There is a quiet confidence running through There Is No Arrival Vol. 2 that separates it from the typical anniversary release. This five-song chapter from New Jersey’s Above the Moon feels less like a victory lap and more like a recalibration, as if the band has taken stock of ten years together and chosen to respond not with nostalgia, but with sharper instincts and renewed purpose. The result is a tightly focused EP that balances emotional weight with the kind of restless energy that first defined their sound.

Opener “King Baby” wastes no time establishing its presence. The track arrives with a raw, almost confrontational pulse, guitars snapping and surging with intention. Kate Griffin’s vocal performance is commanding without being overbearing, threading clarity through the song’s volatile edge. There is a sense of defiance here, not chaos for chaos’ sake, but a deliberate statement that the band still has teeth and knows exactly when to bare them.

“Back and Forth” follows with a more dynamic emotional arc, playing with tension in both structure and feeling. The push of its rhythm mirrors the internal tug-of-war in its delivery. Griffin’s voice moves between restraint and release, capturing the complicated space between yearning and self-preservation. The instrumental choices feel considered, with Kyle Griffin’s bass grounding the track while Shawn Murphy’s guitar carves out the emotional undercurrent. It’s one of those songs that feels intensely personal yet broad enough to land with anyone listening closely.

A noticeable shift arrives with “Sirens,” which trades momentum for atmosphere. The band leans into melody and tone, allowing the track to unfold patiently. There is a cinematic quality to its progression, as if it exists slightly outside of time. The restraint shown here speaks volumes about the band’s growth, proving they are just as comfortable in quieter, reflective territory as they are in high-voltage urgency. It acts as a necessary exhale within the EP’s emotional pacing.

“Top Five” reintroduces movement, but with a nuanced touch. There is a playful undercurrent woven into its layered harmonies and rhythmic interplay. The song feels curious and exploratory, hinting at unpredictability without fully abandoning structure. It showcases the group’s ability to build complexity without losing accessibility, a quality that has become increasingly central to their identity.

Closing track “When We’re Gone” serves as both reflection and release. It carries a sense of contemplation, quietly asking what remains after the noise fades. The arrangement grows steadily, blending introspection with an understated sense of resolve. Rather than offering a neatly wrapped conclusion, it leaves space for interpretation, which feels thematically aligned with the EP’s larger meditation on presence and impermanence.

Formed in Madison, New Jersey, Above the Moon has steadily shaped a reputation grounded in sincerity and live-wire performance. Their refusal to hide behind studio tricks or overproduction has given their catalog an honesty that feels increasingly rare. From early EPs to their 2023 full-length recorded at Bottle Hill Recording, every release reflects a band committed to evolution rather than comfort.

There Is No Arrival Vol. 2 stands as a thoughtful marker in that ongoing progression. Instead of chasing trends or replaying past successes, Above the Moon focuses inward, refining their voice and strengthening their emotional reach. It’s a record that rewards careful listening, offering moments of intensity, vulnerability, and quiet clarity in equal measure. For a band ten years into their journey, this EP feels less like a conclusion and more like a promise of further depth still waiting to be uncovered.