Music: ‘Atlas’: Not Holding the World

Atticus Gregory Upton Lewis/Columnist

“Atlas,” was the first full studio album from the up and coming band, The Score. They had a few successful hits with their EPs and singles that drove excitement for their new project. The record was released to great success, peaking at 18th on the US Heat charts. The response from critics however, was mixed. After giving it a full listen, I see why.

The Score, as a band, represents many of alternative pop’s weakest aspects. They are so clearly inspired by Imagine Dragons, a band that already has a mixed reputation, but it feels like they took all the wrong things from them. Specifically, it feels like they took Imagine Dragons’ weakest lyricism and production. In doing this, they fail to differentiate themselves from any other alternative pop group of the time. 

To be more specific to this record, each track follows the exact same formula with little change. A slow rise, some lyrics with distortion effects to get you hyped up, a layered hook, a brief climax with some clap effects, then bring the hook back to finish off the track. It’s not a bad or new formula, but there’s no difference in how it’s applied between each track. The theme of the album, to the extent it exists, is about overcoming great struggle, specifically in how the band entered the music industry. The problem is there’s no story from the band representing this struggle in the album. There aren’t any deep metaphors or clever wordplay, or even more explicit references to their entrance at all.

These two things combined makes the whole album feel like they were searching for one of these tracks to become some giant protest anthem without understanding what is needed for a protest anthem. Protest anthems aren’t just about hype moments and feeling powerful. They’re meant to tell the story of a movement overcoming struggle with a call to some action. The Score doesn’t get that. 

Even the extra tracks on the deluxe edition are hit or miss. I will say, there are some versions of the biggest tracks where the production, something they take pride in, is heavily cut back, bringing more attention to some of the more subtle instrumentation and the vocals. These bring a completely different tone to the tracks, making them less hype. Just like all the other tracks in the deluxe edition, it’s 50/50. Although, I kind of wish these had replaced some of the original versions if only to break up the monotony of their formulaic songwriting. 

I know I’ve been ragging on this album a lot, but I don’t think it’s awful. It isn’t very good either though. It’s production is generic, the lyrics can be pretty corny, it can hype you up, but despite it releasing in 2017, it already feels incredibly dated.  I will add that this album saw a little bit of a resurgence in popularity during the COVID lock downs. This is probably due to the positive energy and hype sound that people needed during this time. Though, I think it’s a bit of a backhanded compliment that it took a pandemic for people to be interested in the music again. Regardless, it goes to show that even mediocre music has its purpose.