Editor's Rating

The first full length record from Del Paxton brings something somewhat fresh and interesting to the emo/math rock scene. Impressive musicianship and a wide range of musical influences keep this from being another cookie cutter release from this genre. However, a lack of memorability and any overtly catchy vocal melodies keep this from being something truly special.

7.5
Topshelf Records

All Day, Every Day, All Night is the debut album from emo/ math rockers Del Paxton. Combining influences from a whole multitude of genres the band have created a somewhat unique sound that will surely excite fans of alternative, math rock, emo and pop punk. The record is essentially a collection of previous material produced between 2013 and 2015. After putting out a couple of Ep’s All Day, Every Day, All Night marks the first time the group have produced a full-length release.

The albums beginning really gives off a live energy not found on many modern-day rock records. Opening track My Other begins with the sound of drum sticks counting the band in before launching into a powerful driving rhythm. From this track alone your instantly introduced to the bands ability write dynamic, interesting music. Going from the propelling rhythms to hugely melodious riffs and softly picked guitars, the opening few songs really do create a strong impression. Wrong Distance again manages to incorporate multiple sounds and styles in a short space of time. This song is easily the catchiest thing on the record sounding right at home with the bounciest modern pop punk anthems.

Del Paxton’s range of influences and willingness to try different things is really what makes this album stand out. Take the song Coast to Coast Am for example, featuring some beautiful melancholic chords the track takes things in an unexpected direction with the inclusion of electronic elements. As the song properly kicks into its groove you can hear subtle amounts of synth and electronic drums. This blends seamlessly into the band’s sound without sounding awkward of forced.

 

 

It also must be said how impressive some of the musicianship is with multiple intricate guitar melodies, odd time signatures and inventive bass playing. Songs like Loose Leaf feature some gorgeous bass lines which manage to be both technically impressive and joyously melodic at the same time. This song also injects some much-needed pace into the album. Propelling the record forward with a fast pummelling punk rhythm reminiscent of the Propagandhi school of punk Del Paxton seem to be influenced by. In this however lies one of the records issues being that the album doesn’t tend to vary its pace very often.

Most of All Day, Every Day, All Night seems to rely on keeping things all one speed which isn’t necessarily a bad thing. Although this does leave the record becoming quite samey towards its conclusion. As the pace of the album slows down the band seem to lose some of the infectious energy that opened the record. Upon a few listens it also must be said that not a lot of material seems to stay with you very long. Songs initially appear to be reasonably catchy but vocal melodies quickly start to blend together only occasionally leaping out at you. The song Green House is one of the only few tracks that can be sang along to long after the albums finished.

When thinking about All Day, Every Day, All Night as a debut album it’s easy to see a lot of potential in Del Paxton. With their genre seeing a bit of a revival lately, as bands like Nervus are receiving moderate amounts of attention from the media, Del Paxton could be one of the bands to really do something. Despite the minor criticisms this is still a very good first full length record and its exciting to see just what the band do next.