Oh, Sleeper - Son of the Morning - Review

"Wake up, O sleeper, rise from the dead, and Christ will shine on you", Ephesians 5:14. A lot of bands write music about any odd thing they can piece together. Mostly, it will be about certain struggles or individual experiences of the writer. Sometimes, however, the band as a whole writes and plays for a specific cause. Any band that really knows what they dedicate their sound to usual does a good job of it too. That’s why I believe Oh, Sleeper has lyrical efficiency on their side. They know who they’re playing for. With their first full length album, ‘When I Am God’, they quickly accumulated a fan base dedicated to their unique metal style. The majority of the genre listeners however took issue with their sound, as it held little musical structure, but hopefully with their sophomore release, ‘Son of the Morning’, they can claim a few new listeners.

The album opens quick and strong with the title track, embracing a formula of odd and on time chugging as well as some pro tweadling from the lead guitarist. A successful breakdown fuels the pace before they represent their progress as a band with a wise inclusion of exquisite clean vocals front and background. Slowing it down at first, ‘The New Breed’ carries on the album successfully. It’s not as intense as ‘Son of the Morning’, but makes a loud point nevertheless. This is enough already to show that their sound hasn’t changed much, which is good. They’re holding tight to the signature sound they’ve found, but tweaked it a bit at the same time. The song structure is obviously more fixed down, giving it a more professional sound overall since their last release. ‘In All Honesty’ opens up strangely with some almost off tune singing reminiscent of Underoath in their ‘They’re Only Chasing Safety’ days, but it moves into story-telling passion soon enough. The way it’s all pieced together, it really sounds like I’m listening to a story being told. Different vocal patterns keep popping up at different intervals and overlap, like a scene with characters. They accomplish this well, as ‘Son of the Morning’ is a concept album.

‘Breathing Blood’ blasts through in the usual style at first, but softens up for a minute or so demonstrating the band’s level of transition from heavier parts, which is good for the most part. Even at softer times, the intensity is still evident. The clean vocals are effective, trimming up the harsher parts nicely. They have found a much steadier balance in this release than in ‘When I Am God’.

‘Reveries of Flight’ has a long, slow, monologue-like opening. But then it steps straight up suddenly, leading off into a decent remainder. ‘World Without a Sun’ is a gem of a song though. I dare you not to smile and clench your gut at the increasing kick pedal role and dauntingly long opening scream at the start. A sick, but weird riff pulls it along into a breakdown that essentially lasts the remainder of the song, ending it short in my opinion. In ‘A Banquet For Traitors’, a back and forth swing of breakdowns to harmonies exhibits the band’s love for ugly notes and some of the stranger noises a guitar can make, then ends angrily in a fit of metal essence. The pace is cut short with another slow intro into ‘Commissioned By Kings’, but quickly throws a lot at you at once. Constant showboating by drummer Matt Davis and lead guitarist Shane Bay is proceeded by a short singing interlude to let the audience breathe. This is drowned back out by another blast of metal concentrate, riling you up for ‘The Finisher’.

A final end to the album (that came too quickly for me) truly narrates a battle of unearthly proportions. A choir-esque harmony fills in the gaps of pure head banging terror. With ears twitching from musical ecstasy, packing no less than a couple of mini guitar solos, I couldn’t ask for a better end to the album than the overall power of the very last breakdown, with the vocalist screaming “I’ll cut off your horns!”.

‘Son of the Morning’ is very lyrically driven, telling the story of the final battle between God and the devil. The opening song is cleverly structured, with the screaming vocals being the devil speaking, “Where I'll lead them and teach them to feast on the skin that defeats them, the skin they crave”, and the clean harmonies being God’s responses to him, “If you could see like me you'd see you haven't won anything. If you could see like me you'd see, it's by my grace that you're breathing." ‘The New Breed’ speaks about rising up from the filth of the world and claiming a place on the side of God.

