly anything that I was excited about".[10] McKinnon later called it "one of the most unique recording experiences we've ever had", and working with Stevenson as "an awesome experience. He was a bit hard to read at first, so I think we subconsciously pushed ourselves harder to try to impress him. As a result, we gave this album everything we had".[8] The group recorded several extra tracks that didn't make the final track listing.[9] The recording sessions were engineered by Livermore, Stevenson, Andrew Berlin, Chris Beeble and Wade. Berlin also provided additional production. The album was mixed by Andy Wallace at Soundtrack Studios, located in New York City, New York. Mastering was performed by Ted Jensen at Sterling Sound, in New York City.[16]

Phil Norman played cello for "Forgive and Forget", "Negative Space", "Justified", "We Got This" and "Exposed". Ian Short played violin on "Forgive and Forget", "Justified" and "We Got This". Adrienne Short played violin and viola on "Forgive and Forget", "Reassemble", "Negative Space", "Justified", "We Got This" and "Exposed". Miles Stevenson, Maddie Stevenson, Wade, Nicole Dunn, Beeble, Berlin and Livermore provided background vocals for "Negative Space".[16]

Artwork and packaging

[edit]

In an interview with Kerrang!, McKinnon revealed that the album's artwork wasn't finalised because "no-one's nailed it".[9] As a result, the band were unable to put up pre-orders,[9] despite the album having been completed since December 2015.[21] Eventually, illustrator Mike Cortada came up with the album's artwork. Cortada previously created artwork for a number of the band's albums and singles, as well as designs for their tours and music videos. He called creating the Bad Vibrations artwork "very intense".[22] The group didn't have any concept for the artwork other than making it display a "darker, heavier vibe".[22] After being told this, Cortada started creating the artwork. When he created the cover, he texted the band. Westfall provided "more direction", which resulted in Cortada making adjustments.[22] McKinnon then suggested an idea "until we were in a fully-fledged artistic brainstorming session".[22]

By this point, Cortada was drawing in real-time. He then came up with a mock-up of the album booklet layout, wanting it "to be something very special and unique with a lot of depth".[22] He made a video of the layout and sent it to the band who loved the idea but weren't a fan of the illustration style. Following the creation of several additional cover sketches, McKinnon said "he liked one in particular. It was just right".[22] The colours came "naturally" to Cortada. He called the final artwork "a pretty intense and outrageous art piece" made of "illustrations, all hand drawn, pen-to-paper, and scanned".[22]

Release

[edit]

"Paranoia" was premiered on Zane Lowe's Beats 1 show on Apple Music on March 9, 2016.[23] A music video was released a day later,[24] directed by Ethan Lader.[25] The video features McKinnon laying on a psychiatrist's couch. Later in the video, the band is being chased by a figure that Loudwire considered "a cross between Lost's smoke monster and Disturbed's "The Guy" mascot".[26] A day after this, the song was released as a single.[27] In May, the group went on a US tour, titled Just Some Shows, with support from Parkway Drive and State Champs.[28] On June 2, Bad Vibrations was announced, and a video for "Bad Vibrations" was released.[29] The video, directed by Drew Russ, is performance-based, featuring stage lights flashing throughout it.[30] A day later, the title-track was released as a single.[31] "Bad Vibrations" was released to radio on June 15.[32] From late July to early October, the band supported Blink-182 on their North American tour.[33]

"Bullfight" was premiered on BBC Radio 1's Rock Show with Daniel P Carter,[34] before being released as a single on July 25.[35] A music video was released for "Bullfight" on August 16,[36] directed by Darren Doane. The video begins with an artist creating portraits across a number of canvases. The imagery on the canvases crosses over into real life with the artist being shot by one of his own creations. While attempting to fight his creations, he is aided by McKinnon. The video finishes with a quote from Lao Tzu, the founder of Taoism. The artwork in the video was animated by Rob Prior.[37] "Naivety" was released as a single on August 19[38] and released to radio on August 24.[39] "We Got This" was premiered on Beats 1 Radio on August 31,[40] and released as a single a day later.[41]

