The Academy Is... Albums (3)
'Fast Times at Barrington High'
Release Date 8/19/2008
Tracks 12
Label Fueled by Ramen
See Album Tracklist and Review
What The Critics Say
For half a decade, the Academy Is... watched from the sidelines as Fall Out Boy became the Midwestern kings of emo. Fast Times at Barrington High makes a well-deserved grab for the crown, flaunting a combination of rock & roll bombast and pop-schooled songwriting. It's albums like this that challenge the definition of emo, an amorphous genre whose current bands sound little like their 20th century ancestors. There's no whining here, no heart-wrenching lyrics, and few indications that William Beckett's group is anything but an energetic pop/rock outfit. So while Fast Times pushes the Academy Is... into the upper echelon of emo bands, it also challenges the genre's entire composition, making it one of the most interesting emo-related albums since Jack's Mannequin's Everything in Transit. Of course, it's hard to tell how much credit belongs to Beckett, whose vocals and songwriting skills have nicely progressed since the band's debut, and which accolades go to Sam Hollander and Dave Katz, the production team otherwise known as S*A*M & Sluggo. Perhaps it's no coincidence that the album's first six songs, all written with the duo's help, are also the most radio-ready pop numbers here. "Summer Hair = Forever Young" is a fist-pumping declaration to youth and warm weather, while "His Girl Friday" -- the undisputed highlight of side A -- boasts the sort of muscled, sugary chorus found on albums by Motion City Soundtrack and Jimmy Eat World. The mood changes slightly during the album's latter half, where Beckett takes over the songwriting reigns and steers his band closer to the rock camp. "Beware! Cougar!" is a particular highlight, while "After the Last Midtown Show" pays tribute to Gabe Saporta's former band with piano flourishes and vocal harmonies. Fast Times at Barrington High doesn't go to the hoop with every song, but it scores more than enough points to make it a career highlight, not to mention one of the best emo albums (whatever that means) of 2008. ~ Andrew Leahey, All Music Guide
What The Critics Say
It's too bad that the Academy Is... have one of the more unfortunate names of the whole early-21st century Chicago emo scene, since they actually sound like they could be one of the few to outlast the rest. Their sophomore effort, Santi, picks up where the well-received Almost Here left off, but instead of just rehashing the pop sweetness that appealed to so many Warped Tour attendees (though there's plenty of that, too), the guys incorporate more grit and muscle into the mix. The record has a more varied and self-assured feel to it, and though definitely still poppy, considering Butch Walker sat in the production chair, it's almost surprising the glossy sheen isn't blinding. But that's a good thing. "Same Blood" is a peppy little number that manages to be simultaneously expansive and wholly grounded, owing much of its earnest charm (as with most of the crew's songs) to the winsome vocals of William Beckett. He's a bit more playful this time around and his confidence lends itself to the rest of the album, where songs sparkle with freshness. Cuts like the spunky "Neighbors" and alternative rock-leaning "You Might Have Noticed" show the guys mixing their youthful yearning with a more straightforward rock backbone, and a confident cool is allowed to invade the swaggering (and surprisingly well-done) "Bulls in Brooklyn." Even when the Academy Is... amble into the dancey territory of "LAX to O'Hare" -- a song that seriously evokes Communiqué -- the vaguely post-punk vibe and brittle guitars remain more fun than overdone. The thing with this Windy City crew is that it never seems like they're trying too hard or being unnatural, which makes songs that don't quite hit the mark -- as in "Sleeping with Giants (Lifetime)," where echoing guitars cut out into a fluffy chorus that kills the mood -- easier to take. An enjoyable next step for the Academy Is..., this album shows that the guys are still growing, but maybe just starting to figure themselves out. ~ Corey Apar, All Music Guide
What The Critics Say
The Academy Is... blends the yearning vocals and tense slivers of guitar common to groups like Sleeping at Last, Hidden in Plain View, and labelmates/pals Fall Out Boy. However, the Chicago combo isn't as concerned about causing a racket as some of its peers, as the huge hooks of "Attention" and "Phrase That Pays" prove. William Beckett carries the latter's melody with his velvety, bordering on histrionic vocals, and though the electric guitars crash behind him, they never tread into roaring post-hardcore territory. No screaming alternate vocals, no jarring instrumental breaks or squalls of feedback. "Black Mamba"'s underlying urgency takes a turn for the jaunty in the chorus, and an acoustic guitar rattles in there, too. "Classifieds" and "Slow Down" are equally strong, switching up the tempos and mixing in harmonies so their edges stay soft even when the guitars get loud. This doesn't mean that the Academy Is... is somehow soft -- no more so than similar, lyrics-as-confessional acts like Early November. It's clear that the songwriting team of vocalist Beckett and guitarist Michael Carden wants to keep Almost Here melodic and very accessible, and the pair succeeds throughout the record. "Checkmarks" features another powerful singalong chorus, "Skeptics and True Believers" moves along at a faster pace, and "Down and Out" kicks in on robust Midwestern power chords. The Academy Is... would benefit from more of this Weezer-derived bottom end. But the band's slick pop yen is impressive enough throughout Almost Here to make it a strong debut. ~ Johnny Loftus, All Music Guide
