Reviews
Razorcake #39 review by Jennifer Whiteford
Never has a band been so inaccurately named as The Unlovables. This band is so highly lovable I can hardly stand it. Although perphaps not as seamless as their previous album of pop punk perfection "Crush Boyfriend Heartbreak," this new one "Heartsickle" has still been in heavy rotation in my home, office, and car ever sonce it fell into my eager hands. Lead singer Hallie Bullit writes some of the catchiest melodies and wittiest lyrics that I've heard in a long time. As anyone who's heard in a long time. As anyone who's heard the band's previous album and EP might expect, there are lots of songs about the ups and downs of punk rock love on here, but there's also a tear-jerkingly sweet ode to a best ladyfriend ("Samantha") and a great why-do-you-want-me-to-get-married-and-drive-a-minivan?rant ("Disaster") So highly recomended, all my friends are sick of hearing about it already.
All Music Guide review by Stewart Mason
It can be argued that the perfect album is the album that sets forth a specific set of stylistic goals and then proceeds to fulfill all of them. By its own standards, then, the second album by New York pop-punk outfit the Unlovables is absolutely perfect. There is little real difference between Heartsickle and the trio's 2005 debut Crush Boyfriend Heartbreak, but the two years' worth of musical and emotional maturity gives the album just that tiny bit more depth. Hallie Bullit's appealingly girl-next-door vocals and sweet and sour lyrics are as effortlessly adorable as before, but this time, lines like "You're a sweet, sweet boy and I'm trying not to screw this up" sound a bit more heartfelt. Musically, Heartsickle is as manic and poppy as the debut, filled with ultra-catchy two-minute pop-punk gems made for AM radios across the beaches of America. In a style that hasn't really been the same since Lookout! Records went belly-up and the Mr. T Experience's Dr. Frank moved to writing novels instead of pop songs, the Unlovables are now pretty much the gold standard of pop-punk.
Can you See The Sunset From The Southside?
How did I not hear this record in 2007? Was I living under a rock? Wow. Heartsickle is soooo catchy and absolutely undeniable. Now this is the first I've heard of NYC's The Unlovables and they are anything but. Led by the sweet 'n sassy vocals of bassist Hallie Bulleit, buzzsaw guitars, and the rock-steady drumming of Mikey Erg, The Unlovables may just be the kings and queens of the current pop-punk landscape that I'm slowly rediscovering piece by piece.
I grew up on 90's pop-punk from the likes of Screeching Weasel, MTX, and The Parasites and Heartsickle is as good as any of it. Fast-paced and carried by Hallie's unbelievable multi-layered harmonies and songs about love and heartbreak. Every single song is a sing along. It is a sunny and energetic sound that just begs you to ride your BMX around the block a few more times and kiss that girl you're dreaming about during class. Every songs is also catchy beyond belief and filled with enough woah-oh's to feed a small army.
Heartsickle is an amazing album that is like candy for your ears but with more substance behind it than you might expect. Now that might be a little heavy-handed, but despite the sugary sweet melodies and harmonies, there is some grit (particularly in Frank's guitars) that strikes a near-perfect balance on Heartsickle. Face the facts here; resistance is futile. If I had heard this a month ago it would have certainly been part of my '07 best of list.
Now Wave Magazine review by Lord Rutledge
The Unlovables' Heartsickle is one of those rare albums that transcends genre. Sure, pop-punk fans will love it. But so will your aunt, your aunt's hairdresser, your aunt's hairdresser's boyfriend, your aunt's hairdresser's boyfriend's little sister, your aunt's hairdresser's boyfriend's little sister's best friend, and your aunt's hairdresser's boyfriend's little sister's best friend's mom, who's almost convinced that there are no good men left but would probably say yes if that cute waiter at Olive Garden asked her out, although with her luck he's probably gay, and she still can't believe her oafish ex already remarried someone younger and prettier, and god damn, why is so life so fucking unfair?
Although it reprises the upbeat, high energy thrust of 2004's superswell Crush*Boyfriend*Heartbreak, the brand-spanking-new Heartsickle is really more about songs than sound. No doubt it's pure pop-punk gold, but I envision an audience extending far beyond genre devotees like me. I'd push this title on modern rock kids, Top 40 types, indie-pop people, emo freaks, songwriter enthusiasts, Buzzcocks fans, and pretty much anyone else who enjoys music. If you cannot relate to Hallie's songs, you've probably never fallen in love, been in a relationship, or had your heart broken.
