On their fourth studio album Joyride The Pale Horse (out today via Many Hats Distribution), Heart Attack Man aren’t just riding into the void; they’re doing donuts on Death’s front lawn, flipping the bird with one hand and gripping a power chord with the other. It’s a masterclass in pop-punk existentialism with a sly grin and an emotional depth charge that hits harder than being stuck in a mosh pit. The Cleveland, OH trio consisting of Eric Egan (vocals/guitar), Adam Paduch (drums), and Ty Sickels (guitar) serves up surprisingly insightful takes on mortality, modernity, and meaning set against a driving backdrop of pounding drums, big guitars and shiny pop hooks.
For longtime fans, the band’s razor-sharp wit and whiplash songwriting have been a trademark since their debut. But on this new album, they’ve honed it to surgical precision. Joyride The Pale Horse is a tight 12-track ride that never lets up, delivering equal parts catharsis and chaos.
The opening salvo “One More Song (Imposter Syndrome)” immediately kicks the album off with a jolt of adrenaline. As the song title would imply, It’s an unrelenting anthem for creatives dealing with imposter syndrome. The guitars buzz, drums barrel forward, and Egan’s vocals land somewhere between pleading and punk preacher. It’s a great entry point into the album’s themes: self-doubt, death, and doing it anyway, letting you know that you’re in for both a rocking good time and some serious deeper messages.
“Laughing Without Smiling” is a masterpiece of an emotional fakeout. Its acoustic intro quickly unravels into a power-chord-laced chorus that sounds triumphant but seethes with alienation. On “Spit,” the band trades in their glossy pop-punk sound for a heavier stomp. The snarling social commentary on AI is laced with bitter sarcasm, with lyrics like “Kill me and replace me with a hologram. No one will ever know the difference, much less even give a damn” letting you know exactly how the band feels about AI.
Heart Attack Man excels at delivering that classic pop-punk sound on standout tracks “Lay Down and Die,” where the guitars are equal parts sugar and spite and “The Gallows,” a punchy ode bidding farewell to youthful delusions. Both tracks pack the nostalgic feeling of early-2000s shopping mall pop-punk but carry enough lyrical complexity to make them winners for anyone that’s graduated from shopping at Hot Topic.
The album’s title track “Joyride The Pale Horse” closes out the project with a psychedelic vibe. It’s a weird, wry, and wonderful sonic left turn. The traditional pop-punk elements are all there but presented through an esoteric and trippy lens, complete with abstract lyrics and a confounding reference to Elvis.
Producer Brett Romnes helped the band polish the chaos without dulling the edge. The nods to ’90s alt-rock, unique time signatures, and noise-rock flirtations make this their most sonically adventurous record yet. The result is an album that’s both a fast and furious listen, while also being profoundly human.
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