REVISITING THE ACADEMY IS…’ BREAKOUT RECORD ‘ALMOST HERE’ 20 YEARS LATER
Girlhood is defined in many ways, but for some, it was defined by their teen girl magazine cover crush. They often had polished personas, signature hairstyles, and were in a band. For many, that was William Beckett, whose band, The Academy Is…, became the soundtrack to many an iPod. This month, The Academy Is… is celebrating a major milestone: their breakout record Almost Here turns 20. This introspective and occasionally defiant LP was a sign of the times—yet it remains culturally relevant today. Its sound is timeless yet nostalgic, captivating new audiences who never had to download it on Limewire. How nice it must be to have never been traumatized by fake Limewire files. Shudders.
The Academy Is… attracted a diverse fanbase in their early years, but for me, they existed through the lens of a swooning teenage girl. Many in that generation felt like outcasts, finding solace in media consumption—especially music. It was the alt-rock superboom, an era where swoopy flat-ironed bangs reigned king, thanks to contemporaries like Panic! At The Disco. ‘Almost Here’ felt fresh at the time, in large part due to Beckett’s superb vocal range. His evocative delivery, smooth-as-butter vocal tone, and rock-solid breath control made each lyric hit harder. But instrumentally, the band commanded attention (attention…) with unconventional composition choices, like putting bass at the forefront of many songs.
One might argue that Pete Wentz’s influence had a stronghold on the group after they got signed to Fueled By Ramen. Their tenure with Decaydance certainly benefitted from Wentz’s direct input. His expertise and mentorship likely helped curate the tight-knit signature sound that emerged with their hit, “Slow Down.” However, they deviated away from the over-the-top theatricality their peers focused on. ‘Almost Here’ mirrors Wentz’s confessional lyricism, but Beckett’s is more anxious, creating a sense of urgency.
He says, “We’re living what we’re singing/so I guess that’s a step in the right direction!” Indeed, this stylistic choice catalyzed their debut LP to mainstream success beyond the barriers of Hot Topic fame. It echoed the Taylor Swift effect; Beckett’s verses are universally resonant and deeply personal, a necessity for AIM away messages. Songs like “Classifieds” read as diary entries; Beckett has never been a hard-shelled bad-boy rockstar but he humanized himself in this first record with this style. He borrowed from Wentz’s Livejournal poetry style at times, but his distinct writer’s voice shone through vividly in each track. The Academy Is… was the most stylistically different of early Decaydance artists because of their commitment to self-expression outside of Wentz’s influence or mentorship. This, ironically, proves his mentorship to be exceptionally effective.
Another aspect that pivoted The Academy Is… away from being pigeonholed was their defiance against curating perfect personas. Sure, they had the look to fit magazine covers, but their relatable sense of humor brought audiences closer to them authentically. Each episode of TAITV was more like watching your classmates get into shenanigans, rather than spectating on the massive celebrities that they were. This, in turn, is part of how ‘Almost Here’ is still culturally relevant 20 years later. The record represents a more personable approach to music. Many yearn for more simple production choices, where tight instrumentation takes precedent over flashy Logic Pro plugins. Similarly, rock music has turned extraordinarily cinematic over the years—which is fine, but it makes live-feeling records like ‘Almost Here’ all the more special.
One could argue that ‘Almost Here’ resembled TAITV perfectly well in that it is controlled chaos. Each instrument is given a shot to shine, like the stripped-down guitars in “Down And Out.” Otherwise, the record’s grandiose remains focused on skilled musicianship. The urgency of Beckett’s lyrics are reflected by The Butcher’s monstrous (/positive) drumming, simultaneously airtight yet dangerously explosive. His captivating dynamics make builds more potent and lyrical messaging more poignant. Guitars are crisply tuned and distorted, yet perfectly unrestricted, running wild for minutes at a time like a long-haired horse through a grassy field. Mike Carden will never make Sisky Business hang onto a root note, instead utilizing their natural chemistry to weave in between each other seamlessly. There is a theatrical intensity about the record, albeit in a much different form than their peers. Instead, ‘Almost Here’ reads as a well-rehearsed monologue, with Beckett being a captivating leading man.
Now, ‘Almost Here’ continually wins hearts just as it did 20 years ago. The emo resurgence has established several different categories, but the jury has voted the same result: everyone craves honesty. Some may borrow from the live-feeling instrumentals, while others pen letters in their rooms attempting to write something as good as “Skeptics & True Believers.” The layered, varied emotions captured throughout the record are impossible to replicate—which is why many are trying, currently, to write their own ‘Almost Here.’ The generational divide is only large if we allow it to be. Some still crave to be heard in a world that only sees them at face value. “It’s not like it hurts that much anyway!”
What The Academy Is…plans to do to celebrate their breakthrough record is still up to rumor and speculation. Whatever they do, or don’t do, fans will be celebrating; they continually show up, whether the band is presently recognizing it or not. The praise is well-earned, as records like this are something special. ‘Almost Here’ isn’t just a record—it’s a lifeline, a fever dream, a battle cry, and 20 years later, it still sounds like everything and nothing has changed.