Corpus Christi - A Feast For Crows - Review

Among the many valiant Christian metal bands infiltrating the secular realm, there is Cincinnati-born Corpus Christi. Having been signed into a five records contract with Victory Records, they have a long road ahead of them to build and refine their style. But apart from being set for several years to come, this contract offers a perfect opportunity to shine through to the curious and unbelieving masses. Their steadfast message hasn't changed since their first album, but you can expect quite a difference musically from their sophomore, A Feast For Crows.

"I am the Cornerstone. I am the Great Physician. Separating marrow from bone. I am the King of Glory. Who was and is and is to come. I am the way, the truth, the life, Almighty Holy One." The tracks are all separated into two extremely different topics. Half of the songs accuse and judge our world, as corrupt as it is. "All hail the shrine to the apex of self-absorption. All you kings will be made low." But in the remaining tracks, they admit to falling short of God's expectations and plead forgiveness. "I am…the product of all the bad choices I've made." "Here I am. Can You make me whole again?"

It's a plain and understandable plea. When we realize that we are "not strong enough to stand beneath the shame of betrayed redemption," we can call on the Jesus' forgiveness. In A Feast For Crows, CC takes a more visceral approach. They vocalize each song as if the rapture was upon the writer of the lyrics. The broken have God to purify them, but the unsaved have only to be consumed by the world.

Now for the massive warping in their music: replacing four members in a five piece band takes a hefty toll. Guitarist/vocalist Jarrod Christman is the only survivor of CC's purge, yet I am still a little surprised that A Feast For Crows didn't turn out even farther from The Darker Shades of White than it did. "The Red Horse Is Upon Us" is a little slow to start, but soon enough "A Portrait of Modern Greed" shakes up the speakers with an onslaught of blast beats. The movement upward on the brutality scale is evident; the only remaining quality is the clean vocals that have transferred over from their first album. Unfortunately, these are CC's weakest quality at this point.

Before the end of the second track, excellent drum control and spectacular guitar finger work take the reigns. No new ground is broken, but that doesn't have to stop anyone from having a good time. Fluttery shredding and brick-heavy breakdown beats wipe away all thoughts of CC's previous sound. Tracks like "Little Miss Let You Know" and "Monuments" speak with a new kind of power that out shines the predictability of The Darker Shades of White, while "Broken" implements a passionate pendulum swing from face-breaking chugging and gut-wrenching screams to bright clean vocal choruses. Of course a bouncy breakdown dead center doesn't hurt either.

Among other improvements, Corpus Christi has found a comfortable formula that keeps each track interesting. Not a second is left bare, and repetition is rubbed out almost flawlessly. Plain chugging quickly meets breakdowns, while full anthem choruses are decorated with highly welcoming guitar solos. "Blood in the Water" is a metal monster constructed around the "horrible watery death" motif that hardly ever goes wrong. Though earlier in the album, the clean vocals were slightly off tune, here they start finding their place. A hair-raising build up leads to another crushing breakdown/guitar solo duet which plummets headlong into "Invictus," which pounds and destroys once more before "(Seeing You Again) For the First Time" trickles out the rushing flow of energy. The decreased tempo would usually call for softer instruments, including clean vocals, but it seems even more appropriate when paired with vicious vocals instead. The final track, "Shepherds in Sheep's Clothing" sets the stage for a massive end to the album. Thrash and blast beats get the extremities moving, but more guitar solos, more breakdowns? I say to you, there is no better way to go out than in violent flames and adrenaline.

A Feast For Crows is certainly a step in the right direction for Corpus Christi, but because of the huge lineup change, they've almost had to start from scratch. All that considered, this is a sophomore album that surpasses by far The Darker Shades of White. The musicianship has taken great strides forward, but overall, it still lacks anything new to contribute. With quality quite improved, I should hope that their next album will see a more unique sound. Fans of As I Lay Dying and War of Ages may have their plates full already, but if you're new to metal and you want something with real Christian passion, by all means give A Feast For Crows your attention.

Artist: Corpus Christi

Album: A Feast For Crows

Release: July 6, 2010

Label: Victory Records

Length: 11 tracks: 42 minutes, 42 seconds

Rating: 3/5

Originally posted on Jesus Freak Hideout.

Haste the Day - Attack of the Wolf King - Review

Dear 2005, this is 2010. We are sorry to inform you that Haste the Day is dead. In their place has formed a new and completely different band called Haste the Day. Though this band's line up includes former Haste the Day bassist Michael Murphey, I assure you, there are no similarities between said bands.

If the Haste the Day that you know and love has Jimmy Ryan for a vocalist, you are stuck in the past. With the introduction of Stephen Keech as vocalist in 2006, HtD's whole musical regime has been warped. Changes were made: some good, some bad, but the old HtD was gone forever. With 2008 came the departure of two more members, lead guitarist Jason Barnes and drummer Devin Chaulk, replaced by Dave Krysl and Giuseppe Capolupo, respectively. With the band's fourth album, Dreamer, they were still struggling to pin down their new sound, and then a loss by way of guitarist Brennan Chaulk left bassist Michael Murphey as the only original member. As such a drastic line-up change, this has had a profound impact on HtD's overall sound, which is why Attack of the Wolf King is undoubtedly the farthest thing from classic HtD that has yet been composed.

The gap between Dreamer and HtD's new album is nearly as dramatic as that of When Everything Falls and Pressure the Hinges. But with much toil and a boat load of new ideas, they have finally found a post-Jimmy sound that works quite well. To be quite honest, I was disappointed when I first heard new tracks from the album on HtD's Myspace page about a month ago, but hearing "Wake Up The Sun" filled me with unmistakable intrigue. The chugging drums and guitar, and Keech's newly gruffed-up screams showcases the new level of weight that they have employed, and Krysl's electric guitar squiggles with a completely unheard of voice for HtD.

With the first track already voyaging into all new waters and building hype most effectively, the eerie and ominous "Dog Like Vultures" takes center stage and surprised me even more. The harmonized chorus singing of old has been swatted away to bring forth an overhauled set up for clean vocals. New rhythm guitarist Scotty Whelan now joins Murphey in singing. New voices bring a new pitch, a much higher pitch. Occasional excursions into breakdown badlands are so far sparse, but "The Quiet, Deadly Ticking" bumps up the energy a few notches with a verse of hardcore beats and swings through a contagious clean chorus before igniting a hot box of breakdown and slithering guitar to warm up your bones.

If you weren't yet convinced that classic Haste the Day is gone, "Travesty" wipes away any lingering delusions. But the sullen, haunting tones and winding guitars numb the pain of loss. It's high time HtD is considered a separate band than the one you listened to five years ago. That's nothing to antagonize the new HtD, only to press a point.

I dare say Dave Krysl's guitar style has me chasing thoughts of Oh, Sleeper at several points throughout the album, the way his blistering fingering wraps and decorates the double kick and vocals in a sparkly gleam. In "Merit For Sadness," I begin to see the value of recent drummer Giuseppe Capolupo. He revisits some of HtD's old ways of building breakdowns with patterns that are oddly timed and hard to read, and then he adds his own persona to the cocktail with fluttery, snare-heavy fills. Keech's vocals peak in "Un-Manifest." The weak and flowery singing that he attempted in Pressure the Hinges is now dead and gone, and his skills at mid and low screams have improved even since the last album, becoming an entirely new level of menacing.

