B-Side Guys

Metamorphosis rarely announces itself this boldly. Who Saved Who has emerged from their previous incarnation wielding a completely different set of tools, trading sweet indie pop for something far more muscular and psychologically complex. The addition of Paul Perrotti on bass and Jonah Rigby on drums hasn’t just filled out their lineup—it’s fundamentally altered their creative DNA.

“The River” crashes through speakers with Rigby’s intricate drum work leading the charge, establishing immediately that this won’t be polite listening. The rhythm guitar’s broken chords that anchor the chorus feel deliberately fractured, mirroring the internal dissolution the track explores. When Sean bellows “used to be clean, but I fell in the river,” the line demands participation rather than passive consumption. This isn’t confessional whispering; it’s communal catharsis designed for car windows down and crowd sing-alongs.

The shift into “Fossil” demonstrates remarkable dynamic intelligence. After “The River’s” urgent assault, the meditative grunge approach feels like necessary decompression. Rigby’s drumming again provides entry point, but here it serves contemplative rather than explosive purposes. That sensual guitar riff creates space for introspection, while the opening declaration—”it’s my life, so don’t bother. I’m not the architect of any other”—functions as manifesto. The Toadies comparison feels apt; both bands understand how to make heaviness feel thoughtful rather than merely aggressive.

“Back from the Dead” occupies the EP’s most adventurous territory, ping-ponging between luscious major 7th chords and headbanging blues riffs. This juxtaposition could easily feel schizophrenic, but Who Saved Who uses the contrast to mirror the track’s thematic wrestling match. Sean’s observation about seeing “an angel and it looked so distressed, carrying on in the aftermath” captures specific existential anxiety—what if transcendence is just more of the same struggle? The ethereal anti-spiritual approach avoids both cynicism and false comfort.

“Every Waking Passing Moment” injects crucial levity without abandoning the EP’s emotional seriousness. The bouncy, vibrant chorus provides oxygen after the cerebral intensity of previous tracks. This placement demonstrates sophisticated understanding of pacing—joy hits harder when it follows genuine darkness. The track’s energy feels earned rather than manufactured, suggesting the band has found genuine reasons for optimism amid their explorations of despair.

Closer “You Won’t, But You Might” completes the title’s thought with remarkable conceptual elegance. The Jimmy Eat World-esque chorus approach serves the track’s anthemic aspirations while maintaining the band’s newfound complexity. The concept of achieving dreams in a rotting world could easily devolve into either naive optimism or paralyzing pessimism. Instead, Who Saved Who offers something more nuanced—cautionary hope that acknowledges both possibility and probability.

Producer Steve Perrino deserves recognition for maintaining continuity with the band’s previous singles while accommodating their dramatic evolution. The year-long recording process allowed ideas to develop organically rather than being forced into predetermined shapes. This patience shows in the final product’s cohesion—despite exploring diverse approaches, the eighteen minutes feel unified.

The strategic single release approach—playing the algorithmic game while maintaining artistic integrity—reflects mature understanding of contemporary music landscape. Rather than compromising creative vision for streaming metrics, Who Saved Who found ways to work within current systems without being diminished by them. The banana bread music video for “Every Waking Passing Moment” demonstrates this balance perfectly—conceptually playful enough for social media engagement while serving the song’s joyful energy.

Lyrically, the band has discovered how to balance grief and longing with newfound joy without diminishing either emotional territory. This isn’t toxic positivity masquerading as depth, nor is it wallowing disguised as authenticity. Sean’s wrestling with afterlife concepts, personal agency, and collective struggle feels genuinely exploratory rather than performatively tortured.

The rhythm section’s impact cannot be overstated. Perrotti’s bass provides foundation that allows the band’s dynamic shifts to feel grounded rather than chaotic. Rigby’s drumming consistently provides both technical proficiency and emotional intelligence—whether driving urgency on “The River” or supporting contemplation on “Fossil.”

All You Thought You Could Do succeeds because it treats transformation as ongoing process rather than completed event. The EP acknowledges that growth involves both loss and discovery, that finding joy doesn’t require abandoning complexity. Who Saved Who has created something that honors their past while boldly establishing new creative territory.

Most importantly, they’ve avoided the trap of abandoning everything that worked in service of change. The sharp lyricism remains; the emotional honesty continues. They’ve simply found more powerful ways to express these qualities. This EP positions them as band capable of sustained artistic development while maintaining core identity.