Ace Augustine - The Absolute - Review

Anyone familiar with Facedown Records will know that the bands they sign are often hit or miss. They appreciate new talent with God fearing sparks in their eyes. Some rise and fall in the heat of an album or two, some end up being For Today or Impending Doom or War of Ages. But there’s just little way to tell if a band will flourish or flop. Take Ace Augustine, the Lancaster-local Strike First recruits. They’ve released their debut full length album, The Absolute, guns blazing, vibrant with enthusiasm; but just about zero new ground has been broken. They can now go in a number of directions, including: (worst case scenario) they unhinge as a band after one album, like Wrench in the Works did last year; or they could span out and improve, since they actually have potential.

First off, let’s get something out in the open. They’re your standard metalcore: hardcore influenced, breakdowns left and right (though not to an irritating point like some greenhorns), nothing new to see here. But don’t write them off first thing. They never get caught up on one segment of a track for too long. They switch it up enough to keep anyone still listening happy. At times, like in “2013 Looks Promising”, they will ease up for a pretty little melodious interlude which careens full tilt into some seriously headbanging sections. There are quite a few places in the album that I was legitimately enjoying myself. They inject enough young energy into the performance that you can often lose yourself and forget that the album isn’t actually produced that well.

Admittedly, Ace’s biggest flaw is the individual performances. The guitar work occasionally lacks a certain professionalism that time usually warrants. By far the biggest problem however is vocalist Ben. Besides needing some more practice perfecting his scream, he is essentially monotone. But even this isn’t a huge annoyance with the light sprinkling of low screams in a few tracks and the excellent clean vocal choruses in songs like “Negotiations” and “Delorean”. Drummer Doug though, is a gem, not taking on any obvious drumming stereotypes in a genre riddled with stereotypes, churning out creative fills and shifting beats.

The band as a whole, on the other hand is a different matter altogether. They play a stellar team battle; and their writing, while derivative, shows potential for future pizzazz in perhaps a style more unique to themselves. Having banded in the popular musical birthing grounds of Lancaster, PA seems to have had an effect on Ace. Their approach to metalcore resembles August Burns Red in their infancy. That alone substantiates them for further endeavors. They could also be compared to For Today by their hardcore influences and zealous lyrics.

Surprisingly, Ben’s vocals are easily understood, which is fortunate since the lyrics are quite easy to listen to. There’ll be no wailing and gnashing of teeth, but comforting and encouraging words that, oddly, don’t contrast the music as much as you’d think. Especially meaningful lines like “Make your mark this time. There’s no second chance. This is not a test. This is your life” are sung fervently in the rush of “Negotiations”, an extremely uplifting song when paired with the guitar melody. In the finale of the album, “The Absolute”, the line “Bring me to a light of positivity. Bring my mind to where it longs to be. This place is not my own. This body’s not my own” empowers the listener through Ben’s screams.

In the end there’s no doubt that everything you’ve heard has been done before, but it hasn’t always been done well. Ace puts a lot of enthusiasm and teamwork into an entertaining collage of music, and that wins them a lot of points over the band that’s trying so hard to be original that they fail to see that they’re terrible. The Absolute is by no means flawless, but it’s honest and shows real potential. Hopefully they go down the same path that August Burns Red and For Today did, by improving over albums. Assuming they stick it out, Ace Augustine is a band to keep an eye on.

Artist: Ace Augustine
Album: The Absolute
Release: January 18, 2011
Label: Facedown Records/Strike First
Length: 41 minutes, 9 seconds
Rating: 3.5/5



Originally posted on JesusfreakHideout

As They Sleep - Dynasty - Review

Solid State Records will always have a place in my heart. They have, to date, fueled the God fearing metal heads of the world with some of the best artists that we on the fringe of music could ask for. Their roster often challenges the extremes of all metal types, but they sign insightfully and tastefully, with little miss. Earlier in the year, a pair of fresh faced groups joined their ranks: As They Sleep and To Speak of Wolves. The former has now released their sophomore album, and Solid State debut Dynasty, but it could not be farther from To Speak of Wolves’ debut – in style, or execution – if it tried. Here we see rebirth disguised as innovation, and a fresh, new sound with classic roots. Dynasty cuts straight to the heart of heavy metal, but without resembling every other copycat death metal band.

The only scary part is that the album opener “Oracle of the Dead” launches with a gruesome blast beat. Oh no. Lightning fast double kick, profuse chugging, deathly metal growls. Not a bright future ahead. But just as I prepare myself to endure a half-hour breakdown/blast beat session, something else happens. Just that – something else! The tempo changes, a higher scream joins the guttural low; melodious, twin guitar riffs that clearly require some semblance of skill beyond palm muting strike from all angles! This is incredible. The riffs aren’t just harmonious, but colourful and full of life, even bright on occasion. Besides just the standard calling forth darkness and delivering souls to who knows where, the members of this death metal band are clearly enjoying themselves.

The scope of the music is always changing as well. Just as a mental criticism on “this beat being overdone” or the band “trying way to hard on this riff” enters your head, the scene changes. Tony Lukitsh on drums continuously shifts the spine of the music, always maintaining the entertainment and tastefulness of the song. The creativity of a band in this genre is inspiring to say the least. By “The Third Reich”, I was banging my head, and found myself to be deeply in love with this band. Vocalist Aaron Bridgewater is solid, actually screaming in correct pitch to the music. This successfully adds a deep layer to the music that still eludes most screamers.

It is difficult to put into words the level of professionalism and tact that ATS employs on only a second album. “The Darkest Age” makes clear the bands natural specialty, riffs. Nick Morris and Barry Gomez are synchronized on an unearthly level, matching always the speed and intensity of Lukitsh and Derek Kosiba on drums and bass. The interlude “Ritual” comes into play so fluidly, giving the string men freedom to gently shred your troubles away. “The Offering” introduces the second half of Dynasty beautifully. Bridgewater’s vocals culminate with twin guitars like poetry. Subtle hints of bright melodies insist on more than the melting of faces, but also allow the half absurd thought that this devilish music can actually mean something. “Attila” and “Poseidon” tread forward gracefully, albeit with the power of a landslide. But they give hope to the tired metal fans who gave up on the genre because of the redundancy of every new “-core” band on the scene.

“God of War” can remind the listeners that the energy has only briefly died down on the album at all. Every subsequent track hammers on, but nothing gets stale. ATS has worked extremely hard to keep the album interesting, and unlike so many before them, they have triumphed in that respect. Dynasty winds down with “The Unseen”, which bears a significant air of finality, but also of a rising success. The album theme is all about the rising and falling of empires throughout history, but for now, ATS is only rising. It’s so good to hear a band of this speed, volume and caliber within the Christian market. With such a concrete album nailed down, As They Sleep is very definitely going to make a name for themselves.

Artist: As They Sleep
Album: Dynasty
Release: November 23, 2010
Label: Solid State
Length: 37 minutes, 50 seconds
Rating: 4.5/5



Originally posted on JesusfreakHideout

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