"The Place That Most Deny" seems to be a place of bent chords, bass drops, and gnarly breakdowns. The transitions to singing are perfect. They flow so comfortably from the villainous verses, as if the focus is turning from anger to truth. Guest vocals from Micah Kinard match with the new guitar tones impeccably as well, pleading to the listener with a sudden urgency. "White As Snow" is the resident ballad. Musically, the track is hard to listen to all the way through. Low chords dominate, but clashing vocals echo through and lay down an odd effect. The track never gets very interesting, and drags on for too long. "Crush Resistance" bursts onto the scene none too soon. This is a fast, barrel-chested track. After it has slipped under your feet, it impresses with force where the innovative gang vocals in the chorus could have done the same with creativity. And traces of a build up are whispered through most of the track's second half before the great hands of a dark, sluggish breakdown thrust you directly into "Walk With A Crooked Spine." The transition is completely unnoticeable.

The chords implore you to continue listening, and they do a great job. If I wasn't enjoying the album so much, I would have recognized "My Name Is Darkness" as the final track. And as it opens slowly and ends early, Attack of the Wolf King is over as quickly as it began. Fortunately, the finale is fairly epic (immersed in gang vocals screaming the track title), and ends appropriately. You were probably hoping for more after this, but unless you want to hear a terrible Black Eyed Peas cover in the deluxe edition, you're out of luck.

With such a unique name as Attack of the Wolf King, it is no surprise to learn that it is a concept album. It tells of a herd of sheep protected from a pack of wolves by righteous lions. To open with "Wake Up The Sun," a group of individuals (the sheep) are running from an unnamed threat, but feel that their "hearts are empty." "We've tried to run, but it's no use and all this time we've reached the point of desperation." With "Dog Like Vultures" comes the arrival of the lions. "Our eyes are upon you and we will protect you, be assured no fang will breach your fleece." This story can be taken as a basic analogy of our weakness, and Jesus' willingness to protect us. In "Travesty," the sheep proclaim their praise to the lions, as we to our Savior, "With love that the blindest eyes will see, you cover the darkest part of me."

The Christian metal scene has known few bands as resilient as Haste the Day. Since the departure of Jimmy, they have taken a rough ride that most bands would not survive, but they marched on. Even when they struggled to find their sound, they kept the faith. The significance of Attack of the Wolf King is tantamount to the quality of the album, and though the sound that Haste the Day was conceived in has gone, the persona has stayed the same. Further still, by warping the different styles that their previous two albums have presented and adding in quite a few new features that come naturally with new personnel, Attack of the Wolf King is without a doubt a new high for Haste the Day and a potential Solid State album of the year.

Artist: Haste the Day

Album: Attack of the Wolf King

Release: June 29, 2010

Label: Solid State Records

Length: 11 tracks: 38 minutes, 23 seconds

Rating: 4.5/5

Originally posted on Jesus Freak Hideout.

Parkway Drive - Deep Blue - Review

What happens when a band turns quite a few heads with their first signed album? Well, apart from enduring the seething jealousy of lesser artists trying to make their way, they do their very best to write a follow up album that impresses even further. So what happens then when that same band writes one of the most intimidating and musically jaw dropping sophomore albums that metalcore has to offer? According to Parkway Drive, they name that album a masterpiece and move on to record another that sounds different. Amazing feats were achieved in Horizons, insane guitar solos and ingenious breakdowns and so on, but instead of entertaining vain attempts outdo to themselves in that same style, the Byron Bay boys have undertaken a brutish new sound for their third studio album, Deep Blue.

Upon first terms with the new album, the band seemed to have become extremely shy of creativity, opening shortly with a very typical breakdown, and following with the previously revealed new song “Unrest”. The purpose is clearly to queue avid listeners into the new brutality that is Deep Blue, but is at most a collision of several cookie-cutter breakdowns. With initial impressions sagging my excitement a bit, “Sleepwalker” emerged in a hyper new form that Parkway Drive has never taken before, deploying a catchy guitar riff teamed with a steady kick beat. As it lulls into concaves of sluggish beatdowns, it does well to rear back into full speed and offer a fantastic harmony of string mastery and powerful vocals.

Where Horizons was a sinister and spear headed creature, Deep Blue is a much more hulking beast. The music relies heavily now on massive chords and steady drumming. Ben Gordon parallels his drums to Jeff Ling and Luke Kilpatrick’s guitars more so than ever, creating a stronger bond and a fuller sound. “Wreckage” is a beautiful example of this. The teamwork of the instruments accented by Winston McCall’s guttural vocals exemplifies a well oiled machine working at full capacity.

“Deadweight” carries a hopeful ambience in its folds of intensity. The blistering speed continues at full throttle until a marvelous breakdown, and I continue to gasp in awe at the fortitude of McCall’s ridiculous vocals. They have been a mainstay in Parkway Drives music, and continue to be as he gains experience and variation. “Alone” does finally relax the album a little bit. Though mostly uneventful, it has its moments of aspiration and serves as a worthy monster of a ballad. “Pressures” opens a little strangely, but soon instigates a rampage of breakdowns, thrash beats, and background guitar solos. The riot spills over into “Deliver Me”, which gets sincerely circle-pit-dirty at times, and tweedles a few guitar strings in pretty harmonies. But the breakdown that follows the excruciating build up in the middle of the track is commenced by such an epic scream; I dare you not to bang your head. This is definitely my pick for best moment of Deep Blue, contending with the notorious end to Horizons’ “Boneyards”, “there’s blood in the water.”

The party continues into “Karma”, which is opened by Ben Gordon’s chance to really show off, but if I may say so, McCall’s vocals are exceptional as well, dropping on a dime to a range of different pitches. “Home is for the Heartless” now slows thing down a little bit with frequent doses of docile gang vocals and a guest appearance of Brett Gurewitz of Bad Religion, and experiments in touches of pop-punk influenced metal, which seems to be gaining a foothold in heavier bands. “Hollow”, I think, takes a page out of PD’s first album, Killing With a Smile, basing on breakdown beats and hardcore influences, especially when adding in more guest vocals from The Warriors’ Marshall Lichtenwaldt.

I never felt like the album ended properly, but that’s just me. “Leviathan I” passes in generally the same fashion as the majority of the album, but the final track is so short and sudden, the ending feels unnatural. While both tracks are impressive, there was no tone of farewell. In fact, “Set To Destroy” pumped me up even more than the previous tracks. Though Deep Blue clocked in at an impressive 45 minutes, I still wanted to hear more.

Parkway Drive hooked a lot of people into fandom with their first release, then impressed the crap out of a lot more with their sophomore release, but now their ambition stands that they cut a new path for themselves. To disappoint me, Deep Blue doesn’t have any of the unprecedented guitar solos like Horizons did, and the breakdowns are slightly less inspired in my opinion. To impress me beyond reason however, it does dive into a deeper pool of brutality than they have in the past and the musicianship and teamwork that they now practice has built up a new standard for metalcore. I am not convinced that Deep Blue is written quite as well as Horizons, but differently and certainly more professionally. It has earned from me a steady 4 out of 5 napkins.

Artist: Parkway Drive
Album: Deep Blue
Release: June 29, 2010
Label: Epitaph Records
Length: 45 minutes, 5 seconds
Rating: 4/5

MyChildren MyBride - Lost Boy - Review

In 2008, MyChildren MyBride took hold of our attention and bombarded our keen ears with straightforward, breakdown-heavy metalcore. It was a good platform to begin upon, but most of their songs sounded the same. The majority of their notoriety as well erupted from their “show song” “Headshot”. After several years of touring building up a fan base, the Madison, Alabama quintet has finally moved on to their sophomore album. Taking their time was a wise decision though, and thoroughly understood, as there is always tremendous pressure on follow up albums. This is the peak that they have to scale to achieve any future success. They started out well, but now Lost Boy has the expectations of the fans to deal with.

Slowly, the raging beat of “Terra Firma” creeps up to its full speed and volume. The guitars begin to chug in an odd, growling tone that is much the same as their previous album and the drums chime slowly at first, with a contrast of double kick spurts at blistering speeds. But the track strolls on, introducing MCMB’s new endevours in confident guitar chords and premium bass drops scattered throughout, ending in a slow and sinister breakdown.

