Vanilla Sky
Changes

Cosmopolitanism as a process of globalization, social exchange, understanding new cultures and traditions, as a quest for a universal identity. The internet surfer, the traveler, one perpetually on the move towards any of the existing four cardinal points: in short, a citizen with no fixed abode and stable residence, but rather a citizen of the world.

At first glance, you think of yet another American group with good potential, part of the roster of some renowned label, and you'd never imagine that these four youngsters hail from the Eternal City and the ruins of the Colosseum. The way they play, made in the USA, the fact they've toured extensively around the world, gaining appreciation in varied markets, with remarkable feedback abroad, and their continuous wandering, have propelled them to the perfect status quo of a cosmopolitan band. Indeed, they are one of the few groups that have managed to secure space on North American soil, a rare feat for tricolor acts, especially considering that British music does not go crazy over the new continent.

Sometimes you come across albums that, up to that point, you had no interest in listening to; indeed, you were skeptical, if not downright dismissive, about a certain musical situation.

I must be honest, this album was a pleasant surprise for me: let's be clear, nothing revolutionary or experimental, nothing so transcendental, but this "Changes" by the local Vanilla Sky in its simplicity and catchiness is quite appreciable. They are credited with playing so-called emo-pop/punk. A debatable label, I rather opt for a generic yet truthful pop-punk and I'll promptly explain why.

To dispel any doubt, one must say that Vanilla Sky absolutely do not play emocore. Sure, they are naively categorized as emo when, for the notes, which are what count, they are far from that scene. They use predominantly emotional lyrics, but a habit does not make the monk, to speak plainly; they take the genre's clichés, but on a musical level, they take, let's say it clearly, only the more melodic and, why not, commercial side of this music. This means that from bands like Silverstein, they only take the power-pop and indie side, not the hard, screamed, and more violent component of an emocore band.

Be clear that these are mere observations to make everything as clear as possible, not a critique of the group itself. Rather, let’s now talk about what matters most, the songs.

What you immediately notice compared to the past is the use of the mother tongue in the lyric writing, even if the English lyrics clearly prevail.

The album consists of 13 songs + the English versions of "Devastante" and "Se Vuoi Andare Vai" and the Italian one (to say the least embarrassing for a despicable text) of "Break It Out" with a slightly different meaning.

The sounds start from pop-punk and then allow constant incursions into melodic rock and power-pop, elements that make the listening enjoyable. There's a bit for everyone's tastes, ranging from more energetic punk-like pieces such as "The Fight", one of the best with a notable rock 'n' roll flavored solo, "Letargo" which contains the only scream hint in the platter, and "Cut Away" reminiscent of Yellowcard (a band admired by the Romans) to more introspective sounds and semi-ballads like "Gotta Believe", "Se Vuoi Andare Vai" and "Nightmare".

If the latter, featuring M. Hoppus of Blink-182, is the least noticeable, "Gotta Believe" is quite the opposite, proving to be the best piece, perfectly balancing the melancholy and sweetness released by the piano notes and Brian's beautiful voice. A little gem that brings to mind The Used’s self-titled album and demonstrates the dreamy side of Vanilla. The same standards are displayed in the other ballad, full of atmosphere and pathos, "Waiting Patiently", skillfully sustained by a delicate arpeggio that explodes in the end with a series of electric guitar bursts.

More sunny episodes can be found in "Welcome Back" and "Summer Comes", featuring a midway solo and the overlay of acoustic and electric, showcasing how to deliver a simple, direct, playful, and summery pop-rock piece without seeming contrived. Among the best is "On&on", characterized by introspective arpeggios that open and close the piece, navigating the realms of power-pop.

For lovers of more dynamic sounds, there's "Fake Season", a mix of punk rhythms and metallic hues highlighted by the guitar lines, which become weightier at the bridge.

Finally, the two singles "Break It Out" and one of the ballads "Se vuoi andare vai" opened with a piano line that advances throughout the piece, remain pleasantly leveled.

The production is perfect; let's be clear, it's evident there's the work of a major label like Universal behind it, fresh sounds blend perfectly with the use of electronics, keyboards, acoustic guitars, piano, and choirs.

Of course, where a major serves to make everything more complete and appealing, it also seeks a return: that means singing in Italian, and as already mentioned, this is somewhat the only flaw of an almost perfect album.

The rest is completed by the two fresh young voices of Brian and Vix. The guitars fit well with the various stylistic registers, while Cisco's pulsating bass steps up more than once, giving the tracks extra zest.

The main quality of the album is what any worthy album should have: variety in style and composition. Indeed, in "Changes", we find various references to different styles and genres. I challenge anyone not to find similarities in the songs of the album with those of other groups. It is no coincidence that content similarities with bands like Jimmy Eat World, Yellowcard, and The Used can be found.

The album is especially recommended for fans of the mentioned genres, while I believe others might want to steer clear if they do not enjoy the evident melodies here present. Otherwise, Vanilla Sky, when compared to Fall Out Boy, the unnecessary 30 Seconds To Mars, Simple Plan, demonstrate a certain ability to not seem banal or overly predictable, a factor worth considering.

Having said this, for a record explicitly influenced by MTV, it is a quality platter worthy of respect.

Credit to them for drawing from the most diverse musical cultures and molding it all into a singular final entity. "Changes" is somewhat Vanilla Sky's modern musical cosmopolitan city.