Chiodos- Bone Palace Ballet

Chiodos was kind of the cinderella story of two years ago. The post-hardcore outfit from Michigan didn't do too much new, they did something before ALOT of bands, but nothing new. If anything they switched the singing screaming ratio from 60:40 screaming, to 60:40 singing, and put the ever so inviting "brootal" breakdowns, the band's follow up was highly anticipated.
Recorded close to my home in Lexington KY, Bone Palace Ballet upon first listen was anything but stellar. The production was sub par, the progression seemed forced (along with the songs) and ultimatly, due to the amount of bands that have carbon copied them, the band all around just seems distasteful.
The saddest part of this album was the fact that the song named after the town in which it was recorded in, is maybe the worst. Dancy rhythyms reminding me of My Chemical Romance just sent chills down my spine. Chills of frustration.
The songs do seem like a progression from the old material, however it just doesn't seem honest. You see, when bands genre's have been saturated in the fat of mediocrity, some bands, instead of embracing what they have created, instead; will try and adjust or change (which is different form progressing).
Bottom line is this is the defintion of the sophomore slump (even though technically I gues it's their third record) and is probably one of the worst releases of the year.

FINAL GRADE: D-

Between the Buried and Me- Colors

Cinematic is a word I frequently associate with BTBAM. One of the most intriuging bands of our generation in metal, the band has def. lived up to their promises of a "progresseive death metal album."
This is not in vein of alot of the trendy, un-polishing bands myspace has cranked in the last few years; but instead, a band of music lovers, making the music lovers CD.
Colors flows, song to song like a stream of running water that turns into some kind of mad current, pulling listeners into its ferocious undertow.
Musically, nothing short of a phenomenon, and comes across as somewhat thoughtful. Vocally, I personally am obsessed, some of the singing (not screaming) on this record reminds me of Queen, it's just so epic.
The songs themselves feature tidbits of diverse musical influences, ranging from African tribal, to classical, to even country, and there is a little bit of metal in there as well.
The songs, and the record however do seem a bit drawn out and exhaustful, and while the record is good, it just doesnt contain the long lasting effects of their previous releases, nor can I say if there are any classics like their are on the older records (Mordecai, Alaska, Selkies...).

FINAL GRADE: B+

The Bled- Silent Treatment

The Bled has been a band of both surprise, and dexterity. Over the length of three different full length releases, listeners have often been confused and disorientated about their progression.
Their debut Pass the Flask was monumental in the since that it's prowess as a debut record was giant.
Their second release had alot of people scratching their heads at first glance, and I can honestly say that I flurried the release with hatred upon its arrival. But after more listens, I can see what they were trying to accomplish, and I think Found in the Flood has some of the best song writing in post-hardcore, or whatever it is.
The Silent Treatment is a return to the moshtastic textures of Pass the Flask but has the aesthetics and melody of their previous endeavors.
Mostly this record is establishing for this band, which is both awesome, and depressing considering this band has been around forever. Seriously why has it taken them this long?
Nonetheless, I love this record, I think it was written amazingly, and it has set in stone (for now at least) that this band can freaking write.
One thing though that has honestly killed would could have been a SUPER record, is the fact that I loathe the production of this record.
I think maybe a greased up deaf guy with expensive equipment must have mixed it. The kick drum is SOOO overpowering, it drives the breakdowns WAY too much, and almost acts in the same principal as a guitar. The guitars during breakdowns sound like a very trebley bass, and are indistinguishable. Bottom line is that it JUST WASNT MIXED WELL.
This is a good record, and something I would recommend people pick up, the sad part about this, is it just isnt phenomenal, which I think for some reason really wanted from this band, and standing next to some of the other incredible releases this year, it's more like a featherweight than a heavyweight.

FINAL GRADE: B

As I Lay Dying- An Ocean Between Us

As I Lay Dying is one of the iconic bands of the 2000's. A band that has been looked up to by a generation of youngsters for their blending of just about every heavier rock style one can think of. Blending the obvious base of metal and hardcore, with punk music influences, classic metal, noise, and on their latest release thrash metal.
Perhaps the most mature release from AILD to date. the record flows alot better than previous records, and you can def. tell the band is trying to establish a more iconic sound. I think the shear speed of this record is something to be looked at. It's fast past, knuckle driven metal songs, and it rocks like the Anthrax of a new generation. Forget bands like Avenged Sevefold, Bullet For My Valentine, and the Showdown; As I Lay Dying is a representation of this generations great metal.
Bottom line is this band is the epitamy of a group of extreme metal heads that jam with infleunces of so many. Yeah maybe they listened to At The gates too much, and maybe they played "Madhouse" on Guitar Hero too much, but this band is exciting to watch as they are perfecting the wheel in which their four fathers invinted.