“Hooligans” shoots out at a similar tempo to its predecessor, but throws caution to the wind with catastrophic gang vocals breaking out in chorus, “We are the lions!” And it becomes clear in just a few minutes that MCMB’s liberal use of breakdowns has not halted to any degree. But to kick off the first real exploration into new territory, “King of the Hopeless” rips onto stage front and center. Robert Bloomfield and Daniel Alvarado have gotten much more creative with their guitaring, carrying them much like Darkest Hour, dark, melodic and energetic. Very different vocals open the track, followed by a fast, thrash beat and on and off guitars. The song is just dripping with honest passion and encouraging guitar chords, contrary to the title, especially in the wonderfully vocally driven breakdown. It’s so brutal, but slaps a smile so hard onto your face you just want to throw down in hugs.

Matthew Hasting kicks up his vocal variety a notch this time around. There’s a touch more emotion in his yelly screams as well as control between higher and lower or throaty and “umph” growls. “Crimson Grim” takes MCMB to another place they’ve never been, adding much more intricate riffs and beefing up their breakdowns to sound less dry and overlong. As in Unbreakable, half their material was breakdowns that held very little personality. His time there’s more than just a slow beat and a few low chugs.

Actually, with the opening of the title track, you start to realize that there are probably even more breakdowns than before, but they are placed behind more music rather than as empty interludes. The lead guitar spews out fancy songs of its own and Hasting’s vocals blanket most of the music, but well camouflaged breakdowns play the backbone of the song whenever there isn’t a sporty blast or thrash beat under chord choruses. They have discovered that adding vocals to a breakdown is an ever-effective method of hiding it from general attention.

Song after song though, you can expect at least one prominent breakdown in each track. The end of “Dark Passenger” is particularly gruesome. “Digital Rebirth” is the sugar rush of the album, never slowing down between its dark undertone intro, its toe-tapping anthem chorus or its sporadic blast beat verses. The energy in the vocals carries over into “Redeemer”, but the drums morph into hardcore mode. Partnered with the upbeat melodies and gang vocals, it’ll have you moving fast and grinning wide. “Nuclear+” is a vicious monster that drags you in with lightning fast beats and endless screaming, then devours you with a thunderous breakdown powered by Hasting’s tempo chasing barks.

You’re in for a real surprising treat from “Lungs Full of Water”. It begins way off of MCMB’s usual niche, chiming a lot closer to something like As I Lay Dying. Streaming into their own style again for a little while, a crushing breakdown kicks in before the beat changes back to hardcore and gang vocals once again. At times, it sounds very reminiscent of Unbreakable’s “Headshot”, but then ends somewhat abruptly. But waiting just over a minute, a very sullen musical transition occurs, which opens up slightly, but remains for several minutes as a solemn conclusion to the album. Throughout, we hear several sound clips amongst the music starting with the shuffling of feet to a man speaking to someone, urging them “not to move.” Further on, there is a haunting bustle of children’s voices, lockers opening and closing, footsteps up a staircase, and finally – silence.

The Unbreakable sound is certainly still here, but very wisely improved upon. The band has recognized their flaws and fixed them just about as well as would be expected in a model sophomore album. Lost Boy is a prime example of healthy progression, trying new things but retaining the sound that grew their fan base in the first place. Their constant dry breakdowns tired me out in their first album, but instead of reducing them, they made them much more palatable and entertaining. Each member has clearly improved and experimented with their specific instruments, adding a lot of good little things into the mix with great big things. Releasing a sophomore album is risky business, but MyChildren MyBride’s confident and high energy performance in Lost Boy has catapulted them safely over the mountain of expectations and well past the line of concern.

Artist: MyChildren MyBride
Album: Lost Boy
Release: June 8, 2010
Label: Solid State
Length: 11 tracks: 40 minutes, 43 seconds
Rating: 4/5

Originally posted on Jesus Freak Hideout.

As Hell Retreats - Revival - Review

Facedown’s boot camp label Strike First Records has gained a promising new death metal group by way of As Hell Retreats that will likely shake things up for fans of anything outrageously heavy. After releasing an EP each year for the past four years, the Hendersonville, Tennessee five-piece has unleashed a downpour of demolition and unrestrained fervor in their debut full length release, ironically titled Revival.

The “Intro” track sets the mood admirably, ransacking the immediate area with an incredibly destructive breakdown. Unfortunately though, “Inferior” opens with a short stacking of blast beats, which gave me an immediate first impression of repetitiveness that so many bands use to sound overly heavy. After this however, the overall sound becomes much more diverse, specifically in the area of vocals, set down by Jackson Greene. They impress at a wide variety of levels from high, guttural screams similar to The Agony Scene and low death growls. Though not extraordinary, the guitars of Blake Hardman and Tyler Riley certainly play their part. Creativity is still present despite. A healthy sprinkling of squeals and high tone flourishes in between brutally heavy riffs and half-beat chugging keep the song very interesting.

The sound as a whole is very intense. It’s probably one of the heaviest good bands in the Christian scene. Facedown is lucky to have them. In “The Holy Thief”, while the music is woven together well, the drums alone are the weak point of the music. All of Trent Davenport’s drumming is appropriate, but the performance is slightly less than par. At some points, it is clear there is some trouble with the timing. It’s not immediately noticeable, but he would benefit from some more practice before the band’s next recording.

The entire album follows a strong form that has been set by the band, which in itself deserves credit, as too many groups play inconsistently. The transitions from timing changes could also use some work, but again, this is only a minor problem. The short semi-solo in “Raze” fills in cleanly, but the drop from blast beats to otherwise is slightly rocky at times, making it hard to grasp the cohesion of the song. By “Resting With Closed Eyes”, the album starts to sound a little too consistent, risking repetitiveness. For those of you who believe in the salvaging powers of a good breakdown though, each new song continues to satisfy. “Messengers” does more to spice up the flavour, adding in fun hooking riffs that don’t usually appear in death metal. Times like the end of the track also showcase guitar skill that shows up too seldomly.

For a short break from the intimidating pizzazz of the previous songs, take a nap to the title track. It’s your standard surprisingly flowery instrumental interlude that breaks down your hype so that “Poor God”, the final track, sounds even heavier than it is. The fact that the album ends after such an inspired ninth song upsets me a little. Considering that As Hell Retreats has released four EPs before this, I would have expected a full length album longer than 27 minutes.

Revival is a superbly written, face-breaking, volume-cranking monster, but the sound mix is less than professional and the band performance could use some improvement. With opportunity to tour with more experienced bands and time to knock up their skills a notch, As Hell Retreats will likely produce well-deserved praise in the future. And it was entertaining enough that the brief length disappointed me, so fans of Upon A Burning Body, Veil of Maya, or Salt the Wound should be thrilled that a group like this has entered the Christian metal mesh.

Artist: As Hell Retreats
Album: Revival
Release: May 25, 2010
Label: Strike First Records
Length: 9 Tracks: 27 minutes, 4 seconds
Rating: 3/5

Originally posted on Jesus Freak Hideout.

To Speak of Wolves - Myself < Letting Go - Review

The widespread success of Christian metal is surprising to say the least. Considering the Christian community`s general reaction to metal in its inception, I doubt anyone will say they saw it coming. At any rate, a vast majority of bands at the forefront have sprung from the versatile Solid State Records. Supplying the likes of Demon Hunter, Gwen Stacy, and The Chariot, the label has always kept a varied roster. There`s something for everyone. Whether you call all of it metal or not, any fan of loud music will find something they enjoy. Filling in the cracks of all metal sub-genres seems to be their latest quest, having recently signed As They Sleep and To Speak of Wolves to expand their range yet further. But for now, we can focus on the former Greensboro, North Carolina group, and their debut full length release Myself { Letting Go.

