Underoath - Ø (Disambiguation) - Review

Any real fan of Tampa, Florida’s Underoath has been burning up in anticipation for their seventh full length album, Ø (Disambiguation); and now after a blistering wait period, you can finally tear it apart with your own personal slew of criticism. Naturally, the “best album ever” people and the “terrible new direction” people will clash on the forums, but one thing is for certain. Ø (Disambiguation) has a much more distinct flavor than any previous album. The short time between writing the album and final polishing is indicative of some level of comfort that was previously over their heads.

Though every subsequent album that Underoath has released varies in execution, many agree that they hit their high point with 2006’s Define the Great Line. Lost in the Sound of Separation in 2008 however, seemed to be dragging just a little bit. Now it is as if a new passion and energy for the music has liberated them from stagnation. Let’s see, what’s changed since then?

Could it be that former drummer/clean vocalist Aaron Gillespie was holding the band back? Nothing is certain, but the facts hint. The disembodied drum sticks have been taken up by Norma Jean veteran Daniel Davison, who is also a long time friend of the band. Is he the oil to grease Underoath’s gears again? Well, the unfettered pursuit of sound speaks for itself.
Ø (Disambiguation) jumps down out of nowhere at the beginning of the album. “In Division” pulls no punches. In a swift move, they display exactly what we’re dealing with in the very first track. A gritty fusillade of grunting guitars and dark harmonies to match deliver Spencer Chamberlain’s wide vocal range on a silver platter. For the first time ever, we get to experience the entire arsenal that Chamberlain has to offer. Not just the deafening highs and lows we already love, but eerie, purposeful singing as well. It’s a dignified mess. Raw and honest. Dark and dreary, but with excitement mixed in without the two canceling each other out.

A groovy bass line introduces “Catch Myself Catching Myself”, and then plunges headlong into complete chaos. There’s so much going on at once that it sounds like there are about six or seven guitars splaying out in quick succession. The experience is like a musical warzone. The quiet ensnares your attention just as well as the loud, and before you know it, the warzone is back with just enough intensity to bring you to tears. “Paper Lung” takes a step back with simpler force, like the soundtrack to distant carnage.

Davison clearly brings more than his oddball drumming to the mix. He’s a brilliant menace, but carries a vibe that transferred over from his Norma Jean stint. It wouldn’t be a far stretch to compare Ø (Disambiguation) to Norma Jean’s recent full length, Meridional. Apparently old NJ drummer plus Underoath equals new NJ. Chris Dudley’s electronic maintenance to the music retains the Underoath in it, however. “Driftwood” carries you off into a strange sound mesh that melts the music away until only ambience and Davison’s off time beat remains. The long interlude drifts off and then is trampled by “A Divine Eradication”, aptly named. This track reassembles some violence and remembers Underoath at its finest.

“Who Will Guard the Guardians” starts off groovy, but turns very melodic and very intense. It utilizes repetition to force certain lines into your brain. “Only God can lead us down this barren land, and wake us up. We are the lost, and we are the abandoned.” “Reversal” takes some digesting at first. It’s merely a short patchwork of awkward noises and ambience, but hits the ground running again with “Vacant Mouth”.

It’s hard to call Ø (Disambiguation) an experimental album when no Underoath sound has ever stayed put. Nevertheless, this would be a safe place to move forward from in the major pivot point that Underoath is experiencing. Not only has the drumming and subsequent influence changed with Gillespie’s departure, but the lyrics have also changed. Alongside the music, they have become darker. “I can’t seem to find the light. Inside this empty room, I seem to lose myself.” As the title of the album suggests, the album is drawing attention to the fact that Underoath never stays in one place and hints that the album is about nothing in particular. This leaves them to simply drift. This in itself seems to be a large theme, however.