‘In All Honesty’ and ‘Breathing Blood’ both narrate people wishing for God to turn their sinful lives around. “Please teach me how to breathe because this air keeps failing my need.” Then, the end begins in ‘World Without A Sun’, just like Revelation says, with the sun turning black. The battle against hell takes place in ‘The Fire Dawn’, narrating an individual fighting the legions of hell outnumbered “one on one-thousand”. Finally, to end it all, ‘The Finisher’ contains God’s final speech to the devil, informing him that he will soon lose the battle he started. “Your challenge has been met, because with a breath I could snap your neck. This won’t be like the first time you tried, because my patience and mercy for you has run dry.”

In this album, I can find no flaws other than things they probably should have included, like a little more range in the lead vocals, or some more time to show off the amazing skill of the lead guitarist. But the structure is solid this time, not so pieced together like ‘When I Am God’. They threw a lot at me at once, but it wasn’t too crowded to enjoy. Usually one end is chugging and the other is continuously shredding like he has ADD. The drummer kept it interesting by changing up the beat often, and overall they play with such an urgency that makes your heart race. I had to hold myself back from screaming along some parts, but my fingers wouldn’t stop tapping along with the drums. The second album is always a tough hill to cross, but I believe they managed well. I give ‘Son of the Morning’ 4 out of 5 napkins for a “pretty great but not perfect”.

Artist: Oh, Sleeper
Album: Son of the Morning
Label: Solid State
Release: August 25, 2009
Length: 32:23
Rating: 4/5

Texas In July - I Am - Review

It used to be normal that a band’s first signed album wasn’t usually that good, but it seems the standards are being raised. I’m seeing more and more fresh faced bands releasing professional sounding albums. That being said, Texas In July, ever heard of them? Me neither, but their first LP, ‘I Am’ has got raw talent written all over it. (And interestingly, they’re from Pennsylvania.) This is one of those bands that will make you feel lazy and inadequate. Forming only two years prior with band members ranging from ages 15 to 17, they already have a record deal with CI Records. What have you done in the last two years?

After an intro track, the first song, ‘It’s Not My First Rodeo’ introduces the album very well, showing off just how brutal the band is. Very quickly, you get to hear how crazy talented the lead guitarist and drummer are at what they do. The vocals could use a little work, but the range is commendable at least. ‘Elements’ and ‘Lancaster’ continue the intensity with a lot of breakdowns, a few gang vocals, and even a few finger licking bass drops. The following track, ‘Hook, Line and Sinner’ opens with a quick paced beat humming to a southern metal feel. But it doesn’t last very long before they’re back into another breakdown. Drummer, Adam Gray has no problem showing off in this song.

Now take a break for a few minutes with the beautiful instrumental interlude ‘I Am Yours’. I really like how this track dissolves all the tension you built up from the previous tracks. Because, namely, when it leads into the next, you appreciate the brutalness of it even more. ‘Aurora’ pulls no punches, prepare for your face to be distorted in the best kind of way. This fun bus is mostly sick-as-anything breakdowns and something else. At this point, I really noticed how much Texas In July sounds like August Burns Red. If you’re sitting down, remove all near-face objects, as your head may hit them repeatedly.

‘Page One’ is essentially the same thing I just described, but condensed into a minute and a half. It’s concentrated metal for your body-flailing pleasure. ‘Reflections’ is definitely the highlight of the album. It starts out like the others, but with the help of another couple of breakdowns, it slowly materializes into a shredding session from the lead guitarist. But the point is that they aren’t just slapping breakdowns together to make a song. I think this track culminates the entire band’s musical prowess quite well. This is what they should be aiming for in their next album.

As they progress closer to the end of the album in the last two tracks, starting with ‘Satellites’, they seem to be inching slightly away from just the breakdown fetish and moving a little closer to the melodic intensity that they can actually pull off really well but don’t do enough of. The song ends with a sweet vocal guest appearance from Gwen Stacy’s Geoff Jenkins. Finally, the last song, ‘Father Time’ ends ‘I Am’ the way every metal album should, powerfully and emotionally.