And it seems that Hallie went through a lot in between these two albums, for she returns here with a sharper pen and a stronger, gutsier vocal delivery, the deep wounds of excruciating boy trouble laid bare for the world to see. These songs are so beautifully and powerfully true that they could only have been born out of real-life tribulations. Hallie has become for me now what Dr. Frank and Dave Parasite were for me a decade ago - a love song writer of such skill and appeal that listening to one of her albums is like spending quality time with a good friend. The musical formula has not been seriously altered, and the lyrical themes are pretty much the same. But this time around, said themes are explored with greater intensity and added maturity. And as a songwriter, Hallie has crossed the threshold from good to great. Heartsickle does not eclipse Crush*Boyfriend*Heartbreak. Instead it's a logical next step, the second chapter in a book that could probably go on forever and still not get dull.
This Unlovables album, like the last one, rings so true because it reflects the love experience as it really is: sometimes blissful, sometimes agonizing, and usually somewhere in between. On the less-sunny numbers, Hallie sounds supremely self-confident and more than a little pissed off. It's because of these songs that some have labeled this a "darker" Unlovables album. But truthfully, Hallie's singing hasn't gotten angrier so much as it has merely gotten better. She's lived these songs, and subsequently can pour herself into them tremendously. Her maturation is just as palpable on the happier songs, on which she conveys the hope, optimism, and thrill over new love with greater conviction and resonance than ever. You know that magic that you feel inside when love is fresh and exciting and nothing else in the world matters because you've found that special someone? Songs like "Never Saw It Comin'" and "Dance Party For 2 (Your Room, 3 a.m.)" capture that spark without irony or reservation. Hallie's greatest gift is the ability to endure heartbreak and still come back hoping for the best the next time around. "Sweet Sweet Boy" beautifully integrates her regret over those loves gone wrong with her faith that, this time, she'll finally get it right. For her sake, I hope she has to make shit up the next time she goes to write a sad song.
Like one of her primary influences, Morrissey, Hallie has a gift for imbuing her tales of contentious relations with a sharp, redemptive humor. "Leave Me Alone" has the feel of an ugly ex-lovers row but releases the tension with the zinger "If you keep coming round/My brother's gonna kick your ass". And she's especially good at capturing the "I love you but I can barely stand you sometimes" sentiment to which we can all relate. She hits a sulking boyfriend with this shot: "You're more than sour grapes/you're like a whole rotten bunch/I'd feel sorry for you/But you keep beating me to the punch". Yow! And Morrissey himself would surely admire this gem from "Let's Not Fight":
Why are we shoutin/
We could be making out inside a fort/
that we made out of my sheets/
We're alone, yeah my roommates aren't home/
We could be doing anything we please while they're out/
We could be finding out/
If two adults fit in a very small tub
And then there are the non love songs, a small but very crucial component of the album. On "Disaster" and "Everything's Overrated", Hallie probes existential questions of young adult life with profundity and humor ("I thought I wanted a home/So then I found me a home/And then they tore down my home/for luxury high rises and fashionable bars"). And "Samantha" is a loving but remarkably non-sappy tribute to a dear and lifelong friend. In a way, it's far more beautiful than anything she's ever written about a boy. Wow, Hallie's come a long way since "Mike Herrera", hasn't she?
Musically, Heartsickle is full of more of what you've always loved about The Unlovables. Frank's fat, blasting riffs and Mikey's racing drum work are pushed high in the recording mix, stoking a sunny, buoyant vibe even when the songs themselves aren't exactly happy. Mat's mellifluous leads are the perfect complement, like peanut butter icing on chocolate cake. Hallie's singing, while more assured and feisty, still radiates a brightness and enthusiasm that are guaranteed to get you feeling good. Her multi-tracked harmonies do the work of an entire group of backup singers, and have seemingly grown more sophisticated. And the songs, of course, are out of this world. "Samantha", I think, is the best Unlovables song yet. "Everything's Overrated" and "Sweet Sweet Boy" boast melodies to die for and hooks sharper than a Ginsu knife.
Quite simply, Heartsickle is the work of a band on top of its game. At a time when even some of the best pop-punk groups slavishly imitate other bands, The Unlovables sound more and more unprecedented with each release. There have been lots of female-fronted pop-punk bands before, but The Unlovables don't really sound like any of them. Perhaps, though, we'll someday be hearing dozens of groups that sound like The Unlovables. I could deal with that.