FINAL GRADE: B+

As Cities Burn- Come Now Sleep

As Cities Burns debut record Son I Loved You at Your Darkers will go down as one of the best debut's in the post-hardcore history, and while Come Now Sleep is quite the progression, it might not be as much of a departure as most fans of the bands were expecting.
Since their last release, the band has underwent an extreme lineup change, including lead vocalist and bassist. Instead the bands backup singer has stepped up to the mic and showing of intense emotional singing which comes as a breath of fresh air amongst the auto tuned carbon copies of music today.
the writing on this record is superb, mixing fresh indie rock grooves, with incredible post-hardcore undertones, and even agressions on songs like "This is It, This is It."
Bottom line is there isnt much to say about this record other than it's a little more chill over all, very melodic, a little too shoegazy for me, but over all one of the best, and most thoughtful records of the year.

FINAL GRADE: A

Every Time I Die- The Big Dirty

Every Time I Die is one of the penacle bands of our decade as far as heavy music goes, and in my opinion, probably one of the most copied bands in the last two or three years. Hell, people don't even realize it, but Underoath almost carbon copied them on Define the Great Line.
There mix of noisy off beat time signatures, mixed with A-Tonal chords, and poppy sing songy hooks has been the bearer of poseur bad news since TDWP signed up for their MySpace profiles.
At any rate, ETID never fails to deliver, NEVER. The ultimate party-core band, ETID's ALWAYS witty lyrics are extremely aprarent on their latest release. Not really the bIGGEST progression from i've seen, but it is there. Since the last record, the band has become a little more serious with the tones of the record, but don't expect seriousness from this band for a second.
Musically, the days of the chorus are gone, replaced by the technical guitar work of their past releases.
This record reminds me mostly of Hot Damn but with the southern qualitites, and attitude of Gutter Phenomenon.
I think the best way to describe ETID is...

Hot Damn is like a high school kid crashing a college party
Gutter Phenomenon is the college party
and The Big Dirty is like a REALLY bad hang over, and the only remedy is more alcohol
Bottom line, great record from an iconic band.

FINAL GRADE: A-

The Devil Wears Prada- Plagues

Plagues is the Sophomore release from young metalcore, Rise records boom band The Devil Wears Prada. Again produced by Foundation Studios' Joey Sturgis, the bands latest release is both an improvement, but a stagnant release.
One of the biggest negatives i've had of this band, and frankly the only big beef i've ever had, is their lack of originality and honesty, and after this release I think the latter is simply due to the youth of this of this band. However, after some incredible exposure and one of the fastest growing fanbase for this style of music i've EVER seen, I think this band has made a great effort to establish their own sound.
Plagues, is chock full of noise, and deathcore, and strays away from typical constructive song structures that follow each other. Previously TDWP songs were constructed around the BIG mosh part, or the CATCHY singing part, with everything in between being simply unthoughtful space.
This record doesnt really follow typical structures and don't build around those aspects (while they still have aspects of both.)
Their aren't really aspects of technicality, but the structures themselves are very random which is good. However the real only criticism I have of this record, which comes as quite a bit of an INITIAL draw back, is at first listen the record is just kind of boring, and being that I review most of my records on those FIRST impressions, that is what I have come to see it as, a good, progressing, yet boring record. I do however think that if you give this multiple listens it has the potential to grow on you.

FINAL GRADE: B

Evergreen Terrace: Wolfbiker

After many years spent vollied around unhappy from label to label, melodic hardcore veterans Evergreen Terrace have finally found a fitting home on As I Lay Dying vocalist Tim Lambesis' record label, and Metal Blade sub-label high impact records. It is here they debut their latest efforts Wolfbiker.
Evergreen Terrace is one of those bands that has stayed honest over their careers, as the scene in which their music falls under, has ultimatly been growing around them. The band mixes hardcore, with melodic singing, brutal breakdowns, and even the occasional rock and roll and punk (which has actually become more prevelant in this record). This is the recipe for SO many bands that have come out in the last 5 years, however Evergreen Terrace has always been a pinacle of those bands, and one of in which are the perfectionists of the genre.
Wolfbiker is the same thing we've heard from ET over the span on their career, however more mature. Songs with lyrics of personal growth, and music that emphasizes on more of a rock and roll/punk rock feel overall as opposed to the ingredient of hardcore which overlayed their previous recordings. Instead those hardcore parts have been flip flopped, and if it were a ratio, it would be about 60/40 in the favor of rock parts.
The record couldn't be complete without two of ET's signatures, catchy melodic parts, and incredible breakdowns, which both hold their places on the record.
Finally, this band has gotten what they deserve, a label that takes good care of them, and in return they have given back a great record. The only negative is the album cover, which they have never been known for.
Pick this up.

FINAL GRADE: A

Still Remains- Serpants

Luckily for most of you reading this, I couldn't find a decent image of the cover of Still Remains sophomore release Serpants, due to the fact that it is absolutely horrible. Putting that aside, I really was anticipating this release. I'm a big fan of Still Remains, and upon first listen I was thinking this was going to be a decent release. Then after closer listens, I quickly understood, this was a sad exscuse for a radio friendly metalcore release.
I was quick to defend Still Remains upon the eve of the Metalcore boom as a legit band, however, after this record, I understand that they too have succumb to the cheesy bug. The record is saturated with catchy singing, and swift melodies, all of which do not seem as heart felt as their previous release.
The production of this record sounds good, but is not enough to save it.
It's a sad day, as metalcore has lost one of it's finest.