For the band’s first album, this effort is quite impressive. The vocals have room for improvement and the drums don’t sound extremely well recorded, but neither of these things are huge annoyances. One issue I have that only half bothers me is how similar their style is to August Burns Red. Although this is the first band I’ve heard do so, they probably shouldn’t piggy back their sound too much. Hopefully their next album will improve on that. Nevertheless, the fact that they can mimic ABR so closely is a skill to be commended, especially at their age.

They seem to be overly fond of breakdowns as well, a mistake a lot of fledgling metal bands make. On the up side, they do make each breakdown original and exciting. There are definitely a lot of premium breakdowns on the album, I just can’t get over that they may have put in too many. The reason being that by doing so, they take away from the time they could spend showing off their other musical talents, of which I’m sure they have plenty.

Speaking of time, the LP is way too on the short side, at only 32:38. But I’ll let them off with a warning this time because it’s their first album. But anyone sporting August Burns Red, slap these guys a high five for a great first effort. Give them some support, they’re an up and coming band that’s a little wet behind the ears, but they show a lot of potential. I’m giving them an honest 4 out of 5 napkins. They had a few notable problems, but they made up for by sounding really sick. I’m definitely keeping an eye on this one.

Artist: Texas in July
Album: I Am
Label: CI Records
Release: August 11, 2009
Length: 32:38
Rating: 4/5 Napkins

For the Fallen Dreams - Relentless - Review

Hearing For the Fallen Dreams’ first album ‘Changes’, I had built up pretty high hopes for their new album ‘Relentless’. However, upon listening to it for the first time, I was just a little bit disappointed. I had established some very keen enthusiasm for their first album, and this one is a little different. But don’t fret; as I listened to it a few more times, it has grown on me. Really its only flaws are evident when comparing it to its last album, which I honestly think was better in some respects. Take my word though, that standing all by itself, it is a great album.

It opens with a silly little intro track, but after that, ‘Perceptions’ spells a new, angrier sound for the band. I quickly noticed that they have drastically reduced their emphasis on the raspy, high toned guitars that made them who they were throughout ‘Changes’, and replaced it with more background tweedling. If you don’t know what I mean, check out Misery Signals. But anyway, I was caught singing along to the line ‘Our dreams won’t die, they’ll never go away’ the first time I heard it. ‘A Plethora Of’ continues on a catchy note with a cool guitar riff to open it and carry through the verse. This pulls into a well built up breakdown that made me smile. And finally, after finishing up there, you get to hear some beautiful, clean harmonies that really bring a welcome improvement to their sound. It gives a little meaning to my “classy metal” moniker.

End the sap fest with the fist pumping ‘Nightmares’. It gruffs the album right up, squeezing out that goosebump-giving rage that jams you up something fierce. Even still, it quiets down in the chorus with some clean vocals you may recognize. Courtesy of none other than Jeremy McKinnon of A Day To Remember. The anger continues in ‘December Everyday’. They whip a few old school punk beats as well, feeling a bit more metalcore again for a second. At the end, a point of impression is the brilliantly coordinated transitions between yelling and growling from lead vocalist Dylan Richter. He has obviously improved since last year as well, removing a lot of his hardcore yell sound from his screams. A welcome fix in my book.

'Defiance' shows off another choice breakdown. A neat thing about FTFD is that the backbone of most of their songs are constant breakdowns behind the rhythm, but when they want you to notice one, they’ll jazz it up so it’s not just a generic chugging session. Even if they’re not always that technical, they keep them fast paced and energetic, and usually add vocals half way through so you don’t get bored. Also, drummer Andrew Tkaczyk intros them nicely with his technical fills I loved back in ‘Changes’.

The rest pretty much goes on like that, but for your interest: ‘Smoke Signals has a short guitar solo, ‘In Sincerity’ is a prelude with echo-y guitars and clean harmonies, ‘Two Twenty Two’ is super pissed off, and ‘Resurface the End’ gives you something to bang your heads to. But ‘The Pain Loss’ I didn’t think did the album justice as an ending song. It just doesn’t feel like the album should end after it. Although that could be because the album is only 37:36 long! I mean seriously, is this the way CD’s are being made now? What am I paying for with only half an hour of tunes to hear?

