Burden of A Day
There’s been a flood of these “scenecore” acts in the past year and it seems Rise Records is the depot of a lot of it. Each band on the label, with the exception of one or two, sounds nearly the same = breakdowns, some synth/piano, and a mixture screaming and singing. I’m not saying this is bad because if you have an ear for it, sign it, but still, it’s gotten a bit ridiculous. One band hoping to break away from this image is Burden of a Day, whose new album, One, One Thousand,” is just hitting stores this week and let me tell you, it packs a punch.
Starting heavily with punk like chords and sing/scream vocals, “Remember,” quickly displays the technical abilities of the group. It’s not the most approachable opener, but it’s surely one to grab your attention. However, the catchy riffs of, “Fool Me Once,” will likely pull more people into the record. I would like to note, the electronics are much more absent on this than most Rise Releases and it’s all for the better as BoaD’s punk like metal helps draw attention like synthesizers only wish they could. A solid example can be found on the epically brutal, “The Mason,” which is an easy standout for best track on the record.
A problem with albums of this genre is not siply lasting power on repeat plays, but keeping things interesting even the first time through. I mean breakdowns can only get you so far before you have to find a new game. For Burden of A Day, the ability to keep us listening is something that seems to come easily for awhile. Tracks like, “Sly Fox,” and “OneOneThousand,” have great structure and instrumentation that give way to hooks that just latch onto your subconscious and remain there for days. However, that’s only two of the back 5 tracks and let me say, the other three feel a bit dull. I mean, not only does this band play the same sounding song over and over, but so does about 45 other full time touring acts right now that are on the same exact shelves. I will note that the closer, “My Forfeit,” has a beautiful message and true display of the band’s faith, but it still feels like something I’ve heard twelve other times this year.
In the end, I’m split on my thoughts for One One Thousand. I mean, they play breakdowns and meld sing/scream vocals quite well, but so does I See Stars, A Day To Remember, In Fear and Faith, and a few other acts who’ve had album out thus far this year. However, the lyrical content hear is quite strong and I wish there was a better platform to get their message of faith across than metalcore, but it’s what they’ve chosen to do. So, as I walk away from about the tenth play of the album, I’m still at a crossroads. There’s something to be said for doing what everyone else does well, but it’s still what everyone else does. I guess it’s a genre of pick and choose acts and to me, Burden of A Day just doesn’t make the cut.
Artist: Burden Of A Day
Album: One One Thousand
Genre: Screamo / Post-Hardcore / Christian
MySpace: http://www.myspace.com/burdenofaday
- Track List -
01. Remember 03:39
02. Fool Me Once 03:43
03. The Mason 03:31
04. Oceans 01:24
05. The Shame In Shedding Wool 03:35
06. Sly Foxes 03:52
07. Isadora Duncan 03:47
08. OneOneThousand 03:28
09. Modern Gentlemen 03:34
10. My Forfeit 03:59
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We Came As Romans
Metalcore: A genre that has preceded itself in popularity, but do the majority of these bands truly show poten-
-Just Kidding! Though a generic intro paragraph would be fitting, I’ll spare you the cringe-worthy unoriginality. Unfortunately, the fact that this particular staple-introduction is so fitting, tells in itself what you should be expecting from this conglomeration of Devil Wears-Esque scenesters. “We Came as Romans” deploy their own niche of spacey metalcore, frequently garnishing minor successes along the way, achieved through copious amounts of production, layered vocal harmonies, and atmospheric synth and guitar passages. Head bobbing chug-a-lug sections find themselves sprinkled throughout, allowing gripping leads to really shine. The super-saturation of these devices get the better of their song writing in even the best of songs, however, and lead to a tedious listen to those not a fan of the genre.
The vocalist takes full charge in his assault of full and throaty screams. He pounds down effectively cooperating with the heavier sections, and diversifies his contextual usage in contrast with the lighter toned keyboard licks, diverging his otherwise monotonous and minuscule-ranged vocal delivery. The singer does his job in offering a full-force backup to the assault of guttural bellows. The clean vocals do find themselves becomeing over-bearing and tedious though, drastically ridden with auto-tune and layering. The production of the singing could be viewed as an attribute to the bands sound, but the complacent and generic vocal harmonies really do nothing to separate themselves from each song, causing the album to run together. On an individual song basis, the screaming and singing really weave through each other effectively, passing off roles to each other, and to other supporting melodic fronts, but most of this only adds up to mere potential.