Bad Vibrations was originally set to be released on August 19 through ADTR Records,[29] with distribution handled by Epitaph Records.[8] However, the album was pushed back to a September 2 release date[42] due to a custom cut album casing taking longer than expected to manufacture.[43][better source needed] It was made available for streaming the day prior.[44] In December 2016, the band embarked on the "Bad Vibes" tour, which began in Australia with support from Of Mice & Men[45] and Tonight Alive.[46] The Australian leg was followed by a UK leg in January 2017[47] with support from New Found Glory, Neck Deep and Moose Blood,[48] with a full European tour being undertaken in February.[45] "Same About You" was released to rock radio stations on January 23, 2018.[49]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic81/100[2]
Review scores
SourceRating
Alternative PressFavorable[14]
Kerrang!StarStarStarStar[2]
Punknews.orgStarStarStar[50]
Rock Sound8/10[15]

Upon release, Bad Vibrations was met with widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 81, based on 4 reviews, indicating "universal acclaim".[2] Evan Lucy of Alternative Press praised the album's production and lyrics, saying "As adept as the band are at alternating between metalcore and pop-punk, McKinnon's words are similarly nuanced and multifaceted here."[14] Rob Sayce of Rock Sound praised the album's themes, but noted how the album felt less focused than it predecessor, Common Courtesy, writing "While it's not the career-defining milestone that some were anticipating, this album still offers up enough melancholy mayhem to keep ADTR ahead of the chasing pack."[15] Kerrang! magazine compared Bad Vibrations to the band's earlier work, calling it their "heaviest record since 2007's For Those Who Have Heart."[2] Renaldo of Punknews.org wrote, "On this particular album, [A Day to Remember] achieve just the right amount of flair and flavour to spice things up with character and believe it or not, lyrical depth." He criticized the middle part of the album, however, calling it "tedious": "Track-wise, there are some growers. Then you've got some tedious chores to work through mid-way but overall, the album ends on a fairly decent note."[50]

Commercial performance

[edit]

The album debuted at number 2 in the United States,[1] selling over 62,000 in its first week.[51] The album also reached number 1 in Australia,[52] number 6 in the United Kingdom,[53] number 7 in Austria[54] and Germany,[55] number 9 in Canada,[56] number 17 in Switzerland,[57] and number 23 in New Zealand.[58] "Paranoia" peaked at number 5 on the Rock Digital Songs chart,[59] number 8 on the Mainstream Rock Songs chart,[60] number 13 on the Hot Rock Songs chart,[61] and number 35 on the Rock Airplay chart.[62] "Bad Vibrations" peaked at number 37 on the Rock Digital Songs chart,[59] and number 48 on the Hot Rock Songs chart.[61] By the end of 2016, the album had sold 102,000 copies in the US.[63]

Track listing

[edit]

Credits per deluxe edition booklet.[16]

No.TitleMusicLength
1."Bad Vibrations"
3:33
2."Paranoia"
  • McKinnon
  • Skaff
  • Westfall
3:20
3."Naivety"
3:19
4."Exposed"
  • McKinnon
  • Quistad
  • Westfall
  • Skaff
3:38
5."Bullfight"
  • McKinnon
  • Westfall
  • Skaff
4:35
6."Reassemble"
3:57
7."Justified"
  • McKinnon
  • Westfall
  • Quistad
  • Stevenson
  • Skaff
3:58
8."We Got This"
  • McKinnon
  • Westfall
  • Skaff
3:49
9."Same About You"
  • McKinnon
  • Westfall
  • Skaff
  • Alex Shelnutt
3:04
10."Turn Off the Radio"
  • McKinnon
  • Westfall
  • Wade
  • Skaff
3:46
11."Forgive and Forget"
4:42
Total length:41:41
Bonus tracks
Deluxe edition bonus tracks
No.TitleMusicLength
12."Negative Space"
  • McKinnon
  • Josh Woodard
  • Skaff
3:37
13."In Florida"
  • McKinnon
  • Westfall
  • Skaff
3:22
Total length:48:40