Anyway, as far as anyone listening can tell, this is a pretty sick piece of work. But some of the things they took out, I wish they hadn’t. It doesn’t catch my ears quite like ‘Changes’ did, but that’s just me.

A far as the lyrics go, there is a lot of negativity in the words. They deal with depression and confidence issues, how to deal with the problems in the world. They are very poetically written, but it would take some studying to decipher the more specific meanings. I doubt most people will care anyway since the vocals are mostly hard to understand before you look them up.
Take a listen and find your own opinion, but I can’t accept this album as much of a step forward. They changed some things for the better, like the clean vocals and the catchy guitar riffs, but their old sound has come and gone. ‘Relentless’ places more focus on angry chugging than meaningful melodies. Maybe if you haven’t heard their old album you won’t see my point, but then again I would say don’t miss out on it. In the end they’re still For the Fallen Dreams, and I love ‘em. I’m giving ‘Relentless’ the benefit of the doubt with a solid 4 out of 5 Napkins.

Artist: For the Fallen Dreams
Album: Relentless
Label: Rise Records
Release: July 21, 2009
Length: 37:36
Rating: 4/5 Napkins

August Burns Red - Constellations Review

Do you have a favourite metal album? Well now you got a new one! The five man Solid State earthquake known as August Burns Red has put together another one for the record books. Casually placed under ‘BEST ALBUM EVER!’ it has breakdowned its way under my skin and now I can’t listen to anything else. When they actually started sounding good with their first full length LP ‘Thrill Seeker’ they already placed at least in my top 3 favourite bands. In fact, back then, along with Demon Hunter, ABR was the band that got me into metal altogether. After that, they released ‘Messengers’, which was a little different but still very impressive. It has always been very hard to decide which of the two albums was better, but (get ready for this) ‘Constellations’ tops them both.

The album opener ‘Thirty and Seven’ doesn’t begin as ear catching as, say, ‘Messengers’ did. But it definitely sounds promising. However, after waiting a minute or so, you get a full blast of ABR breakdown. We all know how those sound. They take it fast and brutal. Also, vocalists Jake Luhrs and Dustin Davidson seem to be experimenting just a little bit with their vocal range, stretching out the clean(er) parts slightly more than in the previous record. It adds well, showing the intense emotion put into the songs. Then suddenly, in the second song, ‘Existence’, they pull a guitar solo out of nowhere. This is a new and steadily impressive step for ABR and fits beautifully into the myriad of talents they already hold. In ‘Ocean of Apathy’, guitarists JB Brubaker and Brent Rambler seem to go squeal crazy, which I have no problem with. Then, all of a sudden, another new for ABR, halfway through the same song, they do a one-eighty into a slow part. Echo-ey strums and off time drumming (courtesy of my favourite metal drummer Matt Greiner) slowly move back into the intense line “Ocean, ocean, ocean of apathy”. In ‘White Washed’ they mix their signature chugging sound with a Misery Signals-esque underlying minor guitar riff. ‘Marianas Trench’ gives you a chance to breathe with a slow and pretty instrumental opening (which is weird for ABR), but speeds right back up into a heart wrenching kind of metal (if that exists), which just happens to include another even better solo. ‘The Escape Artist’ is definitely the intensity highlight of the album. Every time I hear it, it’s all I have to keep from headbanging. ‘Indonesia’ features help from lead vocalist of Between the Buried and Me, Tommy Rogers, and ‘Meridian’ is a mostly instrumental brew with more influence heard from Misery Signals. (Interestingly, they are cited as one of ABR’s main influences). The last song ‘Crusades’, ends with one last epic step to this brilliant new album. It starts off amazing including a final, really fast, goosebump giving break down. Then it slows its pace with some light strumming for a meaningful applause, only to rage back in again in that way they do. This, ending ‘Constellations’, making you feel oh so incredibly satisfied, initiating one of the last lines of the song “Say goodbye”. Perfect.

