“American Candy,” the Maine’s fifth and latest album, is just as decadent as the Arizona-natives’ previous work. The album is a balanced mixture of feel-good, upbeat songs that demand singing while jamming in the car, and more serious, thought-provoking songs which comment on the more sour aspects of society. They’re still good for singing in the car, though preferably on rainy or overcast days (extra drama, extra atmosphere).
The Maine’s third album, “Pioneer,” was one of the group’s greatest achievements — they were able to break free from the pop-punk mold of their first album, “Can’t Stop Won’t Stop,” and create their own sound. The lyrics on “Pioneer” were good, even great on some songs, but The Maine really hit their lyrical stride on their fourth album, “Forever Halloween.” Much darker and grungier than the band’s past work, the lyrics explored pain and discontentment on a deeper level, emphasized by the rough and almost broken voice of lead singer John O’Callaghan. “American Candy” manages to combine the best of both albums: solid and enjoyable rock blended with meaningful and sophisticated lyrics.
The first few songs on the album describe the average twenty-something’s dream of living free and easy, with no worries and responsibilities. In the opening song, “Miles Away,” O’Callaghan sings, “I didn’t ever want to come down / from this West Coast rush and summer high / and easy peaceful sense of time, I feel so alive.” Track three, “My Hair,” gives the advice, “Grow your hair out, / let your hair down while you still can.” The songs encourage the listener to celebrate youth while he or she still has it, because it will disappear one day.
This carefree attitude is not so easy, however, because the future is undefined and often daunting. Track eight, “(Un)lost,” is especially relatable for college students: “Unaware of where I’m going / Or if I’m going anywhere at all…I’m not looking to be found / Just want to feel (un)lost.” The song “Diet Soda Society” continues this train of thought: “It’s just a tough thing / for us humans to admit / Yes, we all have the question, but we don’t know what the answer is.”
Listeners can appreciate the open honesty of the song, “Am I Pretty?” The melodic guitar is attention-grabbing on its own, but the vulnerable lyrics critique the negative influence of society on personal perception: “No one adores me yet / so make me up in a shade that fits me / Tell me love, oh, am I pretty?” Furthermore, the album demonstrates that society can become a vice in its own right. In the titular song, O’Callaghan sings, “They’ve got American Candy (you’re sweet and sated, so sedated) / for the American kids (you’re hooked and baited, annihilated) / Even if you wanted to / you couldn’t stop, it’s just so sweet / This American candy, it’ll rot your teeth.” Placing too much value in social constructs, especially materialistic and artificial American media culture, can be just as corrupting and destructive as physical vices.
Though American Candy’s songs can be enjoyed just as well separately as together, listening to album in its entirety uncovers the overarching theme of optimism. The most emotional and piercing song, “24 Floors,” describes the emotions of someone about to jump off a ledge: “The TV talks at me / Apocalyptically…somehow I hear your plea: / ‘You don’t wanna die tonight / Take one more breath to clear your mind / Every moment’s relevant / Bittersweet and delicate / Tomorrow may not come again.’” This sense of hope is clear, a positive and heart-warming turnaround from the pain and cynicism of the preceding album.
The Maine closes the album with the feel-good, laid back track “Another Night on Mars” — a song that could easily be a nostalgic anthem for the average college student: “This one goes out to my closest friends / the ones who make me feel less alien / I do not think I would be here I not for them. / See, all the nights in [expletive] bars / and throwing up in taxi cars / or on our backs under the stars /as we sing, as we sing: / What’s another night on Mars? / With friends like ours / Anywhere is home…”
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