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Never Hungover Again
Never Hungover Again is the third studio album by American rock band Joyce Manor, released on July 22, 2014, through Epitaph Records. Never Hungover Again explores topics like love and summertime. It contains both bracingly fast and mid-tempo punk songs, recorded live across two weeks at a Hollywood studio with producer Joe Reinhart. The album's run time clocks in at only nineteen minutes long. The band aimed for brevity, and most of the songs on the album are under two minutes.
Never Hungover Again became the band's first album to reach the Billboard 200, where it peaked at 106. Music critics embraced the album, cementing the band's place as one of the top pop-punk bands of the 2010s; they were credited with spearheading a revival of emo music alongside acts like Title Fight and Tigers Jaw. The band played shows in support of the album with Brand New, as well as their first-ever headlining slots alongside Toys That Kill, Mitski, and Modern Baseball.
After diving deeper into their esoteric influences on the eccentric sophomore release Of All Things I Will Soon Grow Tired (2012), Joyce Manor opted to take a back-to-basics approach with Never Hungover Again. Frontman Barry Johnson admitted that he developed a complex about being in a pop-punk band and had intentionally tried to move beyond those trappings on Of All Things.
The band first made an attempt at recording the album in February 2013 in Philadelphia with Joe Reinhart of Algernon Cadwallader. The quartet tracked eight songs but were not pleased with the results. Many of the songs had been written over a period of years, but the band resumed writing, aiming for a higher quality output on the album after touring songs for years from earlier efforts they felt tired of. Specifically, the band felt that they needed stronger hooks for the songs.
Never Hungover Again marked a moment where the interplay between frontman Barry Johnson and guitarist Chase Knobbe began to take shape. In an interview, Johnson explained that Knobbe was dating a person in Santa Cruz who was in college; "While she was in school all day, he would just smoke weed and play guitar. And he got way better at guitar by doing that," he said. Throughout 2013, the band spent time re-working songs ("End of the Summer", "Heated Swimming Pool"), and developing new ones ("Falling in Love Again", "The Jerk"). The band found the new material refreshing: "Like once we wrote [those two], it felt more rich and like something different that we hadn’t done yet," Johnson said. "It was during this batch of songwriting that I noticed a pretty big jump in the quality of the songs we were writing and Chase and I really started spending a lot of time on the vocals and guitar parts and how they interact with each other," he remembered.
They asked Reinhart to revisit the project with them later in the year, and the final album was recorded over two weeks in November 2013 at the Lair in Hollywood, an all-analog facility. The band chose the Lair due to its Neve 80s series mixing console and Studer 2” tape machine. The studio was where Rivers Cuomo of Weezer recorded his demos, and Walcher played the album on Cuomo's drum kit. It was the first time the band had used a click track to record to, which was difficult for much of the band besides Ebert; "Once we got the hang of it we loved how it sounded and felt," Johnson said. Much of the album was recorded live and characterized by drunkenness: "For a lot of it, we were pretty wasted. Four of the takes we got in a row, while we were very drunk and high." The band wanted to add more harmonies to songs but ran out of time; "We barely had enough time to finish basic tracking," Johnson confessed. Reinhart recalled with fondness the atmosphere: "The band crashed on couches and ate Trader Joe's dumpster food while we worked. It was an exciting time to be DIY kids." "Christmas Card" was tracked slightly faster than the band intended so the band slowed down the take by adjusting the tape speed. Johnson recalled: "I knew the Beatles messed with tape speed on Revolver and Rubber Soul and I wanted to be like the Beatles." There is an error present on the final album, with the opening note of "Christmas Card" bearing a technical issue with the tape machine. The band shelved one track from the album, "Secret Sisters", but it resurfaced on 2022's 40 oz. to Fresno, where the band felt it fit better.
The often jangly guitar work on Hungover was frequently likened to the Smiths' Johnny Marr; the band also noted Guided by Voices as an influence. Entertainment Weekly's Miles Raymer observed that "Never Hungover Again combines the earnestly awkward adolescent squawk of emo foundation-layers Cap'n Jazz with Cali pop-punk’s buzzsaw hooks." "Heart Tattoo" was the band's attempt at writing a Blink-182 song; Matt Ebert's backing vocals on the song's last chorus are a tribute to Tom DeLonge.
Johnston took an oblique approach to his lyricism, allowing songs to develop line-by-line. He would write a lyric, and build upon them gradually with no set theme in mind. In between writing, the band stayed on the road, touring with Algernon Cadwallader, which Johnson felt made an impact on their songwriting.