Personnel

[edit]

Personnel per deluxe edition booklet.[16][64]

Charts

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bad Vibrations

View on Grokipedia
from Grokipedia
Bad Vibrations is the sixth studio album by the American rock band , released on September 2, 2016, through the band's own imprint ADTR Records in partnership with . The album marks a shift toward a heavier, more aggressive sound compared to the band's previous works, incorporating elements of and while exploring themes of personal frustration and emotional turmoil. Recorded in 2015 at a secluded mountain cabin in , Bad Vibrations was produced by punk rock veterans Bill Stevenson and Jason Livermore, with mixing handled by Andy Wallace. The band's lineup for the album consisted of vocalist , guitarists Kevin Skaff and Neil Westfall, bassist Josh Woodard, and drummer Alex Shelnutt. Featuring 11 tracks, including the title song "Bad Vibrations" and singles like "" and "," the album was written with an open approach, free from preconceived expectations, allowing for organic song development. Upon release, Bad Vibrations debuted at number two on the chart, selling 67,000 copies in its first week and topping both the Top Rock Albums and charts. Critical reception was generally positive but mixed, with praise for its intensified riffs and production quality, though some reviewers noted inconsistencies in flow and compared it unfavorably to earlier albums like Common Courtesy. The album has since been recognized as a pivotal release in the band's evolution, solidifying their position in the rock genre despite polarizing some fans.

Development

Background

In May 2011, initiated a against their , accusing the company of breaching their contract by withholding over $75,000 in royalties and failing to provide proper accounting. responded with a countersuit, asserting that the band had not fulfilled their obligation to deliver five albums under the agreement and seeking to prevent the band from recording elsewhere. The protracted legal battle, which spanned five years, created significant financial and emotional strain on the group, ultimately resolving in November 2016 when a awarded $4 million in unpaid royalties and freed them from further contractual ties to the label. Amid the ongoing litigation, sought court permission to self-release their fifth studio album, Common Courtesy, which they independently distributed on October 8, 2013, after a denied Victory's request. This move allowed to bypass the label's control, marking a pivotal step toward artistic and despite the unresolved dispute. Following the album's release and an intensive touring schedule, including the Big Ass Tour, entered a hiatus to recuperate from the cumulative exhaustion of the and relentless road life, providing space for personal healing and collective introspection. This period of respite enabled members to address burnout and reevaluate their trajectory. Emerging from the break, A Day to Remember resolved to reclaim their heavier, metalcore-infused origins—evident in early works like For Those Who Have Heart—while venturing into broader sonic experimentation to capture their evolved perspectives. The hiatus subtly shaped songwriting themes around resilience and introspection, setting the stage for renewed creativity.

Composition

In 2015, A Day to Remember initiated the songwriting for Bad Vibrations with a deliberate retreat to a rented cabin near a reservoir atop a mountain outside Fort Collins, Colorado, aiming to foster a more immersive and unified creative environment away from external distractions. This approach marked a shift from their previous methods, where frontman Jeremy McKinnon had shouldered much of the writing load, toward a fully band-inclusive process that encouraged input from all members—vocalist McKinnon, guitarists Kevin Skaff and Neil Westfall, bassist Josh Woodard, and drummer Alex Shelnutt. Having navigated prolonged legal disputes with their former label Victory Records since 2011, which had delayed releases and constrained their output, the band embraced this period as one of reclaimed creative freedom. Over the course of approximately one and a half months in the cabin, the group generated around 40 song ideas through daily jam sessions, emphasizing collaboration to merge their signature heavy riffs with melodic hooks. This intensive phase allowed them to experiment freely, auditioning riffs, lyrics, and structures in real-time without preconceived expectations, resulting in a diverse pool of material that captured raw energy and personal introspection. The core writing remained a band-driven effort focused on authenticity. From the initial 40 ideas, the band rigorously refined and selected 11 tracks for the final album, prioritizing those that conveyed deep emotional resonance and avoided any sense of filler. This curation process involved collective deliberation to ensure each song aligned with their goal of blending aggressive and anthemic elements while reflecting themes of personal struggle and growth. The emphasis on emotional depth stemmed from the retreat's isolating setting, which prompted candid discussions and vulnerability among the members, ultimately shaping Bad Vibrations into their most introspective work to date.