Ø (Disambiguation) heralds the biggest shift in sound for the band in a long time, and perhaps begins a new regime as well. Regardless, every aspect is top notch. The chaos is instigated by professionals and controlled for your enjoyment. Chamberlain’s full vocal range is a surprise, since he has rarely, if ever, contributed such beautiful and haunting calls. On top of it, his screams and yells have reached a new pinnacle, swinging freely high and low. Davison’s drumming doesn’t vary too much from Gillespie’s, but he certainly brings more than drums to the table in musical influence. McTague, Brandell, and Smith intertwined their guitar work masterfully to both confuse and captivate. And of course, Dudley’s keyboards and synth are the cheery on top, steeping every note in one more layer that makes them Underoath’s. Not since Define the Great Line has Underoath sounded so honest. Ø (Disambiguation) delivers in every area that counts: improvement, teamwork, professionalism and entertainment.

Artist: Underoath
Album: Ø (Disambiguation
Release: November 9, 2010
Label: Solid State/Roadrunner
Length: 38 minutes, 23 seconds
Rating: 4.5






Originally posted on JesusfreakHideout

August Burns Red - Home - Review

The eager crowd chants “ABR, ABR” with some loyal fervor before the sultry intro bleeds into “Back Burner”. August Burns Red packs their first ever live album, Home, full of fan favourites akin to the opener. For their nearest and dearest fans, the God-fearing masters of metalcore played hits like ”The Eleventh Hour”, “Truth of a Liar”, “Meddler” and “Up Against the Ropes”. For all the long haul fans, they even pulled out “Your Little Suburbia is in Ruins” and “A Shot Below the Belt”. Since, throughout their career, they released very few songs that ever flopped, it would be understandably difficult to fully satisfy everyone in the crowd without playing nearly every song in their arsenal. Unfortunately they had only enough time to fill a CD.

Independent from the accompanying DVD (which features a band documentary and fan testimonies as well alongside the filmed live show), the CD half of the package may serve as a sort of live best of album for ABR. Shot and edited by Space Monkey Studios (Lamb of God, Every Time I Die, Coheed and Cambria), the production came at a perfect time for ABR. Their latest album Constellations hit the Billboard Top 200 at #24, a phenomenal grand slam for a group immersed in such a visceral genre, not to mention a group steadfast in the Christian faith. The release of Home could be considered a milestone point for the band, celebrating their skyrocket in popularity and musical professionalism.

The editing itself is quite impressive, leaving the live performance with a studio-recorded sound. The actual performance is everything that you would expect from ABR. Virtually flawless guitar and bass from JB Brubaker, Brent Rambler and Dustin Davidson, and a quite literally flawless performance from Mr. Matt Greiner on drums. The only issue I can find is the admittedly sketchy vocal presentation of Jake Luhrs, but anyone who has seen ABR live can chock that up to his inspiring stage presence. I’m not too sure any of the 1250 people in the sold out crowd were complaining at the time.

For the show, the band returned to the place of its humble beginnings, Manheim, PA. It’s where it all started, and in light of such a new height the band has reached, it’s only natural they would celebrate with their family and friends. "We played our first ever show as a band in Manheim, PA in April of 2003," explains guitarist JB Brubaker. "Between then and now we’ve been fortunate enough to play all over the world. But when it came time for us to record our first live DVD/CD, it only made sense to do so back in Manheim where everything began. It was exciting for us to have people come from far and wide to the town where most of us grew up, and to be able to play such a special show in front of our families and close friends who have been supporting us since the beginning."

Naturally any real August Burns Red fan is already vibrating in anticipation for a new full length album (and has been since Constellations was released in the summer of 2009), so it pleases me to inform any and all ignorant readers that they are currently writing and will be hitting up the studio in 2011. Let Home be your brief liberation from the fits of anxiety that have been plaguing you thus far. It is a great way to experience the band and their mannerisms first hand, as well as the pulverizing live show they deliver.

Artist: August Burns Red
Album: Home (CD only)
Release: September 28, 2010
Label: Solid State
Length: 69 minutes, 19 seconds
Rating: 4/5



Originally posted on JesusfreakHideout

For Today - Breaker - Review

For Today has released three albums in three years. A little superfluous? Maybe, but that doesn’t stop them from doing what they love: shredding, blasting, breaking and dropping. Some viewed their first album Ekklesia as a little dry, so Portraits beefed the sound right up. Along with improved musicianship and an overabundance of stellar breakdowns, they double up their skill and sound faster than most. No one would expect them to have another full length freshly squeezed already. But lo! Breaker appears. Quite unfortunately, there is no heavy handed improvement like last time. Only what I can call a shadow of their former glory. The passion is still present, but at times it sounds like they are wandering aimlessly from breakdown to bass drop. The inspired sound is gone for the moment, but Breaker is inspired in an entirely separate way this time, spiritually. If this isn’t what you expected, you best stop reading right now.