The execution of the bands arsenal is poorly done, settling for mediocrity in the form of breakdowns. For me, the major flaws of the record don’t come from any one member of the band, excessive auto-tune, the overall sound, etc. I simply can not stand the lack of the adhesive quality that makes a song more then a mash-up of sound. I can do generic, I can deal with over-production, but when songs are no longer cohesive ideas, it transcends itself beneath the category of “art”, and more specifically, “music”. There are really two songs that can survive on their own, and then a couple half-songs, that have really good ideas, but are separated by a bad idea, or a randomly placed breakdown.
The album, like any other, features its stand out tracks. “To Plant a Seed” displays what this band has to offer in the most concise, and well written song on the album. “An Ever-Growing Wonder” features the catchiest chorus and most direct song structure the band has crafted. This, however, unfortunately only leaves a gap of 8 “songs” to fill the void of great Metalcore.
The album does manage to hold a listeners attention, via multiple jaw dropping “moments”, however. This includes the closing breakdown to “Intentions”, which features a string and horn section (I laughed) that reminisces purposefully of war. Also, the fluctuation from out of tune, to in tune in “I Will Not Reap Destruction”, is simply divine. There are many more gems like this, tastefully seasoning the listening experience. These are most likely beefed up to their maximum potential courtesy of producer Joey Sturgis, who more then likely has a streamlined influence on this albums final product then meets the ears, a la producer of similar sounding contemporaries, “The Devil Wears Prada’s, With Roots Above and Branches Below”. These gems are very hard to locate, as to track them to a single song is a daunting task, considering differentiating each song is remarkably challenging, even after a dozen or so listens.
At the end of the album, I am – given that this album really does have many flaws – satisfied with the listening experience. The sound this band has managed to acquire really shows a lot of depth and it feels like if this band breaks the chains of the phenomenon that is new-wave-metalcore, they could progress and create something truly amazing. As for now, this borders a 3/3.5 for me. I can see myself either coming to terms with the immature writing, and just enjoying it for what it is, or having this grow off of me exponentially. Let’s hope for the best, shall we?
Artist: We Came As Romans
Album: To Plant A Seed
Genre: Post-Hardcore
MySpace: http://www.myspace.com/wecameasromans
- Tracklist -
1. To Plant A Seed
2. Broken Statues
3. Intentions
4. Roads That Don’t End And Views That Never Cease
5. Dreams
6. We Are The Reasons
7. Beliefs
8. I Will Not Reap Destruction
9. Searching, Seeking, Reaching, Always
10. An Ever-Growing Wonder
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Enter Shikari
It’s not enough to just sing about politics. Being “aware” doesn’t count for shit when Dude A is dragging Dude B from his pickup truck. At some point our scene heroes fixed their relationship problems and decided to turn their attention to the world at large. And despite pundits around the blogosphere pinpointing the demise of our lackluster culture as the fault of some asshole in tight jeans and diarrhea beats, it’s actually these “intelligent” individuals who are siphoning out all the fun. Rather than appearing “tuned in” (not a drug reference!), these visionaries sound the same as their broken-hearted forbearers. Whining is complaining is crying. I’ll give Enter Shikari and their schizophrenic frontman Rou Reynolds some credit though: there is more than just incessant whining on Common Dreads. When Reynolds roars over Armageddon-inspired breakdowns a mildly clichéd phrase like, “We are the grassroots resistance!,” well, I feel a tingle of inspiration. It’s as they say, sparks start fires.