Production

Recording process

The recording of Bad Vibrations took place primarily at The Blasting Room studio in , a facility known for its work with punk and hardcore acts. Following initial songwriting sessions in 2015, the band relocated to a nearby cabin in the mountains for a collaborative retreat, where ideas from that period informed the album's raw, energetic foundation. The tracking phase extended over several months in early 2016, allowing the group to immerse themselves in the process without rigid deadlines. The band emphasized hands-on involvement during tracking, with all members contributing to instrumentals in a communal setup to preserve live performance energy. Guitarist Kevin Skaff noted that this approach harked back to their early days, focusing on real-time jamming rather than isolated demos, which helped capture the album's kinetic drive. Drums, bass, and guitars were laid down collectively, prioritizing organic takes that reflected the group's onstage chemistry. Additional overdubs were kept minimal to maintain the album's immediacy, though string elements were incorporated post-tracking. Cellist Phil Norman contributed to tracks including "Exposed," "Forgive and Forget," "Justified," "We Got This," and "," adding emotional depth through layered arrangements. Violinist Ian Short and violist Adrienne Short also provided overdubs on select songs, enhancing the recordings' texture without overshadowing the core band sound.

Technical production

The technical production of Bad Vibrations was led by producers Bill Stevenson and Jason Livermore, who also served as engineers during the sessions at The Blasting Room in , a studio renowned for its punk and rock recordings. Their approach focused on capturing live band performances with minimal editing to preserve raw energy, drawing from Stevenson's experience with acts like and Black Flag. Mixing duties were handled by veteran engineer Andy Wallace at Soundtrack Studios in New York, utilizing an analog SSL console for a non-digital workflow that avoided resampling and outboard gear, resulting in a polished yet organic sound profile. Wallace, known for his work on like Nirvana's and Rage Against the Machine's debut, emphasized feel over perfection to enhance the album's heavy, dynamic range blending punk, rock, and elements. Guitar tones were crafted with authenticity in mind, eschewing reamping techniques and drawing inspiration from hardcore bands like Comeback Kid's Wake the Dead to deliver chunky, aggressive riffs that underpin the tracks' intensity. Mastering was completed by at Sterling Sound, who balanced the heavy instrumentation with clarity to ensure the album's sonic weight translated across formats while maintaining its genre-blending cohesion. The raw material from the recording sessions at The Blasting Room formed the foundation for these refinements, allowing the production to amplify the band's live cohesion.

Musical style and content

Music and lyrics

Bad Vibrations blends aggression with melodies, incorporating heavy breakdowns, clean vocals, and acoustic interludes to create a dynamic . The album's instrumentation emphasizes chunky riffs and high-energy transitions, with tracks like "" showcasing intense, riff-driven sections that highlight the band's roots. This fusion evolves from the band's earlier works, achieving greater cohesion through a focused, organic songwriting process that prioritizes band interplay over formulaic structures. Clocking in at a runtime of 41:43, the record maintains a tight pacing across its 11 tracks, allowing for seamless shifts between aggressive verses and melodic choruses. Lyrically, the album delves into themes of anxiety, loss, , and personal stress, reflecting frontman Jeremy McKinnon's experiences with high-pressure environments. The title track exemplifies this introspection, portraying struggles through metaphors of overwhelming toxicity and inescapable pain, with McKinnon describing it as capturing an "overwhelmingly stressed" mindset. Songs like "Naivety" explore youthful introspection and the disillusionment of growing up, addressing the loss of innocence and the harsh realities of adulthood. Meanwhile, "Paranoia" confronts and with raw urgency, its amplifying the album's emotional depth alongside its heavy instrumentation. The approach, involving the full band in a isolated studio setting, fostered this thematic and musical unity, marking a departure from prior road-based compositions toward a more introspective and representative sound.