The album begins much like you would expect For Today to begin it. After the intro track, “Devastator” eases in with a brutal, drawn out build-in, and then rampages into their signature sound. The one with the almost off tune, yet totally original guitar harmonies from Ryan Leitru and Mike Reynolds, and the Mattie Montgomery basic vocal package. You know the one. It hasn’t changed since Ekklesia in 2008. Beyond that, breakdowns come and go, as well as more timing changes than I think the human brain should have to endure. It’s almost like they can’t decide where the tempo should be. Whether or not this is true, it is exactly what they want to sound like. Recording three albums using this formula sends a message that says “we know how we sound and we like it.”

“The Advocate” passes by in a blur of slower and slower breakdowns, eventually filtering out of my attention span completely. “Seraphim” doesn’t play anything new, but it’s definitely a cut above the rest of the album. The standard timing changes/ breakdowns/ hardcore beat/ gang vocals pump up the same ideas, but the track is stitched together more passionately and convincingly than its neighboring tracks. The ensuing tracks don’t quite break rank enough to mention specifically. Sadly, this whole album is a big disappointment. If you know For Today and heard their previous album, you won’t hear anything fresh. Musically this album is in the same vein as its predecessor, Portraits, which was a significant improvement from their debut album, but it doesn’t rank the same caliber.

On the other hand, the release of Breaker is completely unnecessary. They unleashed a terrific album only last year and clearly haven’t had enough time to improve or feel the need for experimentation in deviation. Musically, it is a solid album, no doubt. But the effect of attempting a release so soon again was the wrong move. I expect great and greater things from For Today in the future, at any rate. In that frame of mind, I bear no ill feelings towards this album.

After reading a recent interview that HM Magazine held with lead vocalist Mattie Montgomery however, I am strongly convinced that the full purpose of this album was far from musical advancement alone. Breaker stands as encouragement as much or more than as entertainment. The highly zealous lyrics that always accompany For Today’s chugs have been kicked up to a whole new level of purpose.

The breaker theme that the album revolves around is based on one of God’s titles and roles. He breaks us. When we stew in our world and lose sight of Him we grow stagnant in our faith. When we think there is no hope in our pitiful lives we turn to hollow solutions rather than to our Savior. Even when there is no knowledge of the hope He provides, He sees us. He pursues us and wrestles with us until we break before the weight of his truth. He is the Breaker. The entire concept of the album can be aptly derived from the four part spoken word poem throughout. When Montgomery was given the inspiration for Breaker, he enlisted Jose Palos to write and record his own poem on the subject. What you hear between the bone crushing tracks is the result.

Musically: nothing changed, nothing improved, though a solid performance and well recorded and mixed. Although it was a continuation of Portraits, it didn’t stick the same way. There are far fewer memorable sections and far less to get excited about. After a few listens, it grows on you, but it does get repetitive once overanalyzed. Lyrically: Beautiful, enlightening, and very passionate. I was lifted up by the encouraging words. This album was certainly commissioned by God. For a good bangover, stick to Portraits, but for a spiritual mind blowing, pick up Breaker and please dedicate more than a single listen. I would go so far as to say that the actual music around the message was an afterthought.

Artist: For Today
Album: Breaker
Release: August 31, 2010
Label: Facedown Records
Length: 35 minutes, 15 seconds
Rating: 3.5/5

Originally posted on JesusfreakHideout

The Devil Wears Prada - Zombie EP - Review

Don’t bother trying to find a Christian message in The Devil Wears Prada’s brand new Zombie EP. Apart from the fact that Mike Hranica’s vocals are almost completely indecipherable without a list of lyrics at your nose, the concept for this album is a complete joke. The effect is intentional, don’t you worry. These boys aren’t stupid; they’re just having a bit of fun. “The whole thing is just completely based upon zombies. Last fall, I was on a real zombie kick. I read The Zombie Survival Guide by Max Brooks, and I thought, 'What if we made a zombie song?' All it took was me just saying that to the band, and we had our hearts set on doing this EP,” said Hranica in a recent Ferret press release. This is essentially all you need to know.