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Never Hungover Again
Never Hungover Again is the third studio album by American rock band Joyce Manor, released on July 22, 2014, through Epitaph Records. Never Hungover Again explores topics like love and summertime. It contains both bracingly fast and mid-tempo punk songs, recorded live across two weeks at a Hollywood studio with producer Joe Reinhart. The album's run time clocks in at only nineteen minutes long. The band aimed for brevity, and most of the songs on the album are under two minutes.
Never Hungover Again became the band's first album to reach the Billboard 200, where it peaked at 106. Music critics embraced the album, cementing the band's place as one of the top pop-punk bands of the 2010s; they were credited with spearheading a revival of emo music alongside acts like Title Fight and Tigers Jaw. The band played shows in support of the album with Brand New, as well as their first-ever headlining slots alongside Toys That Kill, Mitski, and Modern Baseball.
After diving deeper into their esoteric influences on the eccentric sophomore release Of All Things I Will Soon Grow Tired (2012), Joyce Manor opted to take a back-to-basics approach with Never Hungover Again. Frontman Barry Johnson admitted that he developed a complex about being in a pop-punk band and had intentionally tried to move beyond those trappings on Of All Things.
The band first made an attempt at recording the album in February 2013 in Philadelphia with Joe Reinhart of Algernon Cadwallader. The quartet tracked eight songs but were not pleased with the results. Many of the songs had been written over a period of years, but the band resumed writing, aiming for a higher quality output on the album after touring songs for years from earlier efforts they felt tired of. Specifically, the band felt that they needed stronger hooks for the songs.
Never Hungover Again marked a moment where the interplay between frontman Barry Johnson and guitarist Chase Knobbe began to take shape. In an interview, Johnson explained that Knobbe was dating a person in Santa Cruz who was in college; "While she was in school all day, he would just smoke weed and play guitar. And he got way better at guitar by doing that," he said. Throughout 2013, the band spent time re-working songs ("End of the Summer", "Heated Swimming Pool"), and developing new ones ("Falling in Love Again", "The Jerk"). The band found the new material refreshing: "Like once we wrote [those two], it felt more rich and like something different that we hadn’t done yet," Johnson said. "It was during this batch of songwriting that I noticed a pretty big jump in the quality of the songs we were writing and Chase and I really started spending a lot of time on the vocals and guitar parts and how they interact with each other," he remembered.
They asked Reinhart to revisit the project with them later in the year, and the final album was recorded over two weeks in November 2013 at the Lair in Hollywood, an all-analog facility. The band chose the Lair due to its Neve 80s series mixing console and Studer 2” tape machine. The studio was where Rivers Cuomo of Weezer recorded his demos, and Walcher played the album on Cuomo's drum kit. It was the first time the band had used a click track to record to, which was difficult for much of the band besides Ebert; "Once we got the hang of it we loved how it sounded and felt," Johnson said. Much of the album was recorded live and characterized by drunkenness: "For a lot of it, we were pretty wasted. Four of the takes we got in a row, while we were very drunk and high." The band wanted to add more harmonies to songs but ran out of time; "We barely had enough time to finish basic tracking," Johnson confessed. Reinhart recalled with fondness the atmosphere: "The band crashed on couches and ate Trader Joe's dumpster food while we worked. It was an exciting time to be DIY kids." "Christmas Card" was tracked slightly faster than the band intended so the band slowed down the take by adjusting the tape speed. Johnson recalled: "I knew the Beatles messed with tape speed on Revolver and Rubber Soul and I wanted to be like the Beatles." There is an error present on the final album, with the opening note of "Christmas Card" bearing a technical issue with the tape machine. The band shelved one track from the album, "Secret Sisters", but it resurfaced on 2022's 40 oz. to Fresno, where the band felt it fit better.
The often jangly guitar work on Hungover was frequently likened to the Smiths' Johnny Marr; the band also noted Guided by Voices as an influence. Entertainment Weekly's Miles Raymer observed that "Never Hungover Again combines the earnestly awkward adolescent squawk of emo foundation-layers Cap'n Jazz with Cali pop-punk’s buzzsaw hooks." "Heart Tattoo" was the band's attempt at writing a Blink-182 song; Matt Ebert's backing vocals on the song's last chorus are a tribute to Tom DeLonge.
Johnston took an oblique approach to his lyricism, allowing songs to develop line-by-line. He would write a lyric, and build upon them gradually with no set theme in mind. In between writing, the band stayed on the road, touring with Algernon Cadwallader, which Johnson felt made an impact on their songwriting.