Track listing

All tracks are written by , Kevin Skaff, and Neil Westfall, except where noted.

Standard edition

The standard edition features 11 tracks with a total length of 41:43.
No.TitleDurationWriter(s)
1Bad Vibrations3:33McKinnon, Skaff, Westfall, Cody Quistad
2Paranoia3:20McKinnon, Skaff, Westfall
3Naivety3:19McKinnon, Skaff, Bill Stevenson
4Exposed3:38McKinnon, Skaff, Westfall, Quistad
5Bullfight4:35McKinnon, Skaff, Westfall
6Reassemble3:57McKinnon, Skaff, Westfall, Andrew Wade
7Justified3:58McKinnon, Skaff, Westfall, Wade, Stevenson
8We Got This3:49McKinnon, Skaff, Westfall
9Same About You3:04McKinnon, Skaff, Westfall, Alex Shelnutt
10Turn Off the Radio3:46McKinnon, Skaff, Westfall, Wade
11Forgive and Forget4:42McKinnon, Skaff, Wade, Tom Denney

Deluxe edition

The deluxe edition adds two bonus tracks, extending the total length to 48:45. No regional variations in track order were released.
No.TitleDuration
12Negative Space3:37
13In Florida3:22

Personnel

The album Bad Vibrations features the longstanding core lineup of A Day to Remember, consisting of Jeremy McKinnon on lead vocals, Kevin Skaff on lead guitar and backing vocals, Neil Westfall on rhythm guitar and backing vocals, Joshua Woodard on bass guitar, and Alex Shelnutt on drums. Guest musician Phil Norman contributed to several tracks, including "Exposed" (track 4), "Justified" (track 7), "We Got This" (track 8), and "Forgive and Forget" (track 11). Additional string players included Adrienne Short on violin and viola, and Ian Short on violin, both appearing on "We Got This." The record was produced and engineered by Bill Stevenson and Jason Livermore at The Blasting Room in . It was mixed by Andy Wallace at Studio Litho in , Washington. Mastering was handled by at Sterling Sound in . Artwork and layout were created by Mike Cortada.

Release and promotion

Artwork and packaging

The artwork for was designed by illustrator Mike Cortada, who created a hand-drawn, pen-to-paper visual style comprising hundreds of intricate illustrations that were scanned and compiled into a dense, encyclopedia-like package. This abstract, dark imagery evokes a sense of chaos and negativity, symbolizing the album's titular "bad vibrations" through intense, heavy motifs that shift from the band's earlier, more straightforward aesthetics. Cortada collaborated iteratively with , particularly vocalist and guitarist Neil Westfall, exchanging sketches and feedback via text messages to refine the design toward a moodier, more ominous tone that aligned with the record's emotional intensity. Starting from paper mock-ups, the process incorporated natural color palettes and layered elements to build depth, ensuring the visuals captured the album's raw energy without overpowering its core themes. The packaging emphasized immersive details, including a die-cut digipack for the edition and two booklets filled with Cortada's illustrations, where hidden messages and drawings reveal themselves only under , enhancing the sense of discovery and unease. Vinyl releases featured variant pressings such as Grimace Purple/Highlighter Yellow tri-color, Coke Bottle Green/Baby Pink, and Hot Topic-exclusive Green/Pink swirls, each maintaining the core artwork while adapting to the format's tactile appeal. For digital adaptations, the was simplified to a central illustrative panel suitable for streaming platforms, preserving the symbolism while tying subtly to the album's lyrical exploration of and emotional turmoil.