This album seems to be written in an attempt to convince people of the existence of God and the struggle to convince the world. Lines like “Open your closed mind, and close your open mouth”, “Everything true and complete is cut out” and “How many have you pushed away, and how many have you saved?” They address the people who deny God and also admit to God being cut out of the world more and more. As Christians, we struggle to show the world what we believe. In the last song ‘Crusades’, they speak about being tried and wanting to be taken home. A feeling many believers has when they are discouraged by the world’s reluctance to listen.

The only problem I had with their previous release ‘Messengers’ is that the kick drum made too much of a “clicking” sound. But they seemed to have fixed that in this album, plus they’ve experimented with new ideas and sounds. In the end it’s still total August Burns Red, only even better than before.

I could talk about this album for pages more, but I’ll stop here to spare you the pain of reading me drool. Bottom Line: you like metalcore? Get this album? You like getting pumped up and ripping a brick in half? Get this album. You like break downs? Holy crap you’ve hit the mother lode. There is absolutely nothing to complain about in this album. Disregarding of course the people who don’t like metal anyway, everyone should hear ‘Constellations’. It is spectacular. By far, the best metal album I’ve heard in a long time. And it has placed August Burns Red neatly back in the position of my favourite band. If I could, I would rate this album 6 out of 5 napkins, but in the interest of making sense mathematically, 5 out of 5 will have to do.

Artist: August Burns Red
Album: Constellations
Label: Solid State
Release Date: July 14, 2009
Length: 47:35
Rating: 5/5 Napkins

Public Enemies Review

The multi-faceted Johnny Depp has done it again. From Edward Scissorhands to Jack Sparrow to Willy Wonka, Depp has always impressed me with his incredible range of film characters. Taking a more serious turn this time as famed 1930s bank robber John Dillinger, he gives a stirring and partially disturbing performance in ‘Public Enemies’. Directed by Michael Mann, still kicking from filming ‘Hancock’, and co-starring Batman himself, Christian Bale, this film is certainly worth your attention. And although my interest in movies seldom falls on historical films, Depp injects his signature acting style that many of us know and love to make ‘Public Enemies’ a worthy add into anyone’s action movie collection. It is, however, a little hard to watch at times because of the close historical accuracy. I enjoyed Depp’s performance as I always do, but overall I was slightly disappointed by the way the story was constructed.

I’m not sure if giving away plot events will disappoint anybody, as anyone with a history book can find out what happens to Mr. Dillinger, but I’ll humor the less learned of our readers by not doing so. I can tell you though, if you like seeing a couple dozen tommy guns fire off a couple hundred rounds for elongated periods of time, then you need to sit yourself down in front of this movie right now. Plus, since everyone dressed exactly the same in the 1930s, you’ll have no idea who’s shooting who without a lot of close-up shots. Otherwise, you can enjoy the technical genius of John Dillinger breaking himself and more out of prison not once but twice. Or maybe the romance of a bank robber, sprinkled between the action sequences can tide you over. (Warning: which includes a brief scene of intimacy, for any of you bringing kids to see this). As for your allegiance to characters, if you root for the bad guys (i.e. the bank robbers) be prepared to punch the guy in front of you a few too many times. That’s historical precision for you.

I am aware that I cannot argue with history, but it is a movie, based on a true story. There is a reason true story movies are changed slightly, to make them entertaining. Bryan Burrough, author of Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933-34, the book on which the film is based, even expressed that ‘Public Enemies’ is “by far the closest thing to fact that Hollywood has attempted”. Personally, I believe that Hollywood changes fact for the benefit of the movie’s success. The truth of it is that it was an uncomfortable story at times. Depp’s marvelous performance is a double edged sword. Acting as Dillinger very well also made me a little uneasy at times when he was killing innocent people in cold blood one scene, then in the next acting chivalrous and suave to his love interest Billie Frechette, played by Marion Cotillard. While I wanted to root for him, as he is the main character, throughout most of the film I half wished that the FBI would silence him. It was clear that he lived an unfortunate life. Watching it all happen made me feel pity for him. That is what made me partly disappointed as I left the theatre at the end.

