Ensenada When I first heard that the son of late Bradley Nowell, Jakob, was going to be taking his rightful place in fronting Sublime, I was immediately intrigued and excited about the premise. How do you replace one of the most charismatic and endearing frontmen of the 90’s? Jakob Nowell really was the only logical choice, and hearing him sing on Until The Sun Explodes gives me chills in hearing just how similar he sounds to his father. 30 years after the classic Sublime record was released, Jakob Nowell, Bud Gaugh, and Eric Wilson had the near-impossible task of living up to anywhere near that type of legacy for one of the most cherished bands from my generation. Growing up, if you didn’t have a Sublime CD in your CaseLogic briefcase, you most certainly knew someone who did, as the self-titled album grew major traction during the height of the “CD boom”-era of the 90’s. Until The Sun Explodes has all of the elements of a Sublime record, with the original members too, but even if Jakob sounds as close to Bradley as humanly possible, it doesn’t always translate into the same type of polished songwriting. Instead, Sublime do their best to honor Bradley while providing a closing chapter to the legacy of the band as a “thank you” to the fans who are still playing their music today.
Until The Sun Explodes was preceded by four singles before it was released this past Friday, with the first major taste of the direction this version of Sublime were going for on their #1 radio hit of “Ensenada”. The single logically kicks off the record on the right foot, as Jakob wastes little time getting the classic Sublime vibes going as he weaves Spanish and English languages together much like his father used to. On the final chorus Jakob croons, “I don’t wanna be your man no more / No quiero sentir tu amor / Ensenada en mi mente,” before later declaring, “There’s something you should know / I declare you’re stoked.” The good vibes and confidence is apparent early on in Until The Sun Explodes, and “Wizard” continues down a similar path with some Reggae-infused chords and a ska-punk style. Jakob looks to cement his own place among rock royalty as he compares his role to other established artists in the second verse of, “The Wizard and Monsignor were a-wheelin’ and dealin’ / And to be a part of that is such a glorious feeling / Even Scott Stapp has touched its staff / But Beck and Martha Graff were both caught lackin’.” As much of a commendable job that Rome Ramirez did in keeping the Sublime spirit and flame burning, there really is nothing that compares to the feeling of family.
”Can’t Miss You” was the third single to be released from the set, and it explores how far the band can take their sound in 2026. Unfortunately, it feels too much like a tribute to the classic Sublime sound than doing much else. “Backwards” features Fidlar’s Zac Carper on the speedy ska-punk song that adds in a little more variety to the set, while the first interlude of “Maybe Partying Will Help…Pt. 1” didn’t do much for me in the spoken word track that explores the past of the band, but ultimately breaks up the early momentum gained. “Favorite Song” gets things back on the right path, a little bit, as Jakob croons about his past substance abuse with lyrics like, “Caught you in the bathroom with your best friend, doin’ blow / Listening to ‘Peso Pluma’ like it’s the only song you know / Fourteen hours ago, I said I’d never touch that shit / And I know you took my car keys, so I guess I’ll take a hit.” Jakob’s well-documented past of substance abuse and commitment to sobriety from 2017 on was included in the film The Long Way Back: The Story of Todd Z-Man Zalkins.
Other tracks in the middle section of the LP like “Personal Hell” sound sonically fine, with the great mixing/production elements from Jon Joseph, but it feels a little soulless. It’s almost as if the band is comfortable getting into the “Sublime tribute” status as a unit, without really exploring what it means to be a band again in ’26. “F.T.R.” is a mid-tempo track that features some vinyl scratches in the background to add to the atmosphere, while Jakob sings “Good, good feeling / Want that good, good feeling,” as he does his best to keep the positivity going during uncertain times. “Evil Men” has a steady beat to it, and is one of the more memorable songs in the middle section of the record. Jakob packs plenty of lyrical substance in the refrain of, “Gets me so hot, only I know the reasons why / The tyranny of evil men is what we glorify / I’ll just go down low till I’m lower than a worm / Then I’ll go until I get the punishment that I deserve.” I wish that more of Until The Sun Explodes would stay in this lyrical vein, but it ironically drifts a little too far from the sun.
”Trey’s Song” features H.R., and the two artists get comfortable with trading vocal sections and occasionally harmonies to lean into that classic Sublime sound. “Casino Toarmina” is an acoustic ballad that never really goes anywhere, and it’s a bit of a sleepy song to get through at this stage of the record. Another interlude intercepts the momentum before my favorite song in the set, “Gangstalker” sets a nice tone and speeds along to the finish line with some great ska-punk chords. The chorus of, “I think someone is out to get me / And I know they’re dangerous / They bug my clothes, and trace my phone, and lace my angel dust / Someone is out to get me / And I know not what they seek / Someone is out to get me / Like a villain of the week,” is dripping in paranoia, but Jakob’s captivating vocal performance sets it apart from the rest.
”Figueroa” gets a bit too relaxed after the energetic predecessor, and it once again derails the momentum gained. “Froggy” recalls a person who is a drug dealer and yet somehow manages to stay out of trouble as Jakob shares in the bridge of , “Froggy man was always well / He never watched what he ate / The picture of perfect health, and he looked so good / He’d always stay up late…getting high.” It’s a bit of an odd-sounding song, and it doesn’t really stick the landing. “Come Correct” bellows off some heavy basslines and thunderous drumbeats, and even a cameo from G. Love & Special Sauce couldn’t save this song from feeling like one that should’ve made the cutting room floor.
”What For” adds in another starry-eyed mid-tempo track in the set that begins to overstay its welcome on the 17th song out of 22 total. The chorus picks up the pace from the slow-starting song, but the Country-tinged ska-punk song ends up getting too generic for its own good. “247-369” features a cool guest appearance from Pennywise on the punk-leaning song, while the record falls into a trap of its own doing with two interludes back to back that are hard to decipher from each other. The title track closes out the last single from the set, before a list of gratitude is shared on “Thanx Again”.
Overall, Until The Sun Explodes has the same spirit that Sublime has carried on to this day, but it ends up feeling too much like a tribute band to really stand on its own two legs. Jakob had the near-impossible job of living up his father’s legacy, and he largely fills those shoes well on this LP that Bradley would be proud of. The album ultimately suffers from too many momentum-shifting moments, strange transitions in the songs, and half-baked ideas that could’ve been condensed into a more manageable/shorter listening experience. The band mentioned that this record was the true ending of Sublime, and if that’s truly the case, what a ride it’s been.