The catchy chorus that opens “Darkness Often Yields the Brightest Light” very quickly gets me excited for a fun album. And that’s just what Myself { Letting Go is. It’s a fun album that is built on obvious characteristics from bands like Underoath and Saosin, but it warps them with new colours that make an enjoyable experience. The first big compliment that I have to give is how well the music is all mixed. Nothing is too loud; nothing is dominated by a louder instrument. To start, there’s a very crisp scream over low, chord-dominant guitar, but in the chorus, one of the guitarists takes the role of melodic stringsman. Then the noise subsides for an early bridge of silky singing and slides effectively into another hammerdown. TSoW seems to know something about how to transition neatly. Instead of dropping into a clean section immediately after a heavy crunch, they take baby steps from Sound A to Sound B.

The thing with TSoW is the trouble of pinpointing where to place their sound. It’s easy enough to call them metal, but they do things a little differently. The style they’re playing is nothing new; plenty of bands have done it before, but each little piece is played slightly off kilter. The guitars are a no brainer: low growling riffs and ugly chords. But then the ugly chords are strangely melodic, though this is comparable to Underoath. Fine. But the drums don’t match. There are no breakdowns or blast beats, and the tempo never gets much faster than the occasional jump on the second kick pedal. It’s not just a matter of an unskilled drummer though. Phil Chamberlain conjures a lot of lightly oddly-timed or unconventional beats that make up for the speed and power of a general metal drummer.

Moving on to Rick Jacobs, an exceptional vocalist, providing what is easily the piece of TSoW that most differs them from other similar projects. He is responsible for all of the vocals on the album, which frankly baffles me. The clean vocals in nearly every track sound as if they came from a different person than the last. So he has a fine clean vocal range, which is strange since his screams are fairly limited, but the best part is how he uses it. It’s easy to predict a melodic singing section coming, however, the melody always comes out much differently than is expected, causing an almost ghostly impression that catches you off guard. The choruses of “You Should Have Locked Your Doors Days Ago” and “Dimming the Light” are marvelous examples of this. The heavy areas of their music aren’t all that unheard of. It’s the unorthodox melodic tones in the mild areas that set them apart. Yet at the same time, if you took out the metal, the music would not survive. The two must be together to complement each other so effectively.

“White Dress, Red Letter” comes out as a very interesting track. It opens up a little typically with an overused drum fill, but once the chorus swings around, I felt a quiver in my spine. And the piano added near the end is quite haunting. The eerie melodies they piece together aren’t all their own, but are nevertheless difficult to write well. Myself { Letting Go is by no means a bright album, but there is confidence in the music. “Quercus Alba” is the oddball of the album. The first half of the track hosts an old ragtime vocal ensemble featuring Underoath front man Spencer Chamberlain (brother to drummer Phil Chamberlain) that honestly sounds like something Jonezetta or Showbread would come up with. It could say a lot about future experiments the band may attempt in their music.

To Speak of Wolves is a band that spreads out their deepest emotions in their music. They play the kind of music that can be enjoyed more than most, unspoiled by ulterior ambitions. While it`s no magical formula for a brand new metal style (which will likely never be found), To Speak of Wolves certainly carries a flavour that Solid State didn’t previously offer. And just as a band in the midst of all others similar to it, it`s fairly original to its kind. Fans of Underoath, Saosin or Burden of a Day should agree with Myself { Letting Go, but if you want specifics, then anyone digging Destroy the Runner`s I, Lucifer should appreciate TSoW even more. It may be an acquired taste, though I encourage multiple listens before final judgment is called.

Artist: To Speak of Wolves
Album: Myself Letting Go
Release: May 18, 2010
Label: Solid State Records
Length: 10 Tracks: 33 minutes, 42 seconds
Rating: 4/5

Originally posted on Jesus Freak Hideout.

Wrench In the Works - Decrease/Increase - Review

Artists signed to Facedown Records have an unfortunate tendency of being overlooked and underrated. Please turn your attention to Hartford, Connecticut quartet Wrench In the Works: brutal. If you haven’t heard them yet, it’s certainly not because of your speakers. Since their Facedown debut, Lost Art of Heaping Coal, in 2008, they’ve been ripping up stages and shattering eardrums nationwide. Now they’ve come to finish off what’s left of our hearing with their sophomore release, Decrease/Increase.

Borrowing influence from bands such as Living Sacrifice, Zao, and Extol while stewing in specialized elements of hardcore and thrash creates a truly rugged, uncategorizable beast. If it has a clear, singular genre, the music is played too fast to tell anyway. Let’s try to break it up, shall we? The opening track, “Vultures”, showcases the album from a wide view with some accuracy. The drums attack at blinding speeds and overpower with help from bolstered yet incomprehensible mid range screaming vocals. The guitars still manage to shine through the seams though, weaving between blast beats and thunderchugs at every open opportunity.

Half way through the track, the pace slows considerably, playing on the benefits of a secondary approach. In the end it comes out sounding something like The Famine or American Me, or even Advent with more direction. Still, it’s definitely not without originality.

“Project Ak-47” forcefully takes a minute and a half of your life and ambitiously replaces it with breakdowns and timing changes that stay effectively entertaining, though it seems to mostly play as filler. We see this again in “Pocket Watch” and “Vows (I Must Decrease)”, both very short tracks with limited effort attached. “A Desert Voice” however, opens quite uniquely, with some anxiety building rim-sticking from drummer Andy Nelson. The drums seem to cry for extra attention on the album. Not only by way of the recording, as they are some of the best drums I’ve ever heard, but incredibly clean fills and bass beats throughout. Special attention is given to the perfectly tuned toms as well; more than I have heard from most other drummers. These accompany a haunting monologue to end “A Desert Voice”.

“DeathSlayer” is one of the varied tracks on the album, retaining its originality. Tyrannical chord progressions and more technical drum beats prevail over speed and power. They don’t allow any piece of their tracks get stale either. As in “Hearts and Masks”, multiple timing changes keep the song interesting. “Gethsemane” provides one of the most musically intense tracks present on the album. Although it follows the same stifling speed and timing changes of other tracks, the guitars chime and boast their contribution more so here than in other songs.

Melodic guitars in “Walk Amongst the Tombstones” throw another curve at the grasp you may have thought you had on this album. As much as Decrease/Increase seems like other one-trick metal albums, it is persistently variable. Impressive, yes? But then the final track appears all of a sudden. Facedown calls it a “full length” release, but it is painfully short, clocking in at just under half an hour. Naturally though, at the speed the songs are played, longer can hardly be expected.

You may not be able to tell from the style of vocals, but this album is passionately driven by zealous lyrics. Like other metal albums carrying a similar message, Decrease/Increase speaks about a corrupted world. “The harvest of the earth is ripe, and the sickle will swing.” “We are all just a brood of vipers who’ve been warned of the axe at the root of the tree.” Not a particularly encouraging album, another strong theme is the Death of Jesus on the Cross, accenting the pain he went through. “A ready heart broken by grief.” “The execution of an innocent man.” But the silver lining is present. They encourage to “Strengthen your heart. Let their world fall apart.” “Blessed are the Steadfast.” Ultimately, we must remember that we are not of this world, and so we “must decrease, so that He may increase.”

“Vows (He Must Increase)” ends the album with instrumental flare, showing off the band’s ability to be outplayed by their drummer yet again. Decrease/Increase holds a lot of promise for WItW. It’s original, but not so much that it isn’t well written. It stays entertaining all the way through, and short length aside, it plays on a lot of metal basics and should appeal to anyone looking for a good, loud time. It’s an honest effort from a talented group.

Artist: Wrench In the Works
Album: Decrease/Increase
Release: March 16, 2010
Label: Facedown Records
Length: 11 Tracks: 29 Minutes, 7 Seconds
Rating: 3.5/5

Originally posted on Jesus Freak Hideout.

