Movements “No Good Left to Give” Album Review

The auspicious career of Californian quartet Movements gained significant traction after the release of their debut album Feel Something in 2017. Their distinctive combination of emo, indie rock and post-hardcore paired with such vividly relatable lyricism resonated with anyone who stumbled upon it, earning them a strong standing in several scenes, including pop punk, which they are far from. Now having toured with highly renowned bands including Good Charlotte, Pierce the Veil and The Story So Far, as well as headlined multiple tours of their own, Movements have graced us with their sophomore album, No Good Left to Give.

A cohesive ebb and flow of emotions that passes over waves of agony and heavy-heartedness, No Good Left to Give embodies every component of what made the band’s previous releases so outstanding in their field, blossoming them into something more polished and defined. There is not a single filler on this record – through the resonant guitar tones of Ira George, innovative conversing between Austin Cressey’s basslines and Spencer York’s drumming, and varied expression of Patrick Miranda’s vocal delivery, every track has its own unique purpose with not one failing to accomplish it.

The album opens with the murky guitars and dispirited vocals of “In My Blood”, mustering a haunting imminence for the consuming cycle you’re about to be thrown into. It slowly builds into the raw, unbridled energy that foreshadows what’s to come, the way an opening song in a live setting would. After hitting that climax, it instantly deescalates back into the desolate atmosphere it started with, leaving you with the restless desire for more. Smoothly bleeding into the more upbeat “Skin to Skin”, the echoing palm-muted guitar riff wanders on with Miranda’s lustful vocals, evoking the feeling of having your head in the clouds with a yearning for physical and emotional intimacy. The motives of the track’s sexual innuendos seem lighthearted at first listen, but lines like “Spill your secrets to me skin to skin” are subtly setting up for much heavier themes to come. While this song depicts the growing closeness of two lovers, “Don’t Give Up Your Ghost” reveals the underlying secrets of suicidal tendencies learned through that contact. The energy reverts back to a gloomy state as Miranda offers his support, asserting “Can’t you see the green underneath the snow / If you leave you’ll never know.”

In the anguished “Tunnel Vision”, we finally get to hear some tormented screams nostalgic of their earlier work. While this has become a less frequent practice for them, they effectively save it for when it is most necessary, allowing the preceding energies to pile up into something even more daunting. This agitated setting jumps right into the chorus-doused guitars of “Garden Eyes”, reminiscent of ‘70s and ‘80s bands like The Cure. Through early 2000s-inspired vocal melodies, Miranda sings of seeing a loved one afraid to walk away from a destructive relationship. The modulated tonalities evoke the warped frame of mind grown when mesmerized by a thirst for romance.

The repentant mentality of “12 Weeks” and “Living Apology” sets an unnerving yet gripping transition into the album’s second half. In the former, the mental exhaustion in Miranda’s voice rages with self-loathing through a timid lens, exclaiming “I’d throw myself to all the wolves outside if it meant you’d be alright.” The lyrics of the verses paint a vivid picture of an anxious mind during confrontation, and the grating instrumentals intensify that “on edge” feeling even further. “Living Apology” is a whole different take on feelings of shame and self-reproach, using a softer, more melancholic vibe for the despondent state that surfaces once panic has subsided.

Taking a break from the more brooding topics, “Santiago Peak” is a tribute to the band’s hometown in California, and as positive as the album gets. The bright, musing tone of the melodies creates a dreamy narrative of turning to old memories for comfort, and finding a new appreciation for times once taken for granted. “Seneca” opens with the bass and drums working together as one, delicately augmenting the trembling voice of Miranda recounting how he saw social media posts for his ex’s engagement announcement. It is not bitter or resentful, but rather bittersweet as described in the lyrics, “It’s bittersweet ‘cause you look so happy.”

Closing in on the last few tracks, No Good Left to Give wraps itself up while simultaneously unveiling just how much Movements have grown as songwriters. The poetic “Moonlight Lines” includes some of the most expressive spoken word they have ever implemented, deciphering the suppressed emotions endured through one-night stands. The reiteration of the lines “I never wanted your heart in the moment we met / I wanted a body to warm my bed” hits harder and harder as Miranda belts it behind the immersing outro. The record then finishes off with the bleak, piano-infused title track interlude coursing into “Love Took the Last of It”, forming an instant Movements classic that will make for some powerful live performances. The song titles in themselves tell the abridged version of the album’s story, and are repeated together several times throughout, “No good left to give, love took the last of it.”

From start to finish, No Good Left to Give is an eclectic yet finely-balanced album that showcases exactly how the band can effortlessly fit into multiple genres and recruit listeners from varying fanbases. It demonstrates a natural progression of artistry that acknowledges both their strongest and weakest links, using this recognition to more deeply discover their purpose as a band and evolve. The ever-growing musicianship and togetherness of songwriting that Movements provide are what will make them one of the most prominent and influential alternative bands of the coming decade.

Favorite tracks: Moonlight Lines, Love Took the Last of It