The Maine – Dyed (2008 – 2023)

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The surprise new album from The Maine dropped mid-week, just as many fans of the band were en route to the 8123 Fest, taking place between January 16-17th in Mesa, Arizona. This new LP, called Dyed (2008 – 2023), features several re-worked demos/ideas from every era of The Maine’s discography, and yet it plays out much better than any other “compilation” of collected B-sides ever would. The reason why it works so well is that The Maine have the confidence to go in any direction they please, as was displayed on their 2024 single “Touch”, and further cemented on this latest record. The band have been no strangers to reinvention, as documented in their dynamic nine-album discography, and yet this album that touches on each of their past recordings showcases what The Maine are capable of creating when firing on all creative cylinders. While it may have been easier for the band to simply dust off these old demos and release them as-is, taking the easy road simply isn’t in The Maine’s DNA. Dyed brings the listener back to where it all started, offers a cohesive journey through their past work, all while still sounding like the band we have known and loved over time that continues to get better with age.

Self-produced by vocalist John O’Callaghan, he shared, “Revisiting the past can stir up all sorts of feelings. Nostalgia, fondness, gratitude, and on and on and on. We felt everything in between when we uncovered these songs from over the last few decades, and sincerely hope they stir up anything of the sort for you while listening!” Anytime we can get new music from The Maine is a treat, and Dyed delights anyone who takes the time to put their ears on it.

The artwork of Dyed complements every record that The Maine have released to date and the song titles correspond with each of the color-coded themes much like a puzzle interwoven together. On the surface, the LP offers a nice bookend to the nine different eras of the band, but playing the album from front-to-back sounds even better than I was expecting this project to and makes The Maine’s 10th record that much more intriguing. Some of the songs here seem vastly different than the record they were originated from, like the opener “Two Flowers” (from Can’t Stop Won’t Stop) that is filled with a breathy vocals from O’Callaghan paired with an atmospheric sound that may have fit better in the Lovely Little Lonely aesthetic. Yet, the way that The Maine likely approached this project was to find a way to have the 2025-version of themselves come through more vividly in these recordings.

Lead single “Don’t Light The Match” originated from the Black & White record, and is a certified smash of a single that I am glad is seeing the light of day today. While I can see why it didn’t match the vibe of that aforementioned record, the track sounds much like what I would expect The Maine to sound like today. The song slow-builds to an energetic and rewarding chorus that is sure to be a staple in the band’s live sets for the next decade. “Why I Hate It Here” comes from the Pioneer era and of the nine tracks found on Dyed, it seems to be one of the more logical “fits” from the record it originated from. The steady plucking of chords in the verses bleeds into the chorus that has a similar beat, yet adds in more instrumental elements gradually and eventually offers a brief guitar solo towards the beginnings of the bridge. It’s a telling indication of where The Maine’s headspace was when they were revisiting this old track, and they still find a way to make it sound new.

”Stray Dogs” comes from Forever Halloween and is another track that makes logical sense in the record it resided in. This may have been one of the songs that The Maine had to do “less” with, as it sounds like it could have easily been added somewhere in the sequencing of that 2013 record. The raucous power chords brought forth mesh well with O’Callaghan’s confident vocals and drummer Pat Kirch adds in some great fills to accentuate the artistic statement. “Get It Back” is another one of those songs that bleeds directly from the vibe of American Candy and its pop-based guitars are as smooth as silk. The cool swagger that The Maine highlight on songs like this remind fans of the band they fell in love with years ago, and offer another indication of why this band remains on top of their game.

”I Can’t Help Myself”, from the Lovely Little Lonely sessions, brought me right back to my favorite era of the band and still accomplishes the goal of showcasing how this band has evolved so gracefully to date. The dreamy mid-tempo track is filled with breathtaking moments, a steady beat and swooning vocals to ensure it remained a memorable section of the LP. “Eight Fingers Crossed”, from You Are OK, is a dance-floor ready smash that is filled with some cool vocal effects to ensure it gets just the right feeling from that era.

”Colored in Blue” (from XOXO: From Love and Anxiety in Real Time) opens with some very The 1975-esque guitars before bleeding away into some great power chords from Jared Monaco and Kennedy Brock, while Garrett Nickelsen adds in a stellar bass line before the bridge that explodes into another rewarding chorus from the Arizona band. The sequencing found on Dyed makes a lot of sense by closing with their last two albums and “Until The High Wears Off” (from their self-titled ninth LP) is the most logical jumping off point for where The Maine could go next. It’s a very 80’s, synth-heavy song that still feels full entrenched in what the band have cut their teeth to lately, and it leaves the right taste in listeners’ mouths as they round out the reflection process. Fans of The Maine have been some of the most loyal music fans I’ve ever had the privilege of interacting with, and they will have surely Dyed and gone to heaven with this latest gift that the band has given them.

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