Jersey Beat review Jim Testa
When I first started getting seriously involved with NYC�s pop/punk scene about two years ago, the Unlovables were the yardstick against which everything else was judged. Even with rising stars like the Ergs, Steinways, and Tattle Tales pushing the envelope (all of whom, ironically, either share or have shared members with the Unlovables at some point,) 2004�s Crush Boyfriend Heartbreak stood as the scene�s new plus ultra, its proudest achievement to date. As you might know, there�s been nothing less than a pop/punk Renaissance going on during these last three years, as a raft of talented new bands and a small army of fans flooded the scene. So there was a lot riding on the Unlovables� ability to follow up with nothing less than a masterpiece. I�m happy to report that they more than met the challenge: The Unlovables didn�t try to reinvent the wheel, they just did what they do best and let it roll.: Heartsickle�s bubblegum hooks and ear-tickling harmonies comprise a non-stop collection of endearing, and heart-winningly catchy pop tunes that will nestle in your record collection right alongside dog-eared copies of My Brain Hurts and Revenge Is Sweet.. And even if your CD pile isn�t already heavily littered with Screeching Weasel and MTX titles, the pure pop evanescence of Hallie Bullitt�s vocals (and brilliantly constructed vocal harmonies,) Frank Leone�s crunching guitar changes, and Mikey Erg�s simple, straightforward drumming will tickle your ears , rub your belly, and have you purring with delight. Although Heartsickle has more than its share of broken-hearted romance tunes (wisely leavening its high sugar content with a few tears and regrets,) the upbeat �Samantha� may just be the best Unlovables song ever, an ebullient ode to a dear friend that Hallie knocks out of the park with passion and verve. �Dance Party For Two (Your Room, 3 a.m.)� will have you pogoing in your bedroom like a 13 year old discovering the Buzzcocks for the first time, while �Sweet Sweet Boy� frames a perfect bubblegum love song amid chiming Buddy Holly-ish acoustic guitars and subtle bass. The Unlovables are still the yardstick against which all other pop/punk is going to be judged; they�ve just raised the bar a little.
Go Metric review by Mike Faloon
I�ve scrapped many versions of this review. They all started out with good intentions�talk of new wave hooks and heart-on-the-sleeve lyrics�but they always wound up sounding like I was reviewing an episode of Dawson�s Creek, which was, by any measure, an awful TV show. And the Unlovables are everything but awful, especially on Heartsickle. I appreciate their punk side more because it sounds like they�re varying the tempos more. Likewise for the variety in the backing vocals (the harmonies on �Disaster� sound like Velocity Girl, just for one example). There are countless great moments--the first seven songs fly by and flow together perfectly--my favorite being the pre-chorus on �Samantha.� I�d listen to the radio every day if they�d play records like this.
Nuthin Zine review by Danny White
One of my favorite female fronted pop punk band ever are back with a new album of saccharine sweet tunes. A natural progression form their previous album, Crush Boyfriend Heartbreak, this album has a good bit of cynical breakup afterthoughts mixed in with songs filled with love, lust and relationship boredom. I fell in love with my favorite song on the album over a year ago when I heard it live. I�m so glad that they put �Dance Party for 2 on this album so I could finally hear it again. This album is poppy goodness at it�s finest, and it that�s your bag, you should already have your order in to Mr. Whoa Oh for your copy.
theowlmag.com review by Kiri Oliver
Fans of classic female-fronted pop punk bands like the Muffs are likely to squeal with delight at some point during the first 20 seconds of The Unlovables' Heartsickle, knowing they're in for a treat. The NYC quartet's songs have all the right ingredients: strong vocals with just the right amount of attitude (courtesy of bassist Hallie Bullit), tight harmonies, memorable choruses, great energy and plenty of enthusiastic whoa-oh's. Highlights include the particularly spirited "Everything's Overrated," the ode to an awesome chick "Samantha," and the anthemic closer "Crazy Tonight." This is the stuff that secret bedroom dance parties are made of.
TruePunk.com review by TP
Holy crap is this poppy! Yes it is very poppy, with every song something you can sing along with. Their previous album �Crush * boyfriend * heartbreak� which was also a very enjoyable album has nothing on Heartsickle. Girls singing about heartbreak and boys, you have to enjoy that. Everything is a sing along.
The only downside to this album is every song is about heartbreak/love/relationships etc. Which is really sad because so many of these songs are great, but the subject matter is all the same.
This album is really worth checking out, and would be a blast seeing live.
scenepointblank.com review by Mike B.