Don’t misinterpret my overwhelming apathy. Rou Reynolds is never going to speak at a Uni’s commencement ceremony, but he doesn’t have to. Just because his band failed at inspiring me to join some “cause” doesn’t mean they’re misguided. Throwing socially motivated lyrics over grimy club beats might catch some drunk kid’s ear and rouse him into action. My resistance stems from years of, well, resistance; forced cynicism grounded in the foolish notion that it would be some sort of original comedy bit. So don’t listen to me. Listen to Rou and ES. They care and, at the very least, that’s cool.
Sickening world views aside, let’s rejoice in one point: Common Dreads is much better than Take To The Skies. I had a feeling ES would figure themselves out, because the six good songs on their former release still weasel their way into my regular rotation. Opener “Solidarity” instantly mesmerizes with rapid-fire synths and explosive riffs. It’s the sort of thing you hope lasts throughout Common Dread’s 15-tracks, but it’s also near impossible to keep up this brutality without sacrificing the melody. That balancing battle is the bane of Enter Shikari’s existence. Cases in point: “The Jester” abandons all musicality for nothing in particular and “Gap In The Fence” is some sort of acoustic joke; no half-hearted techno climax can save that screeching mess. For each faulty song (there are 4 in total), there’s a winner like “Juggernauts,” which works due to a downbeat climax playing as wonderful counterpart to the song’s later mixture of stuttering riffs and angry gang vocals.
Even the intermission tracks (“Havoc A,” “Havoc B” and “Halcyon”) evade the boredom brought on by their predecessors by acting as acid-washed (that’s a drug reference!) dance numbers instead of spots to breathe. Everything about Common Dreads is bigger and more realized. “Antwerpen” is catchy whilst still scraping our knees with pissed-off “La La Las”; “Hectic” moves forward on the legs of Reynolds’ much-improved electronics. It’s a dance party for the end of the world. And f**k me for typing that, but Common Dreads reminds me why loud music succeeds so readily. It’s an avenue to let it all go, and Common Dreads is an outlet of mammoth proportions.
Review By AbsolutePunk
Artist: Enter Shikari
Album: Common Dreads
Genre: Rock/Happy
MySpace: http://www.myspace.com/entershikari
- Tracklist -
1) Common Dreads
2) Solidarity
3) Step Up
4) Juggernauts
5) Wall
6) Zzzonked
7) Havoc A
8) No Sleep Tonight
9) Gap In The Fence
10) Havoc B
11) Antwerpen
12) The Jester
13) Halcyon
14) Hectic
15) Fanfare For The Conscious Man
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Saosin
Saosin drops their sophomore album, and many questioned whether Anthony Greenes departure from the band early would affect the band. There is no doubt in this band and their talents, with ‘In Search Of Solid Ground’ they reestablish themselves as key players in their genre. After 3 years of waiting Saosins finally come back giving us a melodic album full of great musicianship, spastic-drums, and pulse-pounding guitars, needless to say Saosin is back and at the top of their game. I was surprised to come to the end of the album to listen to a seven-minute long track that ties all the songs sounds together into one song worth every second. If you haven’t listened yet, listen now, you won’t be disappointed.
Album: In Search Of Solid Ground [2009]
Genre: Post-Rock/Hardcore / Psychedelic
MySpace: http://www.myspace.com/saosin
-Track List-
1. “I Keep My Secrets Safe”
2. “Deep Down”
3. “Why Can’t You See?”
4. “Changing”
5. “On My Own”
6. “The Alarming Sound Of A Still Small Voice”
7. “Say Goodbye”
8. “The Worst Of Me”
9. “It’s All Over Now”
10. “What Were We Made For?”
11. “Is This Real?”
12. “Nothing Is What It Seems”
13. “Fireflies”
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Scary Kids Scaring Kids
Scary Kids Scaring Kids have always been one of “those” bands to me. The kind that releases an album that is mediocre at best, and in most cases far worse, yet somehow manages to garner hordes of fans in the process (yes, Amber Pacific – I am looking at you). So, despite the cred that comes with naming yourself from a Cap’n Jazz song (still a damnable offense for an act like this), SKSK seemed just boring, really. And while The City Sleeps In Flames has been a resounding success for the band, sales numbers do not repair the fact that the record was lyrically shallow, poorly produced (especially by McTernan standards), and rife with gimmicky synth. Alas, it suffices to say that a visit to the band’s self-titled follow-up was going to be an interesting one, indeed.
