Explains bassist Chad Alan, "It sounds like  [second album] Emotion Is Dead on crystal meth. It's also quite personal and exhibits darker themes  than our past efforts." Recorded almost completely live with a heavy DIY aesthetic in check (selffunded without label support; Detar recorded almost all of the vocals alone in his home studio), this  album marks a departure for the band, yet a return to their powerful songwriting roots. "It's basically a  goodbye album, a farewell record," says Detar. "It's one long series of goodbyes after another, except  they aren't sappy, sad goodbyes. Most of them are good riddance type of goodbyes. Lyrically the  songs  convey  almost  elated  farewells  to  lovers,  towns,  and  bad  relationships."  Filled with energetic blasts of melody like the opening track "This Is A Lovesong... For The Loveless"  to the virally infectious and neo-danceable "Leave Like a Ghost (Drive Away)" to the gauzy and tender  "I Love You to Death (Drive Safe)" (per Detar: "...a lullaby for the end of the world"), Deadbeat Sweetheartbeat is delirious  and  mesmerizing  blend  of  ripped-raw  emotion,  fierce  and  feisty  musicianship, and complexly crafted melodies that stick fast and hard. Formed in the Summer of 1997  from Latrobe, PA, THE JULIANA THEORY released three albums including their critically-hailed  Emotion is Dead and their major label debut Love (that sold more than 100.000 copies in the US).  Comprised of Detar, Alan, guitarists Josh Fiedler and Josh Kosker, and drummer Josh "Chip" Walters,  the band was immersed in the alt-rock scene of the late 90s/early 00s and toured with friends such as  Coheed & Cambria, Glassjaw, as well as landing a spot on the WARPED Tour. Pulling back the reins  from the overproduction values of that scene, the band holed themselves up in Seedy Underbelly  Studios (previously owned by Toto's late drummer, Jeff Porcaro) in Valley Village, California in late  2004 to begin work on Deadbeat Sweetheartbeat. "We really set out from the beginning of the writing  process to make an album that's a lot closer to our live show," concludes Detar. "We didn't want as  many overdubs or vocal harmonies as on previous records. We just basically set out to make an  album that showcased what our band actually is."