Closing off that area of regret, there is much good to say about ‘Public Enemies’. In more exciting scenes, you can see the professional effort put into the action, namely the gun fight scenes. Of course, you can’t say no to a good old fashioned car chase between a couple of old Fords doing 40mph. That’s excitement! It is astonishingly close to what the 1930s actually looked like. There is no denying that the sets were made the way a history flick should by all rights be made. But the real highlight of the whole movie is Johnny Depp’s own version of John Dillinger. He acted as a criminal would, without selling the character out like Hollywood loves to do. (Bringing to mind Colin Farrell’s performance in ‘American Outlaws’.) Not only does he keep the character true, but Depp also adds his own style. You’ll be saying “John Dillinger sure was a smart criminal” and then “That sure was Johnny Depp”.

Honestly, I never would have seen this movie if it wasn’t starring Johnny Depp. He makes the movie for me. And I’ve never been disappointed by any of his characters. So if you don’t particularity like Johnny Depp, I would say don’t see this one. All on its own, it’s a well made movie, but it didn’t satisfy me as much as I had hoped. I give it a rating of 3 out of 5 Napkins.

Title: Public Enemies
Directed by: Michael Mann
Starring: Johnny Depp, Christian Bale
Music by: Elliot Goldenthal
Release Date: July 1, 2009
Running Time: 140 min
Rating: 3/5 Napkins

Darkest Hour - Eternal Return Review

There is a disturbing trend happening with many heavier bands these days. This trend includes the wussing out of bands that hold a louder sound. On the opposite end of the spectrum, a lot of bands can’t seem to make their albums sound different. Being surrounded by these tendencies makes me thankful that there are bands like Darkest Hour to show the way to good progression. If a band starts out badly, it’s okay as long as they learn from their mistakes and improve on their next album. Darkest Hour has this technique down to a science. Albeit they started off almost as good as they are today, they have improved with every release. Not only that, but they have experimented, moving slowly through elements of thrash, metalcore, death metal and melodic metal.

They have always done a good job of keeping their albums fresh as well as entertaining.
This time around, they mix together all the best aspects of their previous releases together into a big vat of face melting, beat the guy next to you metal. They capture your emotions one minute with soul wrenching, melodic riffs, and pump you up into a frenzy with metalcore style chugging the next. The whole time pushing through with a constant metronome of double kick that never seems to stop and insanely fast drum beats that make you wonder if the drummer has bionic arms. And don’t even get me started on the guitar solos. Ever since their debut LP ‘The Mark of the Judas’, Darkest Hour has enjoyed a healthy stockpile of arm ripping solos. And every album has been more and more impressive in said aspect. This album is no exception at all. In fact, I just have to give props to their lead guitarist. Because not only are there notable solos in almost every song on this album (most notably in ‘The Tides’, ‘Blessed Infection’, and ‘Transcendence’), but I can honestly say that he’s shredding better than most guitarists throughout the majority of the album. Seriously, I think he might actually be a Guitar Hero bot hiding inside a roadie’s body. Moving away from the guitars for a bit though, let me mention again how insanely fast some of the drumming is. Being a drummer myself, that is the bloodening speed that I hope to possess someday myself. And when he’s not exuding crazy lightning speed fills, the double kick he holds through all the songs really get my whole body moving in a hypnotic rhythm.

The album starts off very well, with a menacing mix of chugging guitar and their unforgettable vocals that I can never get tired of. A good, unique scream is never underappreciated. Then it moves into a fast, thrash type beat that warrants air drumming. It moves along like that until the minute-and-a half brutality that is ‘The Tides’ amps it up even further, giving you no time to breathe until the three minute point of their seventh song ‘Transcendence’ lets you pace the pit for a moment. Blasting through two more songs, they end off nicely with ‘Into the Grey’, which has that unwanted, but respected “end of album” sound to it. Once it’s almost over, you can lean back in satisfaction from just hearing an amazing album from an amazing band.
Darkest Hour has always written depressing lyrics, but this time it’s like they fell off the deep end into the emo pit of nagging. Example: lines like “You’re a plague”, “O death, pull me closer to your cold embrace”, “There’s no God, it’s all an illusion”. I don’t know who put the dirty syringe in their granola, but it kind of collides with the other side of their lyrics that seem to ring a tune of rebirth and starting over like “For I have been reborn”, and “Reveal my new skin to the open air”. This isn’t surprising since this album ends the bands contract with Victory Records. But they definitely seem to have a serious dislike for the standards the world has set…or maybe the label they’ve been stuck on? They seem to be suspiciously happy to get rid of them. I’m just spit balling though.