While fence-sitters might approach this release with trepidation, a passing glance at the tracklist will do nothing to allay fears associated with the band, as the emo clichés are present (multiple references to “blood” is never good). Furthermore, as listeners spool up the self-titled effort, the done-to-death, contrived “instrumental” montage will only further that distaste. However, be that as it may, that is essentially where things start to turn around for Scary Kids, as the band is able to rebound and offer up some much more solid material thereafter.
Overall, Scary Kids Scaring Kids have taken on a noticeably different sound with their self-titled effort. The first things that will become apparent to listeners and fans are two-fold. First off, the band has taken an obvious departure from the screamo path in lieu of a more straightforward rock line. That is not to say that screams are entirely absent from the record, but instead, they are applied much more tactfully (see the rather awesome intro to “Holding On”). Secondly, the synth on Scary Kids Scaring Kids is a lot further back in the mix and a great deal less prevalent than it was on The City Sleeps In Flames. While this robs the band of a bit of their “originality,” it helps the songs sound more natural and less immature, really. In addition to this, it is also evident that SKSK has been working on the greater musical backbones of their songs. The riffs here are much stronger and more powerful, the percussion is at times entirely impressive, and put together, it all tends to just work. Of course, the downside to all of this is that originality is in short supply, with little new ground being broken, but all things considered, the end result is more favorable than past efforts.
A lot of people willing to give this a chance are going to need to be sucked in right away, and SKSK actually does quite a smooth job of doing just that. After the previously mentioned pointlessness of “Prelude,” the record hits a (surprising) early stride of five songs that are all really, really strong in the way that will even catch the most jaded off guard. From the blistering energy of “Degenerates” to the syrupy chorus of “Holding On,” the disc commences well, indeed. From there, “The Deep End” is a solid straight-up rocker with some engaging guitar harmonies that continue into “Faces” where you will have sworn you were listening to a song by The Fully Down at the intro. And sure, SKSK goes on to jock the call/response vocals of earlier AFI once more, but the track is still enjoyable for less picky consumers. And finally, while it might be closer to their older material, “A Pistol To My Temple” is still a song that begs for air guitar, air drums, and a singalong to boot. Simply put, it’s quite catchy, and would make a great single for the band.
While SKSK starts off better than anyone might have guessed, they trip, stumble, and fall drunkenly down the stairs when they hit the awkward, ultra-cheesball demi-ballad of “Star-Crossed” and the subsequent out-of-place (and equally as bad) “Derailed.” Just a note to bands – especially so-called post-hardcore bands: ballads are NOT a requisite for a record. We all know the early teen girls love them, but the rest of us just cringe.
It’s really too bad that this slump on the album’s flow is never really recovered from. What we get from there on out is a handful of forgettable and mediocre tracks, and another “what were they thinking” ballad. And be that as it may, the fact still remains that SKSK has exhibited a fair amount of progression on their sophomore LP, improving on most of the blemishes of their earlier works. Sure, some people will miss the haphazard energy of the “old stuff” as they always do, but this incarnation of the band seems much more inclined to make a splash than that younger and considerably less wise troupe ever did.
Review By AbsolutePunk.net
Artist: Scary Kids Scaring Kids
Album: Self-Titled [2007]
Genre: Post-Hardcore / Emo / Rock
MySpace: http://www.myspace.com/scarykids
-Track List-
1. “Prelude” – 0:40
2. “Degenerates” – 3:44
3. “Holding On” – 4:23
4. “The Deep End” – 4:15
5. “Faces” – 3:27
6. “A Pistol To My Temple” – 4:00
7. “Star Crossed” – 3:41
8. “Derailed” – 1:43
9. “Breathe” – 1:19
10. “Set Sail” – 3:25
11. “Free Again” – 3:51
12. “Snake Devil” – 3:32
13. “Watch Me Bleed” – 3:58
14. “Goes Without Saying” – 4:02
15. “Blood Runs Forever” – 3:23
16. “The Power Of Resolution” – 2:06
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Pierce The Veil
A progressive band that cites Queen and Silverchair as major influences? I was ready to write off Pierce The Veil before I even took a listen. When it arrived on my doorstep, the debut full length from Equal Vision’s latest signing sat on the table for a day just waiting to be played. Every time I walked past it, I’d share a quick glance and continue on my way, much like the relationship shared with “that book I’ve been meaning to read” or “that movie I’ve been waiting to see.” After 2 days, I decided to give it a listen. Thankfully, I was completely wrong in my preconceived notions of what A Flair For The Dramatic would sound like.
