The Higher

That maddest of alchemists, the music industry, has managed to seamlessly spin the two most popular genres from the two most dominant high school cliques (punks and preps) into SoundScan gold: the Mallpunk Boy Band, personified by fresh-faced and darling (but edgy and badass) kids like Good Charlotte and Fall Out Boy. And now, Epitaph Records has jumped into the game with The Higher, a competent quintet of lads who expertly paint by numbers with their debut, On Fire.

This has the makings of a top seller, so I suppose it’s hard to blame Epitaph, formerly home to politically-charged, socially relevant punk rock like Bad Religion, for releasing something this languid and dispassionate. The performances are solid, the production slick, the hooks not out of place on a Justin Timberlake album. The Higher are destined for commercial success, sure to dominate the Warped Tour mid-card for years (and getting close—so close!—to finally headlining over Motion City Soundtrack). And good for them. Having Fall Out Boy’s Patrick Stump remix one of their tracks (“Pace Yourself” ) won’t hurt, either. It just sounds like a band looking to cash in.

With On Fire, one must, at the very least, hope that the kids discovering punk rock through bands like this will take note of the label releasing them, stumble upon Bad Religion and look back at this release with the critical eye of a suddenly more seasoned listener. Perhaps then they will file The Higher away as a band that served their purpose: a junior-high gateway drug to music with substance. Then, in their own special way, The Higher will have mattered. VS