Letter To the Exiles - The Shadow Line - Review

The American metal style seems to be emerging in fewer and fewer new bands. Groups like As I Lay Dying and Killswitch Engage have found fame in the metal community by utilizing this sound, but to be like them is a dying ambition in fresh-faced bands. Maybe though, there’s a reason for that. Letter To the Exiles, a Long Island band formed in 2006, has released their debut full-length, The Shadow Line after already gaining some popularity from their Call To Arms EP on Harvest Earth Records in 2008. Because of the band’s tight live performance, they have grown some attention in and around the NYC Metro area. Although, releasing on Facedown’s training ground label, Strike First Records, won’t bring their notoriety much farther. That they’ll have to earn.

After an ethereal piano “Prelude”, the second track “Oh, Holy Dread” rushes forward to make its mark. It sounds impressive at first. It could be an album with a lot of potential. The drums add a lot of weight to the overall sound immediately and the guitars slither circles around the beat. The chord progressions followed rapidly in succession by faintly melodic guitar harmonies are well played, but unfortunately unoriginal. This follows into a low breakdown that is honestly chilling, however. But the way that it was introduced was horribly predictable. Quick strumming and a lone metronome beat from the kick drum followed by a bass drop sounds good, but just about every metal band has done it.

The thrash beats that fuel “It’s Never Safe To Dream” brings to mind the early Frail Words Collapse of As I Lay Dying, but this track’s slow and sultry guitar solo pulls it down. As it is the only thing close to a solo that you will hear on the album, it is royally disappointing. The brutally slow breakdowns at the end and near the beginning however, are begging you to throw down into head banging fits.

Quickly, you will realize that there is little variation in the tracks. “From Shadow To Substance” demonstrates this perfectly, as it sounds just like the previous songs you heard: unadventurous power chording and conventional drumming followed by a few breakdowns that tower over the rest of the song. The thing about bands like this is that they all mostly sound the same, apart from each band’s superiority in one particular field. LTTE’s strong point is clearly breakdowns, and they know it. “Threnody” is ripe with amazingly face melting breakdowns that are complemented beautifully by the screaming vocals that follow along. In that respect, they are doing their job well. If only everything else sounded as good to match.

While it isn’t any more original to the genre, “Martyrdom” is at least original to the rest of the album. I’m a little tired of saying it, but the multiple breakdowns that fill in the gaps between the verses are still the best part. Besides that though, this may be one of the best tracks on the album. It has a touch more professionalism and originality than previous songs. At certain moments, I might even dare to say that the drumming of Andy Amato sounds just a little influenced by Matt Greiner of August Burns Red. A short, melodic break from the cliché intensity serves as a nice touch as well, but could honestly be cut out without anyone knowing the difference.

“You’re Not Going To Seduce Anyone” opens up a lot like something from Bullet For My Valentine’s The Poison, but switches shortly into the melting pot sound that this album dishes out. Once again, the breakdowns are impeccable. That should be a point of interest, but when it’s the only thing to praise it gets a little redundant. A few blast beats and guitar slides later, and we’re into “This Is the Day, the Mourning”. At this point, I was praying for something different, but I only heard the same stale drum beats and the same orthodox guitaring. Not to mention vocalist Erich Barto abusing the same vocal pitch throughout the entire album. There is zero vocal diversity. No clean vocals, even the back-up vocals are identical to the lead. These days, one tone to the vocals is a little sparse; every band should know that by now.

A one minute “Interlude” that sounds like an extension of the song that preceded it gives you a chance to cool your head before taking on the final track, “Epilogue”. This far in, there is little left to say. But at the end of the track, prepare for the most predictable buildup from a slow-down heard in a long time. As soon as the light and flowery guitar tweedling began, I knew exactly what was coming, and anyone else listening probably will too. There is no originality in this album whatsoever.

Stifling words, I know. But don’t get me wrong, the album sounds good. If someone were to ask how The Shadow Line sounded, I would say, “It sounds pretty good, but…” and stop there. It somehow manages to sound like every other band like it, but it doesn’t sound exactly like anyone else. The guitars are recorded to sound far too digital and unnatural, the kick drum overpowers all other sound on the album like a wet sponge hitting linoleum, it’s not very original, and there isn’t any extraordinary talent to speak of among the members, but there’s still potential there. This won’t be anyone’s favourite album ever, but as I said earlier, it brings to mind As I Lay Dying’s Frail Words Collapse. That album wasn’t spectacular either, but look where they are now. The Shadow Line was not fantastic by any means, but my eyes will stay on the band’s future releases. They have potential as long as they improve.

Artist: Letter To the Exile
Album: The Shadow Line
Release: April 13, 2010
Label: Strike First Records
Length: 10 tracks: 40 minutes, 39 seconds
Rating: 2.5/5



Originally posted on Jesus Freak Hideout.

As I Lay Dying - The Powerless Rise - Review

In 2000, you may not have heard of Tim Lambesis, or his duet with drummer Jordan Mancino, As I Lay Dying. But once they found two more members, Pluto Records took them into their care, releasing a debut Beneath the Encasing of Ashes and a split EP with the now defunct metalcore band American Tragedy. Then in 2003, after increasing in popularity, they jumped over into the strong and capable arms of Metal Blade Records (where they still have a home today), and released their sophomore Frail Words Collapse. Here’s where you more than likely started hearing about the five piece metalcore band and the swell tunes they’d been playing all through the town.

But that’s all ancient history. The general consensus is that AILD’s very own sound was not found until their 2005 neckbreaker Shadows Are Security, which boasted better production and an overall more professional approach. But that still didn’t stop them from warping their music further; they were so close. Finally they decided on a more melodic An Ocean Between Us. Now a fifth studio album has come to be. From a band that has achieved one of the smoothest and most successful progression arcs of any metal outfit to date, The Powerless Rise can easily be introduced as As I lay Dying’s best album yet.

The opening track, “Beyond our Suffering”, is the shortest on the album, but it dominates your whole being with such ferocity. Very AILD toned guitars wind together in a series of opening thrash and blast beats. But the real mother is the devastatingly intense vocals from Tim Lambesis. He’s holding nothing back this time around, belting their music to a level never heard before. Nothing slows down on this track, opening the album on a stifling note, but “Anodyne Sea” follows with no less energy. The beat is a little slower, but very easy to tap your feet along to. We see a very welcome return of clean vocals from bassist Josh Gilbert which aided a melodic turning point for AILD in An Ocean Between Us. The entire face of the music takes a different stance for a tamer, cleaner chorus, and then comes a real treat. To everyone who says that As I Lay Dying doesn’t play breakdowns, get ready to eat your words as your face gets molested by this bassy, built-up breakdown!

You think this out-rage-ous behavior is going to end soon? Wrong. “Without Conclusion”, break their legs for them. This is where lead guitarist Nick Hipa confuses me significantly, because this track has some serious shredding taking place within it. So either he’s been taking some summer guitar lessons since we last heard him play, or he’s been holding out on us. Are you telling me Nick, that you could have been shredding this whole time and you haven’t been? Honestly, first the track opens very originally with a series of well timed pick slides, and now this? As I Lay Dying now has guitar solos, very un-shabby guitar solos. Yes, their music now contains every good thing in the universe.

A very catchy drum beat and soothing clean singing pump up “Parallels” with a gorgeous chorus, but the immense vocal variety taking place will never go unappreciated. Just when you think the track is over, it comes back in with a well played guitar solo that just kind of grooves into the song. And that’s about as mellowed out as it gets on The Powerless Rise. “The Plague” enters in a familiar AILD fashion. The high and low screams trade off and the guitars jump in and out with intricate patterns and clever riffs. Band evolution aside, Phil Sgrosso and Nick Hipa never lose their signature way of playing guitar.

