Meet Me @ The Altar has been THE pop-punk trio pushing us to the edge of our seats in anticipation of their debut LP, Past // Present // Future. The trio’s aptly named album is not only breaking boundaries within the pop-punk realm, but it’s bridging the gap between nostalgia and the present-day scene. MM@TA explores pop-punk in a way that not only pulls influence from nostalgic Warped Tour bands like Paramore and Yellowcard but also more pop-forward artists via the Disney Channel like Demi Lovato and the Jonas Brothers—this exploration on Past // Present // Future is what I find the most fascinating as the band explores ALL facets of pop-punk with no stone left unturned. Through the combination of nostalgia, genre exploration, and adding their own unique grit, MM@TA are proving why their looks aren’t the only reason they are a rarity in the pop-punk scene—and it’s refreshing as fuck.
“Say It (To My Face)” is a solid kickoff to the record and I’d expect no less from this badass trio. It says, “Yeah, we met on the Internet from different corners of the states. And, what about it? We’re here making a record and you’re not.” There are always going to be critics, especially whenever a band steps out from the norm, so to start off their record by specifically calling them out, it's clear MM@TA isn't here to put up with any bullshit. “Try” is one of the catchiest songs on the whole album, despite covering the age-old topics of bottling up feelings and anxiety. It’s a classic pop-punk juxtaposition move, but I’m here for MM@TA’s note of self-reflection and find it empowering. The vocal range on “Kool” is some of the best on the whole record; the contrast between the simple, stripped-down lyrics and the long, drawn-out notes has this song playing on repeat in my head. "Kool" really highlights the beauty of MM@TA and their uncanny ability to create addictingly catchy songs with the simplest lyrics—I mean, that’s the pinnacle of pop-punk. I’d put this song immediately on a playlist for my crush—if it was the early 2000s, it would have been a mixed CD for sure.
Now here’s where we’ve reached the section of what I like to call ‘grower’ tracks. I want to preface this by saying, for me, the middle sections of pop-punk albums have always consisted of grower tracks. And let’s be honest, some even just straight-up filler tracks. But that’s not what we’re talking about here, these are songs that have genuinely grown on me over multiple listens. “T.M.I” is about self-sabotage and criticism—again the topics aren’t strikingly new, but goddamn are they relatable. I really like the guitar and drums taking center stage on “Same Language”, while the vocals shift slightly to the passenger seat. I appreciate the deviation from the standard pop-punk style on “A Few Tomorrows”, I’d even say it has a slight 90s country influence to it and if you've seen any early 2000s rom-coms, you know this is a classic staple on the soundtracks.
The record picks back up with a classic MM@TA catchy chorus on “Need Me” and “It’s Over For Me” is the empowering pop-punk breakup song I wish I had in my youth. The highlight track, “Rocket Science”, embodies the best of MM@TA and I kinda wish it was the closing track on the album because I see it as the overall anthem. But can appreciate “King of Everything” and its nostalgic factor, and as previously defined, it's a grower. Overall, this truly is one of the best pop-punk albums currently released. MM@TA is often described as a rarity within the pop-punk scene, but I hope people truly understand the deep meaning behind that. Choosing to form a pop-punk band as women of color isn't just a badass move, it's been needed for decades now. And not because bands like MM@TA didn't exist, but because the world didn't care about them existing. It would have meant so much to not only see women playing the music I loved in my youth, but women that looked like me and my friends would have truly blown my mind then, and still does now. For MM@TA to exist on the platform they have, I personally and sincerely hope it only continues to grow from here and never stops.