Singles and release

Bad Vibrations was first teased with the release of the "Paranoia" on March 9, 2016. The album's title track followed as the second single on June 2, 2016, coinciding with the official announcement of the album and pre-order availability. Initially scheduled for August 19, 2016, pre-orders on included instant downloads of "Bad Vibrations" and "Paranoia," while bundles with merchandise were offered via the ADTR Records store. The album was ultimately released on September 2, 2016, through ADTR Records in partnership with . It became available in multiple formats, including standard , digital download, and vinyl LP editions, as well as a deluxe edition featuring two bonus tracks. Various limited-edition vinyl pressings, such as purple with yellow smash, were also produced. In total, five singles were released to promote Bad Vibrations: "Paranoia," "Bad Vibrations," "Bullfight" (July 25, 2016), "Naivety" (August 19, 2016), and "We Got This" (September 1, 2016).

Promotion and touring

To promote Bad Vibrations, A Day to Remember released several singles ahead of and following the album's September 2016 launch, each accompanied by official music videos directed by various collaborators including Drew Russ, Ethan Lader, and Darren Doane to build anticipation and visual storytelling around the record's themes of stress and personal turmoil. The rollout began with "Paranoia" in March 2016, featuring a video directed by Ethan Lader that depicted the band's internal conflicts through surreal, dreamlike sequences. This was followed by the title track "Bad Vibrations" in June 2016, with a video directed by Drew Russ showcasing live performance footage interspersed with narrative elements of emotional isolation, and "Bullfight" in August 2016, directed by Darren Doane and highlighting aggressive energy via high-contrast visuals of confrontation. Post-release, "Naivety" arrived in September 2016 with a video directed by Darren Doane emphasizing youthful recklessness, while "We Got This" in September 2016 (with video released in 2017) included performance footage to encourage fan sing-alongs during tours. These videos were distributed via the band's YouTube channel and promoted across social media to drive streaming engagement on platforms like Spotify. The band supported the album through extensive touring, including the Bad Vibes World Tour, which spanned multiple continents starting in late 2016. The Australian leg in 2016 featured Of Mice & Men as the primary support act, with performances in major cities like and emphasizing high-energy sets of new material. In the UK and Europe during January 2017, the tour included co-headlining dates with New Found Glory, alongside supports and , drawing large crowds to venues such as The SSE Arena, . A North American headlining run in fall 2017 was bolstered by and as opening acts, focusing on arena-sized shows that integrated Bad Vibrations tracks with fan favorites. Additionally, the band made key festival appearances, headlining stages at the 2016 Vans Warped Tour across U.S. stops, where they debuted several album songs to enthusiastic audiences. Earlier in 2016, A Day to Remember served as support on Blink-182's summer arena tour alongside The All-American Rejects and All Time Low, exposing the album's lead singles to broader crowds. Media promotion centered on interviews where band members, particularly frontman , discussed the album's raw exploration of personal struggles, including anxiety and band tensions, positioning Bad Vibrations as a return to heavier roots. In a Kerrang! feature, McKinnon described the record as "more heavy than the last three put together," crediting the writing process for reigniting their creative fire amid legal and lineup challenges. Skaff echoed this in a chorus.fm interview, highlighting a "garage band mentality" that allowed vulnerability in lyrics about and relationships. Radio campaigns targeted rock stations with promo copies of singles like "Bad Vibrations" for , while online pushes included a full album stream on in August 2016 to boost pre-release listens and social sharing. Fan engagement was enhanced through merchandise tied to the rollout, such as limited-edition pre-order bundles featuring album-branded T-shirts, hoodies, hats, and decks available via the band's official store, fostering a around the release's themes.