It is rare that a certain track can be picked out for being less eventful than most of its siblings, but that is unfortunately the case for “Anger and Apathy”. It’s merely a black sheep among the rest of the album, but it still manages to rise up and play its part. The short chorus is particularly excellent; powerful clean vocals and an appreciably simplistic chain of drum beats serves as the backbone for the track. It definitely has more impact melodically than brutally like other songs among it. But just as “Anger and Apathy” slowed down the pace, “Condemned” rides right back up the speed limit. While its short length is unfortunate, you can easily enjoy the action-packing while its happening. The free range guitar solo will be heard, by you, multiple times. I promise.

A bit of possible Metallica influence opens up “Upside Down Kingdom”, but the grandmother-scaring death growls and harpy screams dissuade any of those impure thoughts for the remainder of the track. A couple of very upbeat, very catchy breakdown bridges make it well worth multiple replays as well. To end the album, we are presented with a more sit-back-and-listen approach to “The Blinding of False Light”. The first half of the track is kind of chill most of the way through, compared to previous tracks. It’s not quiet, but considerably slower paced and looser. This is easy to accept as the closing track until it amps up halfway through to a super one-eighty that shares an uncanny resemblance to Becoming the Archetype’s “Artificial Immortality”. It propels our hopes of the final track to lofty new heights. Suddenly though, and inexplicably, it slows down again before ending. Though the passion in the track is thick, it ends on an uncertain note. I could so easily hear another track afterward, but alas. The album has ended.

As I Lay Dying has always been in the epicenter of the general happenings of American metal. To rise up in intensity, and then mellow out in a melodic chorus is their specialty, but they also do it better than anyone else does. Because of the sheer creativity and immeasurable talent of the band members, they seem to be untouchable. Whichever way you look at it, it is extremely unlikely and therefore jaw-drooping that they manage to keep improving 10 years into their career. Spending nearly a year in the studio tends to have that effect, though. Unlike a million other bands that, as front man Tim Lambesis says, “need to rush out a crappy record so they can start touring again to pay their bills.” With the wise selection of Killswitch Engage guitarist Adam Dutciewicz co-producing and the band’s first time ever building up from a previous album’s sound, The Powerless Rise is very thoroughly worth the wait. And no amount of talentless copycat bands can ruin that for As I Lay Dying, or for us.

Artist: As I Lay Dying
Album: The Powerless Rise
Release: May 11, 2010
Label: Metal Blade
Length: 11 Tracks: 44 Minutes, 9 Seconds
Rating: 5/5

Bullet For My Valentine - Fever - Review

You know how American metal is right? It’s the un-tampered with basics of metal that evolved directly from the classics like Slayer and Megadeth. Well, over in Britain, Wales specifically, we find a similar principle at work. The indigenous metal bands stick to the basics handed down the generations, but it still sounds slightly different. It sounds British on some level. Bullet for My Valentine no doubt heads the metal movement across the pond. Now after releasing two very different albums that have built them a following across the globe, they have settled on a sturdy foothold that combines both attempted styles. The Poison, icy and menacing, has joined with the robust and classic Scream Aim Fire to spring forth BFMV’s third studio album, Fever.

A lengthy buildup in “Your Betrayal” in lieu of an intro track uses a toe tapping beat to create hype until the guitars whip out some very recognizable harmonics that solidify any doubts. This is Bullet for My Valentine. But it follows up in an unexpected way. The first vocals we hear are in a whisper. They have an intriguing effect. Points for originality. Like most of the tracks, the first follows a traditional verse, chorus, bridge structure that fills a lot of time without issue or annoyance. This is one factor that differentiates them from other bands in their style. Although, lead vocalist Matt Tuck has stated that BFMV is “a hard rock band with metal influences.” I guess that settles that.

The title track is definitely the resident party song of the album. Heavy guitar hooks crumble into fast strumming in the chorus. These mix with underlying, but proficient guitar slides. The drums generally take a hard rock form, but occasional double kick bursts still fall into appropriate places. Lead vocal from Tuck put semi-clean singing in the driver’s seat, but there is still a healthy sprinkling of mid range screams from bassist Jason James.

“The Last Fight” turns the heat down a few degrees, appealing to the modern melodic tweadling that is weaving its way into most melodic metal bands today. A pretty, inspiring guitar solo slides in near the end of the track, fitting this encouraging song like a glove. Although Tuck had stated before Fever’s release that it would contain no ballads, “A Place Where You Belong” comes suspiciously close. The vaguely amped up opening to the track only barely takes it out of the running. Not that this is a problem; it’s a beautiful track to cool off to. A couple of slow, partially twinned guitar solos and the odd acoustic strumming session and we’ve got lighter-swaying material.

“Pleasure and Pain” will pick your feet back up. The clean and screaming vocals trade effectively. Thankfully, the 80s bug has left Tuck since Scream Aim Fire, pulling the vocals back into The Poison style. But the established aggression is still there. Fret sweeping is the theme for “Alone”. As well as tight guitaring that leaves no open note in its wake, a simple, but head bobbing drum beat drives the track forward. But the outstanding solo is what drops you, ready for a nap. But fortunately it doesn’t end for a while yet. “Bittersweet Memories” is another pseudo-ballad, but the chorus picks up to a brisk jog, and the vocals in the verse are delivered in a unique, memorable fashion. The guitars sing in this, as well as other tracks, which is a welcome addition to the BFMV sound.

For a blast from the past, “Dignity” and “Begging For Mercy” both open up sounding more like The Poison than any other tracks on the album. The former track morphs into a vocal driven anthem that carries little weight outside of the short guitar solo near the end. But then “Begging For Mercy” chucks a little hot sauce into the stew. Easily the heaviest track on the album, there are some very catchy “yawning” guitars and a good deal more screaming and aggressive drumming than previously attempted.

Now, “Pretty On the Outside” ends Fever in just a fantastic fashion. The most different and ultimately one of the best tracks to be heard, it presents a sound much more original than its predecessors. I really wish we could have heard more like this on the album. It boasts a full screaming verse that falls into an extremely catchy chorus. It’s bound to be overlooked.

As for the lyrics – well, “vulgar” is such an ugly word. Then again, so is the F-bomb. This is really just the title track though. The others do seem to deal with slightly more legitimate issues. Most of the album addresses the wonderful world of love loss. “Your Betrayal” is a good example. “You said that we’d be forever. How could you kill me and lie to my face? Now that we can’t be together, there’s just no hope for a final embrace.” That basically sums it up. Someone broke his heart and he’s pissed. “Pleasure and Pain” sings, “You don’t bring me pleasure. You just bring me pain, and nothing in between.” Bullet For My Valentine wears their name well. If you need more examples, just take a look at the other track titles. I think most people can relate to the lyricist.

“The Last Fight” however, talks about the battle that is waged against deadly addictions and the effect that it has on those around its victims. “No hope, just desperation. So sit and wait for death and pray it takes you soon. The addiction’s taking you.”

Fever combines The Poison and Scream Aim Fire quite efficiently while experimenting with new elements and still retaining BFMV’s undeniable sound. Though at times the music was a little cheesy or predictable, it suits their style overall. It certainly serves as a strong milestone for the band on their way to nailing down the perfect sound and for now, it definitely contains some of the best material that they have pumped out. It earns a sturdy 4 out of 5 napkins.

