Deadbeat Sweetheartbeat

The Juliana Theory released their third album Love in February 2003 through major label Epic Records.[1] Within a few weeks of its release, as the group were readying themselves for media promotion for MTV and radio, the label informed them: "The record's dead."[2] Frontman Brett Detar said the label viewed it as "dead before it came out" due to it leaking seven months prior. In addition to people at the label who championed the band had left or were fired,[3] the label focused their efforts on Jennifer Lopez and Good Charlotte instead.[2] The band's contract had an out-clause, which meant they didn't have to give the label another album and the label still had to pay the band. They used this money to fund the creation of their next album.[4] Undeterred by the situation, the group were in the process of writing new material for a new album by April, and aimed to release it in the following year. They recorded some demos in June.[5] In September, Detar described the new material as "a lot more raw and energetic" and "like The Juliana Theory on speed".[6]

Around this time, the band debuted several new songs during their performances, namely "French Kiss Off", "Temptations with a Sharp Dagger" and "Opposite Parallel Poles". Towards the end of the 2004, the group started recording the follow-up to Love.[7] Sessions were held at Seedy Underbelly Studios in Valley Village, California.[8] They recorded around 85% of the album live-in-the-studio;[2] Detar said they wished to capture a performance that was representative of their live show.[8] According to Detar, the final mixes make the album sound "like a rock record with the guitars extremely loud and the vocals are kind of quiet".[4]

Deadbeat Sweetheartbeat mixed the experimentation of the group's preceding releases into its progressive rock sound.[9] The lyrics tackles the themes of saying goodbye to partners, bad relationships and towns. Detar explained it was "basically a goodbye album, a farewell record. It’s one long series of goodbyes after another, except they aren’t sappy, sad goodbyes. Most of them are good riddance type of goodbyes."[8] At the time, Detar bassist Chad Alan were dealing with relationship issues, alongside the fallout with Epic Records.[2] Detar's vocals were reminiscent of Billy Squier.[10] "This Is a Lovesong... For the Loveless" was compared to Coldplay.[11] "Leave Like a Ghost (Drive Away)" is about leaving a small town.[12] Detar said "I Love You to Death (Drive Safe)" served as a "lullaby for the end of the world".[8]

On July 13, 2005, Deadbeat Sweetheartbeat was announced for release in September.[13] A few days later, the group performed at Afterfest.[14] It was eventually released on September 13 as a joint release from Abacus Records and the band's own Paperfist Records.[13] The artwork recalled the Beatles' self-titled album (1968).[10] It also includes a bonus DVD which features the making of the album and four bonus tracks. During the same month, "This Is a Lovesong... For the Loveless" was released to modern rock radio stations.[15] The group played a few shows in the UK in January 2006[16] as part of their European tour with Haste the Day.[17] Some of the shows featured Turmoil and Most Precious Blood.[18] Later in the month, they played their final show in Germany before announced their break-up two months later.[19]

Professional ratings

Review scores
Source	Rating
Melodic	[10]
Metal.de	7/10[11]
Miami New Times	Unfavorable[20]
Ox-Fanzine	8/10[21]
Pittsburgh Post-Gazette	Favorable[12]

Kaj Roth of Melodic said it was their "most energetic" release, and found it "a little better" than Love.[10] The album was a "a giant smorgasbord of anthemic rock", with "French Kiss Off and "Her Velvet Voice" being branded as "nothing but filler".[10] Metal.de's Florian Schörg said Detar's vocals "skilfully walking the fine line between kitsch and tearfulness."[11] Despite one "or the other fountain pen has sneaked in between mostly high-quality song material," he'd "warmly" recommend the release to "every emo fan."[11] He complimented the "earthy and pleasantly rocking" production, and found that the majority of the tracks didn't wane with repeated listens.[11]

Ox-Fanzine writer Thomas Eberhardt found the material "very mature" musically, with the addition of the keyboard making it seem like a "dreamy, but also very stirring affair."[21] He praised Detar's "characteristic and empathetic" vocals for adding "the uniqueness of the group as always."[21] Emily L. Mullin of Pittsburgh Post-Gazette the opening track set the stage for the remainder of the record with its "catchy, upbeat" sound, and "[a]fter that, the songs flow well and fit together".[12] She praised Detar's voice as being "powerful, almost haunting at times."[12] Miami New Times's Jonathan Garrett said it was "an unapologetically white-knuckled take" on their usual sound, however, it had "weak underlying hooks and occasionally embarrassing lyrics".[20]

All lyrics are written by Brett Detar, except where noted; all music is composed by The Juliana Theory.

• Chris Athens – mastering
• Matty Baratto – guitar technician
• George Bardell – assistant
• Joe Barresi – mixing
• Brett Detar – producer, art direction, vocal engineer
• Atom Greenspan – percussion, assistant
• Josh Karchmer – executive producer
• Jason Magnusson – percussion, engineer
• Kris McCaddon – art direction, design, illustrations
• June Murakawa – assistant
• Sean O'Keefe – engineer
• Sean Stockham – assistant, drum technician
• John Travis – producer, engineer
• Daniel Weyandt – vocals, guest appearance
• Steve Wilson – percussion, engineer

Citations

Sources