The most instantly recognizable aspect and the biggest possible deterrent for many will be the sky high vocals. Sandwiched somewhere between Coheed and Cambria’s Claudio Sanchez and Lovedrug’s Michael Shepard, Vic Fuentes retains that nasal tonality loved by pop-punk fans and loathed by many others. Though it sounds like he is in desperate need of some Sudafed, Fuentes pulls it off pretty well. Some will immediately dismiss the band solely for the vocals, but to do so would be a great disservice to Pierce The Veil. I have to admit that I didn’t care for them much at first, but after spending a few weeks with the album, Fuentes’ vocal style became more acceptable, and even appreciated, with each subsequent listen. There are some genuinely catchy moments such as the album opener “Chemical Kids and Mechanical Brides” which, aside from the cheesy name, displays some pretty unique harmonies and vocal acrobatics. Fuentes switches from blood curdling screams to heart felt crooning with such ease that it is tough to sound anything else but completely natural. The singing lends itself equally well to both soft acoustic ballads and heavier progressive anthems without sounding the slightest bit forced. Lyrically, no new ground is being broken as most songs deal with typical fare inspired by broken relationships. Luckily, the interesting way in which they are sung overshadows the potentially standard subject matter. It might not please all tastes, but fans of high-pitched vocalists should find at least something they like here.
Musically is where Pierce The Veil really shine. On first listen, it is easy to dismiss the band as just another pop-core band, but if you dig a little deeper you will recognize the surprising depth of some of the song structures. There are a lot of different types of music on here ranging from dancey hardcore romps to acoustic laden ballads, both of which Pierce The Veil perform with unexpected maturity. This is a pop-punk influenced album that contains songs that actually distinguish themselves individually, which in itself is something to be applauded. In fact, most songs contain twists and turns that find the track ending in a completely different place than it started. “She Sings In The Morning” starts out with a riff reminiscent of early My Chemical Romance before transforming into a galloping, scream infested track with drummer Mike Fuentes taking the spotlight. The band is most successful in moments where they let loose and go balls out on tracks like this and “Drella”. Although not every song is as strong, there is at least one redeeming quality to all of them. Much of this is due to the spot on production courtesy of Casey Bates (Chiodos, Fear Before The March Of Flames, Portugal The Man), which sounds absolutely massive.
While it might not be the best thing to come out in recent memory, A Flair For The Dramatic is much better (and different) than expected. If taken at face value as simply a fun summer listen, many will be pleasantly surprised with what they find. Pierce The Veil fits right in on Equal Vision and has managed to capture a pretty solid debut release worthy of a few listens. If the band continues on the same path, they could do some great things in the future but for now, A Flair For The Dramatic isn’t a bad place to start.
Review By Tom Good of AbsolutePunk.Net
Artist: Pierce The Veil
Album: A Flair For The Dramatic [2007]
Genre: Post-Hardcore, Progressive
MySpace: http://myspace.com/piercetheveil
-Track List-
1. Chemical Kids and Mechanical Brides
2. Currents Convulsive
3. Yeah Boy and Doll Face
4. I’d Rather Die Than Be Famous (Featured in Tony Hawk’s Proving Ground)
5. The Cheap Bouquet
6. Falling Asleep on a Stranger
7. She Sings in the Morning
8. The Balcony Scene
9. Drella
10. Diamonds and Why Men Buy Them
11. Wonderless
Read MoreTry Album [Mediafire] | Pierce The Veil – A Flair For The Dramatic