Artist: Bullet for My Valentine
Album: Fever
Release: April 26 (UK), April 27 (US)
Label: Jive
Length: 11 tracks: 49 minutes, 39 seconds
Rating: 4/5

 

Periphery - Periphery - Review

As it stands, Sumerian Records has become armed with some of the most unique metal bands of the present, including Veil of Maya, After the Burial, and Born of Osiris. Each of these bands build up a special, glittering sub section of technical metal, mastering the art of polyrhythms and displaying some of the best instrumental professionalism our favourite genre of music has ever seen. In the corner of our vision, in our “peripheral”, another band of similar stylings has been looming about. Periphery. The Bethesda, Maryland group is a sort of enigma. They have seemingly recorded over one hundred tracks over the last x number of years shared with a second, related artist called Bulb, and state on their MySpace page that they are “a shirt company that also makes music.” Beyond that they have had extensive trouble holding down a lead vocalist, resulting in the postponing of their debut album on several occasions. But after splitting ways with three vocalists and a drummer, they finally nailed down a lineup that everyone agrees with, installing Matt Halpern and Spencer Sotelo in their current positions as drummer and lead vocalist, respectively. Thanks to ideal circumstances for the first time ever, and a one album contract with Sumerian Records, Periphery has finally come to release a full length album, consisting of new and previously released tracks.

The self titled masterpiece opens up with “Insomnia”, raking your face almost immediately with brutal off time chugging. Then we hear for the first time on signed media, Spencer Sotelo in place of lead vocals. He takes his entrance with a gravelly mid range scream. It is acceptable, by all means entertaining, but most importantly, it fits the music so perfectly it makes me want to weep. To no one’s surprise, he quickly transitions to his version of clean vocals. They are very unique, lightly raspy when singing basic range tones, almost with an electronic tinge at times. But in his vast vocal range, his voice soars periodically to smooth, angelic highs, reaching near falsetto that harmonizes just wonderfully with the sporadic melodies of the guitars.

A crushing introduction to “The Walk” only nearly kicks a fissure into your brain. Bent chords followed by impeccably tight machine gun riffs, followed by haunting melodies that just shouldn’t make sense. I would never have guessed that these kinds of tones could be mixed to sound so epic. And oh! the drums. Every piece is tuned to perfection; the kick, the snare, even the cymbals are at the perfect levels. The easiest thing to get wrong has no flaws to name. And like the mint on the pillow, they’re even played creatively. Drummer Matt Halpern finds a very exclusive niche of creativity and expertise that suits the music the more attention you give it.

You find out very quickly that nothing happens twice in Periphery’s music. Not only is their style shared by no other other band, but each song on the album is streamlined to fly on its own. “Letter Experiment” stands strong alongside every other track. With three guitarists (that’s not counting bassist Tom Murphy), you get to here just about every area of variety available. The lead, lead guitar from Misha “Bulb” Mansoor honestly holds a whole new title of working the strings. If he isn’t creating brain-wrinkling chords that harmonize unbelievably, then he is probably tapping out outstanding solos that no one really, fully appreciates because they are never alone. Each tapping match and “solo” is accompanied by an entirely separate onslaught from guitarists Alex Bois and Jake Bowen that could rightly hold up the track on its own. The workmanship that Mansoor imbeds into his playing is the same he uses for his solo project, Bulb, which preceded Periphery altogether.

At four minutes, the shortest track, “Jetpacks Was Yes!” takes the albums first trip into a relatively milder track. Although the main difference is really just the exclusion of the menacing element that presides over most of the other tracks. This time around the desired effect is beauty. Ripe with soothing guitar harmonies and almost exclusively clean vocals, it is most like a dip in crystal clear water before jumping back into the muddy ball pit that was so much fun a second ago. “Light” is only a small step back into the intensity trench. Washy guitar tweadling and absolutely delicious clean singing fuels much of the track, only taking short lapses back onto the heavier side. Appropriately titled, it probably is one of the most beautiful and bright tracks on the album, but not by much.

After ending “Light” with a mellow, mousy techno party, flowery guitars flow through “All New Materials”. The pretty party is headlined by a laid back tempo riddled with momentary, guitar exclusive rises in tempo and then takes a final minute to clear the air with some more techno and dozing-off music. Oddly enough, there are no isolated breakdowns in this whole album, but a little attention reveals that many of the underlying beats are, in fact, played as breakdowns. “Buttersnips” seems to be dead set on stressing the skill at which Periphery transitions between mind-bending, heavy inlays and feather light, high toned pretty sections.

Now clear your sinuses for “Icarus Lives!” This is by far one of the best songs on the album, by originality and showmanship. You can see where the recent “djent” genre comes from, hearing one of its founding inventors work away with ease. Mansoor makes liberal use of the polyrhythmic drums and ethereal vocals by wrapping his own brand of distorted staccato riffs all around them, creating a sound you cannot understand fully even when hearing it. Especially excited drums and erratic tapping work through “Totala Mad” make it one of the most consistently awesome songs all the way through. This is followed by “Ow My Feelings”, which is faintly more relaxed, considering previous tracks. It’s ruled by a lot of dirty, off time guitars and vocals that seem to almost be telling a story. The majority of the song is led by a distinctive, highly unique drum beat that the guitars follow loyally, chords bending at every turn.

Mansoor creates magic in “Zyglrox”. Honestly, I’m beginning to doubt that he is even human. The beginning of the track will make you wet yourself or your money back. Jaw plummeting tapping and suspiciously clean drums that follow boggle the mind. I was panting by the time Sotelo’s scream dropped into the field of growls. It’s a long haul, but if you haven’t collapse and imploded from a pleasure heart attack at this point, you’ve got one more fifteen minute “Racecar” to enjoy. That’s right, fifteen minutes, no hidden track, no weepy interlude of soft guitars for ten minutes, just pure concentrated happiness for fifteen minutes straight. If the time is given, this is a very enjoyable track all the way through. It somehow never gets tiring or unimaginative.

Holy crap, this is a 72 minute album. It’s hard to listen to all at once, but that’s all right, as each track is an adventure of its own. Pick one and enjoy. Each one has its own appeal, it seems. At a very critical stand point, Periphery did everything right with this album. Every member is at a height most musicians only dream of, and it’s recorded nearly perfectly, with each instrument at the perfect level. Including the length and the originality, the only problem seems to be that there is too much to listen to at once. But I’m not going to complain about that. This album either has no flaws or I was too mesmerized by awesomeness to hear them. I think that contradicts itself, though.

Maybe the skeptically trained ear can find some minor detail wrong with it, but I’d like to see them make use of it while their face is being mauled by Misha “ The Electric Light Bulb” Mansoor’s inhuman shredding. You have to either not be into metal at all or hate life entirely to not enjoy this album. From me it gets 5 out of 5 Napkins, with my blessing.

Artist: Periphery
Album: Periphery
Release: April 20, 2010
Label: Sumerian Records
Length: 12 Tracks: 72 minutes, 39 seconds
Rating: 5/5

Veil of Maya - [id] - Review

If metal was categorized by creativity and the talent required to play it, then Veil of Maya would occupy a small subsection of progressive, technical death metal with the very few others that do it well. It could be better described however, as a rampage of furious vocal extremes and mind bending breakdowns. Having risen up from the Chicago metal scene, VoM has taken up residence at Sumerian records with Born of Osiris and After the Burial (two of the only other bands who play a similar style.) Now after showing off their sophomore album ‘The Common Man’s Collapse’ on the Atticus Metal Tour II, they have put together a brand new full length surprise, uniquely entitled ‘[id]’.

If you were familiar with VoM before, the opening title track should be a familiar welcome. At under a minute, it serves as a gateway track representing the band’s breakdown prowess. An immediate overall change to the band’s sound is audible, despite there being no lineup change since their previous release. ‘Unbreakable’ delivers a flurry of ugly chords and bent guitar notes bridled by truly superior drumming on the part of Sam Applebaum. Extremely intricate double kick patterns, and lightning fast rolls and transitions are accompanied by a singular, amazing guitarist, Marc Okubo. As the bass drop lead breakdown at the end of the track swings the momentum into ‘Dark Passenger’, keep in mind that VoM boasts only one guitarist. The speed at which his hands move from chugging chords to high, metallic finger notes boggles the mind, demonstrating a true mastery of the strings.

