The Red Jumpsuit Apparatus- X's For Eyes (Album Review)

The Red Jumpsuit Apparatus- X's For Eyes

Released: 3rd October, 2025

Lineup

Ronnie Winter // Vocals
Randy Winter // Guitars
Josh Burke // Guitars
Joey Westwood // Bass
John Espy // Drums
Nadeem Salam // Keys
K Enagonio // vocals

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After almost twenty years, the release of new music -and the subsequent reception of it- can often be a daunting task. Some fans have spent years begging for a band not to change their sound, while others want something different. This can leave a band caught up in their own creativity tug of war. Sometimes, though, twenty years gives allowance for a band to really just embrace the sound that made them popular in the first place and truly just relish in it, and that is what The Red Jumpsuit Apparatus has done with their new album X's For Eyes.

Launching us straight into the elder emo feels with the opener ‘Always The King’, expectations were met instantly. I’ve said this before, and I will say it again, frontman Ronnie Winter’s honey-smooth voice remains one of the most underrated in the genre. The riffs are fun, with little licks and pinched harmonics being peppered to really scratch that brain itch. To comply even more with post-hardcore conventions, an appearance from Sleeping With Sirens vocalist (and emo King of features) Kellin Quinn was icing on a cake. His voice harmonises and weaves in nicely to truly build anticipation for the rest of the album.

Going from post-hardcore to more pop-punk, ‘Purple Halo’ is one of those songs that would have been the perfect gateway to heavier music back in the day. The instrumentation is tried and true pop-punk but it is the backing screams that hit this Myspace kid right in the soul. Lyrically, it is kind of cheesy- but that’s what I am here for! The “Are You My Dark Angel?” breakdown section feels like a time capsule and a lost art. There are some great newly formed bands out there who are carrying on the legacy of this sound, but nobody does it quite like the originals.

In a similar vein, ‘Perfection’ had me going back and looking up the producer credits because it took me back to selfies with digital cameras and slathering Maybelline Matte Mousse on my face (niche reference for the girlies out there). Again, lyrically, I don’t feel like it is next-level poetic, but does it have to be? It has the right formula to stick in your head, scribble on notebooks and use as your MSN status update. In all seriousness, though, this song is like sunshine and is just a textbook example of a fun alternative rock anthem. 

Now the title track ‘X’s For Eyes’ is where I started to crave a little more than a dip into my formative years. ‘Always The King’ was such a strong start, and I found I was getting a little bored. In saying this, what song was stuck in my head when I walked away from listening? ‘X’s For Eyes’. The chorus is an earworm, the guitar solo is stellar, and that refrain “Do you want to be right, or do you want to be happy?” will not leave your brain. It’s a song that grew on me more with every listen and inspired me to just go into the rest of the album with an honest and open mind.

While I’ve harped on about Ronnie Winter being an underrated vocalist, with ‘Bad Beat’, I realised that guitarists Josh Burke and Randy Winter also are not getting enough flowers. They have a subtle style at times that may go a little missed on first listen, but there is a complexity that adds so many more layers to the songs. It is evident throughout the album. 

‘Slipping Through (No Kings)’ being placed right in the middle of the album was a smart choice. It is a little darker, but has a sound very synonymous and consistent for those who may only be casually acquainted with the band. It contrasted nicely sonically with the next track and the other single, ‘Home Improvement’, but both have a strong melancholic feel. Going from more introspective to outward angst and reflection, it shows more sides to the band's sound.

My knee-jerk reaction on first listen was that this album was a little immature and that the band had not shown much growth, especially when it came to ‘Twenty Hour Drive’ and ‘Kins And Carroll’, but on further listen, my perspective started to change. The writing is solid, the song is fun and yes, lyrically again it does feel a little cheesy- but isn’t that what pop-punk is about? Winter sounds amazing, along with the rest of the band. Besides, the songs are ultimately fun. The kind of fun that makes you crave going on a drive, turning on the music and belting it out with your friends. 

By the time I reached ‘Getting By’, the musical elitism had dissipated from my soul. That opening riff reminds me that music can just be fun and a place to just let go. To just soak in the lyrics and permit yourself to dream big and want something more for yourself. I also need to mention that I appreciate the band having a keyboardist, because the keys, especially in this song, shine.

I will be honest here, I’ve had a bit of a fangirl crush on Craig Mabbitt (and also think he is an underrated vocalist in the genre), so to see his name on ‘Worth It’ already had me thinking getting through the album was going to be…well, worth it. Like the opener, Mabbitt and Winter’s vocals flow together seamlessly. Another feature not wasted, and the ultimate way to end this ride through emo kid nostalgia. 

Winter stated, “...if you were a fan of DON'T YOU FAKE IT, we think you're going to really love this album.”

I believe this statement to be true. 

Even before reading any of the extra press around this release, you can tell that X's For Eyes embodies the original sound of The Red Jumpsuit Apparatus. For those who want to study that mid-’00s emocore, alternative rock sound through a modern lens, then this is it and for those who want to feel young again, this will have you thinking you can wear your checkered Vans without inserts. 

Some albums will go down in history as true masterpieces, but there are also albums that will sit in your mind and heart as just a good listen; this is the latter. 

Rating: 7/10
X's For Eyes is out on October 3rd via Better Noise Music

Find out more here!

Review by Kayla Hamilton