Man Overboard burst onto the pop-punk scene in 2010 with Real Talk, an album that put a breath of fresh air into a genre that many felt was stale. Just over a year later, the band’s new self-titled album doesn’t reinvent the wheel, but it certainly keeps it spinning.

The record is full of one-two punches beginning with “Rare” and “Teleport,” and fans of Man Overboard’s harder songs on Real Talk will be more than pleased. Between a solidified lineup of Zac Eiestenstein, Justin Collier, and Wayne Wildrick on guitars and the addition of Mike Hrycenko on drums, the band’s musicianship on the record has improved. A new urgency in the vocals is clear as Nik Bruzzese exclaims “You barely gave a fuck before my body hit the ground” on the opener, setting the scene for what’s yet to come.

While “Voted Most Likely” and “Dead End Dreams” keep the album flowing, they stumble compared to the middle section of the record, which is nearly perfect. “Something’s Weird” kicks off with an energetic guitar riff that stays present throughout the track as Eiestenstein and Bruzzese’s trademark trade-off vocals will remind fans why they love the band in the first place. The record hits its stride on “Punishment,” which may be among the best songs the band has ever written, taking the aforementioned urgency on the album to a new level. Man Overboard does not stutter either as “Not The First” and “Headstone” show improved production by the hands of Jesse Cannon and Steve Klein compared to that on Real Talk. 

“Spunn” and “Night Feelings” bring more of what one has come to expect from Man Overboard, but “Picture Perfect” and “Atlas” find the band in previously unchartered territory. “Picture Perfect” may throw listeners off initially as the opening guitar riff is nothing like the band has done before; meanwhile lyrics “That’s when they fell in love // Not at first, but when push really came to shove” are classic Man Overboard and make the song enjoyable, cushioning the listener’s adjustment to this different sound. “Atlas” will definitely be the one major hit-or-miss track on the record that fans will either relate and cling to or find awkward and reject. Without a doubt, it is intriguing and exciting to hear as Man Overboard experiments with sound.

The best part about pop-punk is that you don’t need an intricate marketing plan or a big budget to make kids go out and listen to an album. A good pop-punk album will always be sought and craved by the kids who wish they could take the mic themselves. And while Man Overboard will always be judged and compared to contemporaries like The Wonder Years, Transit, and This Time Next Year, their self-titled album proves that they can and will continue to make quality music in this genre that begs for quality bands.

★★★★☆