The pace of fret board caressing is picked up along with the energy of the drums as ‘The Higler’ opens fire on your ear drums. If each track had a theme, this one’s would be blast beats! What adds an interesting mix to all this yet is the relaxed speed of the vocals and the void between the pitches at which Brandon Butler screams. His voice really only has two speeds, as ‘Resistance’ shows appropriately: gut-wrenching death growls and predatory high screams. The only problem here is that many of the vocals, as well as the guitars are heavily overlaid, which sounds great on recordings, but will cause a lot of grief in live performances. Compromises galore! This is where a second guitarist would have been a practical addition.

‘Mowgli’ and ‘Namaste’ finally allow the album to sound more like old VoM, but with noticeable improvements. Melodic guitars now fill up much of the dead air that once pervaded the chugging and machine gun riffs. As well, a big improvement, the bassist, Matt Pantelis is actually put to work, playing away on his very own harmonizing melodies, often completely separate from the general way that bassists just “follow along”. I love it when bassists are used for more than added noise that no one notices until it’s gone. The entire mood of the album is much fuller and more alive this way.

Take note of the transition between ‘Mowgli’ and ‘Namaste’ as well. It is clean and jests no switch to a new track at all. An inobservant listener may not even know they are separate tracks. These are probably the most diverse and appetizing tracks on the album. Fast track straight to them if you want a quick taste of what ‘[id]’ is all about. However, secondary to these, I recommend lending an ear to the final track, ‘Codex’, as well. With a stellar breakdown and a confident tone, it puts a stable end to ‘[id]’.

‘Martyrs’ and ‘Circle’ offer up one minute instrumental breakdowns that unfortunately drag down the album’s full length significantly. Combined with the intro track, they bring the CD’s total playing time to just under 30 minutes. Hardly in the standing to be called a “full length” album at all. While this is disappointing, VoM only began recording the album in December and ask a mere $10 for purchase. Fair enough, but I’m sure fans will expect new music sooner than usual in light of this. And while it does not contain as many unforgettable moments as ‘The Common Man’s Collapse’, the ultimate factor is that this album is quite different than their last, while still retaining VoM’s essence. This is likely due to the unique guitar style and crushing vocals, but there is also a lot of structure added to the foundations of the band. Their next album should be interesting. In the mean time, fans of Born of Osiris, After the Burial, and Meshuggah should definitely take a listen to ‘[id]’. Veil of Maya will be receiving, for this new album, 3.5 out of 5 napkins, with my blessing.

Artist: Veil of Maya
Album: [id]
Release: April 6, 2010
Label: Sumerian Records
Length: 29:10
Rating: 3.5/5

Hundredth - When Will We Surrender - Review

In the midst of darkness, the brightest pinholes of light shine. On the subject of metal and hardcore music, the disposition has been highly demonized through the years that it has built up popularity. The Myrtle Beach, South Carolina based band, Hundredth, is doing their very best to tear down that darkened stereotype with their very own debut album, ‘When Will We Surrender’, in the capable hands of hardcore beast Mediaskare Records. The young fledgling group has put together a stellar new facet of melodic hardcore that soars on wings of passion and integrity. The uplifting message and musical professionalism of this album will undoubtedly hold Hundredth up as they chance the ears of hardcore fans everywhere.

And they don’t even dip their toes in once. They dive right in, drums blazing, vocals amped and barking. There is no introduction necessary for ‘Catalysts’. The violent tone is apparent first hand. The guitars sing sweet melodies and gut you with chugging hooks, while creative and guttural bass lines follow very thorough punk beats with distinctive tom fills throughout. Also very vocally driven, ‘Catalysts’ soon turns a mild breakdown mood into a yelling match between vocalist Chadwick Johnson and MyChildren MyBride front man, Matthew Hasting. At first, the music is pieced together very much like the dear and departed Life In Your Way, but soon carries similar styles to It Prevails and Means as well. It Prevails vocalist Ian Fike does contribute to this with his addition of clean vocals in ‘Willows’. (An appearance that is far too brief in my opinion).

Hundredth is unique in their own nuances. In ‘Betrayer’, creative use of two screaming vocalists (seconded by guitarist Alex Blackwell) is further developed and evokes scornful emotion. While not exclusive to the track, ‘Passion’ is a great example of the group’s seamless transitions from agile punk beats to driving gang vocal anthems, to melodic breaks to head-bobbing, tear-jerking, aim-your-face-at-this style breakdowns. Grudging and heavy as buckets, but chill and played to a tempo that’ll make your head bang slow enough to still appreciate the lyrics and vocals.

‘Caving’ moves into territory of crunchy guitars and morbidly crushing breakdowns that will throw your hair into windmill patterns whether your head is moving or not. Then ample build up should prepare you for ‘Desolate’, which is graced by vocals from Jonathan Vigil, of The Ghost Inside. They are only slightly different from Chadwick’s, but unlike TGI, the guitars are much more melodic and the passion of Hundredth has favoured intensity defying vocals over fast breakdowns in odd timings.

The serene interlude ‘Fade’ provides a few minutes to catch your breath and take in the surroundings that you may have forgotten about just I time to be run through by an especially melodic metalcore ‘Sinking’. Such a sorrowful sound, it was right to be called “a soundtrack to drowning.” Their approach to melody is appreciable for their attempt at unique places to tweedle their guitars and their commitment to finding beauty in low tones as well as high.

‘Rise’, another interlude, presents another chance to cool down, only slightly more musically involved than ‘Fade’ at first, but builds up to a beautiful vocal chorus with inspiring melodies. The silence is shattered however, by an unannounced scream and a fitting bass drop in ‘Brighter’. This is a short, but potent track to raise your hairs to. A fine post-metal tenderizing of your insides from ‘Sun’ sets up for fast and loud in the final track, ‘Shine’. One of the only solos of clean vocals slows down the middle, before the album finally culminates into an ethereal harmony of growls and swimming gang singing.

The music is already powerful, but when accompanied by reading of the lyrics, the affect that the band wished to achieve becomes overwhelming. The story told by this album is very plainly barked aloud in the opening track. “When will we surrender? When will we strive for what is good and not for what man has created?” That sums it up. They speak passionately of the hope found in God’s loving arms and throwing off the shackles of worldly desires. But they do so by encouraging, rather than ramming their beliefs down our throats. ‘Willows’ speaks of a world that abandons us, but then encourages with “when everyone lets me down, I will stand strong alone.” ‘Caving’ is similarly themed. “The world is caving in on me”, but “Your hands hold my days. My trust will remain in Everlasting.”

In ‘Desolate’, the lyrics talk about how the struggles in the world cause a deficiency of hope in man. It runs to a desperate plea to God, “do you still see me as beautiful?” ‘Sinking’ and ‘Greater’ express how hard it is to live a righteous life “blinded by the plank in my eye.” In relation, ‘Sun’ and ‘Shine’ tell the crushing defeat of men by pride. However, each song goes on to encourage the hope that God provides. “There is no greater love”; “I bask in my saving grace”; “Let us shine. We will shine.”

As an extremely uplifting album, the mournful sound throughout is surprisingly effective, and even appropriate for the mood and intentions desired by the band. Great emotion summons tears, whether they’re happy or otherwise. Hundredth can claim their own patch of the melodic hardcore pasture, but they will fit in well with other contenders as well. The sluggish violence with which they pursue their sound breathes fresh yet familiar air. Fans loyal to The Ghost Inside, It Prevails, and Life In Your Way should welcome Hundredth with open, sweaty arms. And with no particular grievances of note, I give ‘When Will We Surrender’ 4 out of 5 Napkins.

Artist: Hundredth
Album: When Will We Surrender
Release: March 30, 2010
Label: Mediaskare Records
Length: 42:45
Rating: 4/5