On their seventh album, the LA county pop-punk stalwarts Joyce Manor remind listeners why the band’s origin lore, which involves day-drinking Four Lokos at Disneyland in 2008, is so apt. In the nearly two decades since their debut album, the band has descended further into millennial nostalgia, unironically cosplaying their ‘00s influences with little creativity. Much of the album, like its titular track and the existential dread-filled “The Opossum,” embrace pop-punk tropes, like power chords, simple lyrics and relentless tempo, to a tee. All this is not to say the album won’t satiate the band’s devoted fans, nor that it isn’t a mostly enjoyable listen. And in a contemporary culture tangled in a web of simulacra and simulation, perhaps that’s all that really matters.