Reception and impact

Critical reception

Upon its release, Bad Vibrations received generally positive reviews from critics, earning a Metacritic aggregate score of 81 out of 100 based on four reviews, signifying "universal acclaim." Critics widely praised the album's production quality, crediting producer Bill Stevenson for delivering a grittier, more polished sound that amplified the band's heavier elements while maintaining their pop-punk roots. Alternative Press highlighted the band's ability to "juggle all of these ideas in a brand new, uncomfortable creative environment—and still find new ways to move forward," noting it as arguably their best work since Homesick. Kerrang! described it as "the Ocala quintet's heaviest record since 2007's For Those Who Have Heart," commending the successful blend of metalcore aggression and melodic introspection. Reviewers also lauded the lyrical maturity, with New Noise Magazine observing that vocalist Jeremy McKinnon's words are "nuanced and multifaceted," exploring themes of personal turmoil and growth that mark an evolution from the band's earlier, more anthemic pop-punk style. Some criticisms emerged regarding the album's cohesion and impact. One review pointed out "tedious chores to work through mid-way," suggesting a lack of consistent punch compared to the band's prior efforts, though it still ended on a "fairly decent note" with added lyrical depth. Despite these notes, outlets like Distorted Sound affirmed that Bad Vibrations remains "another strong album" demonstrating the band's consistency after six records.

Commercial performance

Bad Vibrations debuted at number two on the chart, marking A Day to Remember's highest-charting album to date, with 67,000 album-equivalent units in its first week, including 62,000 in pure album sales. The album also topped the Top Album Sales chart and reached number one on the Independent Albums, Top Rock Albums, and Alternative Albums charts, underscoring its strong performance within the rock and sectors. In the United States, the album sold 102,000 copies by the end of 2016, reflecting sustained interest amid promotional tours and self-released distribution through ADTR Records. Internationally, Bad Vibrations achieved number one on the Australian Albums Chart and entered the top ten in the , , and , demonstrating the band's growing global appeal.

Legacy

Bad Vibrations has been recognized for its role in advancing the band's signature blend of melodic and aggressive elements, influencing subsequent acts that incorporate similar fusions of and intensity. The album's heavier production and thematic depth, produced by Bill Stevenson and Jason Livermore, exemplified a shift toward more mature songwriting that balanced accessibility with hardcore aggression. Assessments have praised Bad Vibrations as a pivotal maturation for , highlighting its raw emotional intensity and departure from earlier anthemic styles toward darker, more introspective territory. Tracks like "Paranoia," with its urgent riffs and exploration of mental unraveling, continue to stand out as exemplars of this evolution, often cited in analyses for their lasting resonance. By November 2025, the deluxe edition of Bad Vibrations had accumulated over 315 million streams on , underscoring the album's contribution to the band's sustained popularity and its role in introducing their sound to new generations via streaming platforms. The release of Bad Vibrations marked a significant milestone in A Day to Remember's career, as it was their first issued through their independent label ADTR Records in partnership with , amid an ongoing lawsuit against former label . The band's victory in the suit later that year, securing $4 million in unpaid royalties, further entrenched their artistic and , setting the stage for subsequent self-released projects including the 2021 You're Welcome.

Charts

Weekly charts

"Bad Vibrations" achieved notable success on various international weekly album charts upon its release. In the United States, the album debuted at number 2 on the chart, marking the band's highest peak on that ranking to date. It also topped the , Top Rock Albums, and Alternative Albums charts. Internationally, the reached number 1 on the Albums Chart in . In the , it peaked at number 6 on the Official Albums Chart. The album entered the German Albums Chart at number 7. On the Canadian Albums Chart, it reached a peak of number 9.
Chart (2016)Peak position
Australian Albums (ARIA)1
Canadian Albums (Billboard)9
German Albums (Offizielle Top 100)7
UK Albums (OCC)6
US Billboard 2002
US Independent Albums (Billboard)1
US Top Alternative Albums (Billboard)1
US Top Rock Albums (Billboard)1

Year-end charts

The album sold 67,000 copies in its first week and approximately 102,000 pure album copies by the end of 2016 in the . It did not appear on major year-end album charts such as the or Top 100 for 2016. The album has not received any major certifications.

References

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