Though the lyrics are less than poetic, the music edges on ideal forward progression. Even with the staggering improvement of With Roots Above and Branches Below behind them, they manage to take the good and make it better. A thunder storm introduces the lunacy that awaits, but the phrase “full tilt” has grown a whole new meaning with the opening track, “Escape”. The first you get to hear of the newest TDWP is also the heaviest they’ve ever written. Within the fiery fusillade is a noticeable upgrade to Hranica’s vocals. His applied range has increased, leaping from high sweeps to abysmal lows much more profoundly than in the past. In addition, his mid to high screams have slid just in between his usual rasp and a hardcore yell, adding considerable flavour to the band’s vocal-heavy format.

Moving on to “Anatomy”, try to hold on to your hats, folks. This little five track EP has as much or more energy than Roots and Branches in its entirety. They go for the gold in brutality. Breakdowns abound, but by no means do they hold the music’s momentum. In a wise method of improvement, they take popular influence on this album, infusing Slayer-esque guitar riffs and admittedly Hatebreed-like speed and tempo.

“Outnumbered” begins with a clever faux news report stressing that “this is not a test; this is not a joke.” Ironically, the entire album is a joke. The seriousness of the music remains intact, nevertheless. By “Revival”, you should have heard a few tastes of guitarist Jeremy DePoyster’s well known clean vocals. They let the old flame burn as his voice soars sky-high, but there is new and notably successful experimentation taking place as well. Integrated piano riffs haunt the background of several tracks. Breakdowns sneak up from nowhere and intense buildups descend into pretty choruses. Unconventional. They keep us on our toes.

The first four tracks focus on detailed descriptions of the “disease” from multiple aspects, bringing you up to speed with their version of the already popular zombie concept. However, the final track, “Survivor” regales us with a tale of “one of the last few standing”; a specific man’s story of loss and loneliness.

The Zombie EP packs a heck of a punch in a very accessible amount of time, and conjures up very good feelings about TDWP’s future endeavors. Expanded and improved showmanship and musicianship are a key exploit to be sure, but it’s the passion fueling a nearly satirical album that daunts me. The Zombie EP is a tempered steel doorstop holding open the way for TDWP’s subsequent full-length.

Artist: The Devil Wears Prada
Album: Zombie EP
Release: August 24, 2010
Label: Ferret Records
Length: 22 minutes, 19 seconds
Rating: 4.5

Originally posted on JesusfreakHideout

Norma Jean - Meridional - Review

Many were worried when “The Almighty” Norma Jean announced their departure from Solid State Records to Razor & Tie, and understandably, as their label mates now include The Irish Tenors, Michael McDonald and Kidz Bop. Fans can rest assured however, that the switch is only beneficial. Singer Cory Brandan stated, “I think for the first time in our career, upon presenting our ideas, we get to hear the word 'yes' more often." They seem to have taken quick to their new abode, and with producer Jeremy Griffith (Cool Hand Luke, Saosin, Forever Changed), they have released their fifth studio album, Meridional. While it may bring forth a more accessible Norma Jean, it is still the raw, chaos-injected anomoly that fans have grown to love.

The boys get right down to the nitty-gritty with “Leaderless and Self-Inflicted”. It’s a rough edge and a kick in the face. Cory Brandan is at the height of his game, belting out his usual barks that are corse but go down smooth. You don’t get quite the helping of chaos that would be hoped for by long time fans, but similarities to The Anti-Mother are evident from the first track on. This drive continues into “The Anthem of the Angry Brides”. The unreadable guitars twirling through the air are only subdued by even harder hitting choruses. The energy is thick, and there is variation at every corner. They hold no tie to any sound, but jump from riff to riff, scream to yell.

