If anyone's familiar with my writing here, they'd know I have a huge affinity for the emo revival of the 2000s and 2010s. Of course, I'd argue that emo never went away. Or what is emo? Post-hardcore bands like Thursday and MCR? Or the indie gems like Signals Midwest and such. Well, while that hopefully sparks an argument in the comments, I'd like to draw attention once more to Akron, Ohio's Annabel. Warm, bubbly and smooth-whisky indie that really feel like a cut above. In 2015, I gave their last LP, Having It All, a 4.5 rating and to this day, I stand by it. It has insane replay value due its meaningful, resonating storytelling . Which is why, I'm glad to report that almost a decade later, Annabel still has the magic on Worldviews.

Now, don't get me wrong, this review won't gush and fawn like my last Annabel review did (I think??). There are flaws, but they are few and far between. For the most part, this album is excellently-produced, cinematic, and a sprawling, technical novel that really plays on one's imagination. Especially if you've slumbered and woken up from 2015 to 2019. Worldviews paints an illustration of just that: awakening, and a desire to triumph and not lose the human spirit. Or our hearts and souls.

Off the cuff, the record picks up where the last album left off sonically. "Another World" is slow yet fizzing with energy, while "All Time" immediately crescendos and swells with the band's typical loud upbeat style. It's safe to say, as "Defense Mechanism" later proves," this is indeed their signature strength and musical lane. However, the more interesting parts of the album come where the tracks deviate from formula. I should have prefaced that by saying, it's not a bad formula, as Youth in Youth proved in the past. That said, the strings and orchestral vibe on "We Are Where We Are" is truly profound, reiterating how Annabel can assemble poppy, catchy melodies, with poignant lyrics to create heartwarming rhythms. It's the stuff I can't wait to hear this year at Fest (if Punknews gets me accredited -- wink, wink). 

That's not to say I'm tired of the mid-tempo indie jauns, as they are always filled with sentiment and character. But I personally think shaking it up with more ballads or some faster indie-punk tracks wouldn't hurt. They are certainly capable of it. They've done it before and I think mixing things will help with their evolution, while reminding longtime fans of the band's versatility and vision. Notably, with Evan Weiss helping produce, you know you'll get some of that Into It. Over It and American Football gloss. From the mathy strings to the ethereal, glimmering horns on "Before Too Long," you can't help but marvel at how well the hits here are put together. Transportive and very singalong.

Credit must go to the spine of the band: the Hendricks brothers. Ben on guitars and vocals, and Andy's frenetic kitwork, are as amazing as ever. Again, it's the kind of stuff that has me eager to see them as well as their contemporaries like Prawn, Dikembe, Dowsing and The Penske File post-COVID. In fact, the way the pandemic changed the world can be heard and more importantly, felt, on the album. 

Now, in closing... remember my quibble about diversity? It's addressed in the final song. This closer doesn't bring the house down boisterously like the last LP. It's an introspective slow-drawl piano ballad made for fans of Frank Turner. More of these, maybe some of the electronica I heard mid-album, and more keys and such would sync up with where I see Annabel going. A flusher, multi-dimensional sound that transcends twinkly indie-emo. I mean, I'll GLADLY take the usual consistent bangers if I can get that from them. But I really do see more potential to mine. From a band that I hope sticks around more to share their perspectives on life, love and loss. The world is rapidly changing, after all, in terms of war, consumerism, media, etc. so amid all that rubble, it'll always be good to have a beacon like Annabel shining through the muck and mire.