For those unfamiliar with the band, the Unlovables are New York City's happiest, poppiest female-fronted pop-punk/buzz-pop band. This is the second full-length from the four-piece group. I should probably mention that I'm somewhat biased, since the band's first release, Crush Boyfriend Heartbreak, is possibly my favourite pop-punk album of all time. That said, this album is also quite excellent. ??While Crush took a page from Screeching Weasel in being pure fun, Heartsickle adds quite a bit of substance. As is frequently the case with a band's sophomore album, though, while it adds more advanced melodies and general depth, it's not quite as catchy as their debut. Even so, the change is somewhat welcome -- an attempt to create a song as catchy as "Feelin' All Emo (Since I Broke Up with You)" would be pretty much doomed to failure. ??The album starts out on an unsurprisingly peppy note with "Leave Me Alone," an example of the band's trademark, tongue-and-cheek treatment of breakups through nearly-giddy, sugary-sweet songs. One of the great things about the Unlovables is that they can be listened to either seriously or ironically. All of their songs' lyrics are both cute and sometimes painfully accurate descriptions of the familiar subject of relationships, but at the same time sung in a silly, light-hearted way that allows you to laugh at the whole subject, if you're not in a particularly romantic mood. Songs like "Dance Party for 2 (Your Room, 3 A.M.)" can make you either "aww" or laugh, depending on what you're feeling at the moment. ??The catchiest song on the album is probably "Samantha," the song you are greeted with whether you like it or not upon hitting up their homepage or MySpace page. Like most of their songs it's basically just an excuse to smile and have fun for a few minutes. ??The album does fall into the clich� second-to-last-song-acoustic-number, but fortunately Hallie's vocals are more than enough to keep even the acoustic song interesting. The album ends with "Crazy Tonight," which features some form of high-pitched sleigh bell throughout the entire song, making you feel like you are going crazy right along with the band. I'm still not sure if that's a good thing or not. ??This has gotten much longer than is warranted for a light, fun record. Just drop the $10 and pick it up -- even if it's not the best album of the year, it's guaranteed to make you smile for 40 minutes.
Punknews.org reveiw by Rastid
I first heard The Unlovables on Crafty Record's New York vs. New Jersey Punk Rock Battle Royal compilation. They were one of the bands that didn't blow me away on first listen, but after repeated spins their songs were among my favorite and I quickly picked up Heartsickle, their second full-length.
The Unlovables play mid-90's style pop-punk, featuring powerful female vocals with plenty of catchy hooks and melodic guitar leads. Vocalist Hallie Bullit has a voice that immediately commands attention and is easily recognizable without sounding quite like any other pop-punk vocalist. Their songs have a saccharine and polished sound without veering into the over-produced territory that many mainstream pop-punk bands fall prey to.
Bullit writes about pop-punk staples such as relationship problems and the frustrations associated with growing up, but as a clever lyricist these familiar topics are examined with a witty and personal spin. On �Let's Not Fight� she mourns relationship arguments:
You and I could be out riding bikes / Or record shopping down at generation /�Or rifling through old tapes and CD's / And singing Clash songs at the top of our lungs / Let's not fight / Life's so short there's so much to do
On �Disaster,� another standout track, Bullit confronts growing up still immersed in punk rock while peers pursue careers:
You prefer security / I like ambiguity / I don't want to make a plan / I don't want a minivan / And you don't understand it / But it's working out ok for me /�I don't ask why you spend eight / Hours a day at a job you hate / I'm not pointing my finger / At you and your high blood pressure / And neither of us knows if we'll regret / The choices that we've made
Ideally, I would have trimmed this album down to ten or eleven tracks, as �Have You Ever?� and �No Way� fall a little flat and result in a slight drag toward the end. With that said, it is a minor criticism of an album otherwise packed with infectious songs. Heartsickle serves to further establish The Unlovables at the forefront of the current pop-punk revival. As someone who lived through the initial pop-punk explosion and had The Queers, Screeching Weasel, and Tilt on constant rotation, I highly recommend giving this album a spin if you currently or used to love pop-punk. The Unlovables will likely be one of the bands reminisced about and recommended to younger generations when this era of pop-punk concludes.
Washington Square News reveiw by Ashley Tyrrel
Pop-punk heroes The Unlovables have finally delivered the follow-up to 2005's "Crush*Boyfriend*Heartbreak" with "Heartsickle," a piece of pop-punk gold that surpasses their full-length debut on virtually every level. That's not to say that "Heartsickle" is a total departure from "Crush" - quite the contrary. It's clear the Unlovables know who they are and don't try to change. But they are growing, and "Heartsickle" proves a logical next step.
Most of the songs on "Heartsickle" follow the "Crush" formula lyrically and musically. "Heartsickle" is about songwriter Hallie Bullit's love-hate relationship with the male species, with ridiculously catchy melodies and harmonies reminiscent of '60s girl groups. But Bullit's vocals, happy and boppy on even the saddest songs on "Crush," have now become highly emotional, sometimes snarling and often aggressive on "Heartsickle." Bullit also has expanded her songwriting's focus to more than just boys. "Samantha" is a different type of relationship song, with Bullit singing of her love for her best friend. "Everything's Overrated" and "Disaster" depart from relationships altogether and tackle the trials and tribulations of adulthood and life in general.
"Heartsickle" is essentially a perfect pop-punk album, and it will be interesting to see how The Unlovables attempt to surpass this gem with their third release.
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