“Deathbed Atheist” mixes in the sludge, slowing the tempo and increasing the clarity of the music. There is a pounding atmosphere of ambience. It’s a very full sound, very easy to take in, very tasty. Although as it goes on, it follows a stricter pattern, which is unlike the standard for Norma Jean. “Bastardizer” turns the heat back up again, resurfacing to distract at all aspects. The guitars swirl in a repetitive circle at most times, but monstrous vocals and odd timing and pendulum guitars keep it brutal. The catchy guitars wreak havoc in “A Media Friendly Turn For the Worst”. This is a very different track for Norma Jean. As they said, Meridional would bring “something totally new”. It’s quite possible that older fans hoping for an O God, the Aftermath may dislike this dive into melody and clean singing. It is a very stabalized and beautiful sound when compared to previous albums, but amazingly it is still completely original.

The first of three interludes “Septentrional”, cleans the slate and opens up what can be considered a “Part II” of Meridional. As this short track is very ambient and experimental, an introduction to more new things can be anticipated. “Blood Burner” is screwed up enough, and the aggression is paramount to Norma Jean’s sound, but near the end, the music thickens and turns dramatically and convincinly into full on sludge metal that may or may not go on a little too long. Ghostly guitar melodies surmount “High Noise Low Output”. Rife with clean singing and creative melodic mixes, it really sounds nothing like Norma Jean. It is very well written and extremely catchy nevertheless.

A ballad is the most accurate thing to call “Falling From the Sky: Day Seven” on a Norma Jean album. It’s very tame and takes its time playing through, but it is potent. There’s some subdued nonsense to be heard in “Everlasting Tapeworm”. The energy starts low and rises to bursting as separate guitar themes dance between Chris Day and Scotty Henry’s fingers. Put in the effort to listen especially to the guitars on this track, and take note of how many different places the melodies go. Interlude #2, “Occidental” is nothing more than sincerely creepy noises roped together, which honestly made me grimace at a few points. Highly experimnetal, but something about it sets my stomach on its side. This moves towards simplistic “The People That Surround You on A Regular Basis”. The dark and morbid theme that lives and breathes inside of each song on Meridional can be culminated into this track. The sound is very convincing, almost physical, like it floats just before your reach. That eerie darkness it surrounds. I find that this album shares the consistency of syrup. Its dark and thick and smooth, but there is still a light that can shine through it. It’s a beautiful monstrosity.

The end of this epic comes through “Innocent Bystanders United”. It puts a strong end to the album by opening with basic drums and guitar, through ambience of feedback, and into one final swim through melodius passion. After the long wait for a hidden track, we hear one last interlude “Oriental” to end this grand endevour.

The lyrics of the album are hard to interpret, and according to Brandan, are full of vague metaphors. Though the main theme is unclear, we can be sure where the band member’s hearts lie, as they admit that “Our hands were on the same spear that drove into His side, and we're the ones that wound up paralyzed, paralyzed and loved.” But the attitude of the speaker is openly bitter about most of the topics that they speak. And it sounds as if their beliefs are being attacked and they aren’t sure what to think anymore. In “Innocent Bystanders United”, Brandan cries “’cause I feel like Jesus don’t come around much more these days.” “What I know was divided and broken down by the ignorance of others. Sounds great but tastes like blood.” These can easily be the words of someone struggling between the world and God. “Lies and mistakes know me by name.” These could all be the confessions of a soldier of Jesus in a losing battle, or they could merely be the complaints of a failing world. It seems though, that Norma Jean doesn’t want to be immediately understood. Lyrics like these admit their faith, but leave explanation open for a wide array of audiences.

Before the album was released, the band stated that they were going back to their roots, and many fans figured this to mean that they would be going back to the O God sound again. More likely though, this meant that they would be returning to that particular frame of mind. Though it is much tamer and easier on the ear, it is in many ways written in a similar style to The Anti Mother. Meridional is a melting pot album, showing off all that they have accomplished throughout their career. It houses pieces from all their previous styles as well as some of the most creative songs they have ever written. It’s got something for all different flavours of Norma Jean fans and is a great first album for newcomers to the group as well.

Artist: Norma Jean
Album: Meridional
Release: July 13, 2010
Label: Razor & Tie
Length: 13 tracks: 67 minutes, 21 seconds
Rating: 4/5

Originally posted on JesusfreakHideout

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.