Compared to their previous albums, the only difference I can find in their new one is that it just sounds even better, as all of their releases have progressively done. In my personal opinion, I can find few flaws with this album. I think they could have benefited with a few slower parts to give listeners a break from punching whoever’s next to them. But all in all they are a very talented group of musicians that warrant a listen from anyone who likes basic American metal, metalcore, death metal, or melodic metal. They mix together the different styles quite harmoniously in a successful attempt at comingling all of their previous sounds.
I give this album a glorious 5 out of 5 napkins. It really impressed me.

Artist: Darkest Hour

Album: Eternal Return

Label: Victory Records

Release Date: June 23, 2009

Length: 34:53

Rating:5/5

Killswitch Engage 2009 review

When it comes to basic American metal dishing out pure goodness without variation of genre, Killswitch Engage pulls it off perfectly. Since their second album, ‘Alive or Just Breathing’, they have been able to keep a steady hold on metal fans everywhere; and because of their originality, thanks heavily to Howard Jones unique vocal style, they have been able to lift tired metal junkies out of the same metal routine provided by many less than creative bands. Their new album is no exception either. ‘Killswitch Engage’, the bands second self-titled album and fifth overall, is the easy to like new addition to the Killswitch enterprise.

Essentially, the band has changed very little since their last album. You may think that’s a bad thing, but I respectfully disagree. Why fix what’s not broken? But before anyone automatically assumes that Killswitch’s new endeavor isn’t worth buying let me assure you that there is change to be heard. While not super noticeable, the overall sound has mellowed out a little bit. You know how Killswitch does a really good job of switching between mellow and brutal, right? Well this time the mellow is amped up just a little bit. If you reach into your 2006 section of your CD collection, you’ll find that their previous album, ‘As Daylight Dies’ had an angrier feeling to it. But that changes none of the good feelings that I get from this one.

It is clear that the new album is much more meaningful and even poetic in its execution than their previous albums have been. They’ve given you the extreme of their ability, and now they probably want to make some sort of impression with their lyrics over their music. Throughout the whole album, there is a theme of redemption from some sort of ugly past as well as retribution on an unknown enemy. In the opening song, ‘Never Again’, they express their experience with this enemy with the line “Nothing can change what you’ve done, nothing can change the way I feel”. Some sort of pain inflicted upon the speaker is made apparent. Then they talk about the future and how they are going to move on from their past with “lead me back to where my heart belongs”. This theme of renewal is continued in several songs, including ‘The Return’, ‘A Light In a Darkened World’, and ‘I Would Do Anything’.

Accompanying these meaningful lyrics is very well put together and, as usual, well recorded music. The opening song, ‘Never Again’, pretty much tells whoever’s listening exactly what to expect for the rest of the album. It starts off loud and menacing for the verse, and then slows down, showing off Howard Jones lovely singing voice during the chorus. In fact, if there is anything wrong with this album at all, it is the lack of variation between song structures. Each song has its own sound; I’m not saying each song sounds identical. Only that almost every song on the album pushes through with a heavy verse and then mellows down in the chorus, usually followed by an intense bridge.

With that being the only flaw I have found on the whole album, I would recommend it to anyone that already trusted in Killswitch’s style and to anyone who appreciates a very professional metal album. If you’re into all the big mainstream metal bands but you’ve never heard these guys, give their new album a listen. Overall, I wouldn’t say that this was their best album ever, as their previous had a little more variation, but it warrants no complaint either. It is definitely worth getting.

Artist: Killswitch Engage

Album: Killswitch Engage

Label: Roadrunner Records

Release Date: June 30, 2009

Length: 38:49

Rating: 4.5/5