MOVEMENTS LEAVE THE PINK CLOUDS OF SUMMER BEHIND AS THE BAND ENTERS THE ‘NO GOOD LEFT TO GIVE’ ERA THIS AUTUMN

Movements became a pretty big name in the music scene back in 2017 after their debut album, Feel Something, was released. If you could find me one person at Warped Tour in 2018 who didn’t know that “pink cloud summer” song, I’d be pretty impressed. The Southern California band has been making waves since then, and with a new album on the horizon it doesn’t look like they’ll be going anywhere soon. Out Friday September 18, 2020 via Fearless Records, No Good Left to Give stays true to the band’s roots (loss, love and struggle), but does it in a way that’s sure to leave listeners speechless.

The opening track, “In My Blood” sets the stage for the rest of this album. The beginning is extremely reminiscent of Feel Something but with a little kick of something new in it. This track definitely lets listeners know they’re still the band that we know and love, but they’re stepping it up this time around. “Skin To Skin” offers a totally new sound that I’m not sure we’ve ever heard from Movements before. It’s so much fun and almost felt as though I couldn’t sit still while listening to it. Vocalist Patrick Miranda laughs that this is “definitely the horniest song [Movements has] ever written,” and if that isn’t enough to catch your attention, I’m not sure what is.

I knew this album was going to be something special when I received a mysterious postcard in the mail about this next song. “Don’t Give Up Your Ghost” is the lead single off the album that ushered in the next era of the band. Miranda has said that this album is about letting somebody know that they’re not alone, that everybody has struggles, and “Don’t Give Up Your Ghost” has lyrics that say exactly that. It feels like an old friend comforting you, and I have a feeling that a lot of people need a song like this after this past year.

The album powers on to “Tunnel Vision,” acting as the final single from No Good Left to Give. Thanks to the solid performance of Miranda’s heavier vocals, this song carries a bit more of a rock vibe than the others we’ve heard so far. “Tunnel Vision” seems to be the perfect middle ground between Movements’ first EP, Overgrown Things (2016), and their previous album. As “Garden Eyes” started, I thought I knew what the song was going to sound like, but I was absolutely wrong. I was completely enraptured within 40 seconds of this track. I normally love Miranda’s vocals, but there’s something unique about this song that makes them stand out that much more. I could sing the praises of Movements’ rhythm section all day long, and this song just reminds me why.

“12 Weeks” slows the tempo down from the last song, but just barely. This is an incredibly pretty track with soft lyrics and layered vocals in the chorus that lend a unique, mature sound that Movements pulls off with ease. Guitar solo fans, this is the song for you. Every time I think I know what to expect from this album it throws me for a loop. The gentle, almost serene opening to “Living Apology” seamlessly transitions to a fast-paced verse. Lyrically, this song is on a completely other level. “A harsh world for a gentle soul,” crooned in Miranda’s voice might be the best thing I’ve ever heard, and the bridge gave me goosebumps. I could easily talk about this track for a few more paragraphs, but we still have a few more songs to get through!

Before the lyrics even started in “Santiago Peak,” I wrote down ‘sounds like it needs to be played at top volume while driving with your windows down’ in my notes. Once the lyrics started, I realized just how right I was in saying that. It makes me want to grab my best friend and get on the highway. The contrast between the soft, gentle verses and the powerful chorus was slightly unexpected, but it gives the song a little extra “oomph” to make it stand out on an album full of hits.

“Seneca” can only be described as a love song for the one that got away. It opens with a strong drum beat and a bass line that legitimately made me gasp out loud, and the lyrics that follow are almost painfully bittersweet. I had goosebumps for the entire duration of the track, and it’s one of the songs off the album I found myself playing on repeat. “Moonlight Lines” immediately caught me off guard. It’s a far cry from Feel Something’s mostly mellow tempos, but still has parts of it that feel so familiar (like the short spoken-word section). It’s a song that brings new and exciting things to the table, but still remains true to the band’s roots. If you were to ask me (and if you’re reading this review, you kinda are), this song showcases just how much Movements has grown since their last album.

The title track, “No Good Left to Give” follows with a gorgeous piano intro. Again, Movements keeps throwing things in here that are so surprising but so perfect. It’s completely different than “Moonlight Lines,” but it doesn’t feel like a jarring change-up or feel out of place whatsoever. “Love Took The Last Of It” is exactly the kind of song I imagine when I think of Movements- a powerful song with genius lyrics sung in Miranda’s warm voice backed by impressive guitar licks, drumbeats and a killer bass line. As much as I didn’t want the album to end, this was a perfect song to go out on.

I’m going to be honest here- I knew I liked Movements, but this album made me realize just how much I like this band. They stand out in the scene, they’re making their own way and they’re doing an amazing job of it. Watching their rise within the music scene has been so much fun, and I can’t wait to see what new heights No Good Left to Give will bring them to.