FINAL GRADE: D+

At the Throne of Judgment- Arcanum Order

Im sure everyone who has ever read my reviews on either a Rise Records band, or someone who has recorded with acclaimed producer Joey Sturgis knows how I feel about both. However, when listening to Rise Records legit Metal band At the Throne of Judgement, I myself have to take a step back on both stances.
ATTOJ's debut Arcanum Order makes me wonder how this band is even on Rise Records, rhis is a straight up LEGIT metal record, along the lines of At the Gates, and not the same way that As I Lay Dying seemed like At the Gates, instead, the way At the Gates sounds like At The Gates.
The musicianship on this record is incredible, espeacially considering this band is so young. It's a breathe of fresh air to hear such a record from such a young band.
I think one of my favorite parts of this release is the feel from the production aspect. For the first time, I really feel like producer Joey Sturgis hasn't over produced a record. Their are asthetics that are not only in the right places, but actually add to the record. For instances, on the track "The Mariners Cutlass" at the end of the track, you hear the sound of a tied up boat floating by a dock, the effects are truly cinematicin which I am a sucker for.
Im excited to see where this band is going, and hopefully it stays like this. This record is def. a contender for top records of the year, especially considering it's a debut.

FINAL GRADE: A+

The Red Chord- Pray For Eyes

The Red Chord have left their mark on the modern metal movement, as the forefront of technical metal. It's the hybrid of metal, and modern hardcore, pushing the limnits with technical guitar work, constant time and tempo changes, etc. The Princes of tech metal, and the tasteful of the entire "grindcore" trend, or "deathcore" trend.
When Job For a cowboy was learning how to bree, The Red Chord were writing whitty metal records, with their brothers Between the Buried and Me, and their fathers Dillinger Escape Plan, and Converge looking over their shoulders. The Red Chord will forever be defined as one of the few bands of the genre, that innovated what they were doing.
Little did we know, their third release would be their defining record. Musically they have taken a turn for the tasteful. The composition is incredible, and thoughtful, in ways indescribable by words. Lyrically, the record comes across more serious, however has its whitful moments.
Basically this record is a breathe of fresh air, which im not sure why I didn't expect anything less from such an incredible band. In a music genre that has just been EXTREMELY watered down, The Red Chord smacked us all in the face and said...
"we're not going to change for anybody, we're just going to do it twice as good."
Which pretty much sums up their latest release.

FINAL GRADE: A

August Burns Red- Messengers

August Burns Red releases their sophomore effort on SolidState records called Messengers. When hearing their previous release Thrill Seeker it basically is deemed up lifting. Never have I heard such an onsluaght of brutal technical metalcore, from such a you group of kids. Who would have known that ABR would have saved us?
In their latest release, they do nothing short of reassuring the latter. Messengers is chock full of more technicality then Apple Computers, and as brutal as a WWE pay per view.
The song is unveiled as quite the progression, as the songs still stay true to their brutal song writing, but seem to let songs speak for themselves, as opposed to having certain songs revolve soley on the breakdowns.
Vocally, this record is phenomenal, ABR's new vocalist Jake Luhrs shows one of the best, most tasteful screaming ranges in metal. It's truly beautiful.
Production wise, the record is on point. And despite the fact that the drum tones do sound a little too digital, ABR lacks no talent int he drumming department. In fact, one could say that these drum parts are almost thought provoking, and ground breaking.
The last problem with the record, the only issue that really holds the record back from perfection, is the fact that songs do tend to run together. I think this is because each breakdown is lead with the China Cymbal.
Bottom line, is that this is the heaviest, and probably best metalcore record this year.
And that is a HUGE statement considering As I Lay Dying, and Still Remains have yet to rear their heads on the market.
It's safe to say the ABR is a huge leap for metalcore.

FINAL GRADE: A-

Architects- Ruin

I came across Architects simply by one of those days where people are just looking for new bands on MySpace. From band to band I searched and came across this British tech-metal powerhouse. Ultimatly I realized first that the UK has some incredible up and coming metal bands, and could be at the forefront of the modern metal movement that pushes us out of such a typical carbon copied rut, and into a new tomorrow.
Architect's previous record Nightmares was a combination of technicality, noise, and brutality. On their latest release they bring the same flavor, but with a more mature twist.
Songs on Ruin come across as more direct, and more thoughtful as opposed to a handful of really great parts. The musicianship on this record is all things tasteful. Im sure the band could flood us with tons of great guitar work, fast playing etc, however, the band does what's best for the song, as opposed to just showing off their talents.
Songs flow decently from track to track, combining heavy, fast, and even some great ambience. Though songs from timed to time tend to sort of run together, the record is a great listen, and though it's nothig special, simply due to the fact that there just isn't a whole lot of push from this band, the presence is there, and I think the band will progress and bloom into something great, considering that they get proper exposure and support from their labels.
Look out for this band, pick up this record, give them the support the deserve.

FINAL GRADE: B+

REVIEW VAULT: Underoath- Define the Great Line

The follow up to Underoath's break into mainstream, and my 2005 record of the year They're Only Chasing Safety comes their third SolidState records release Define the Great Line.

What was said to be their "defining record" (no puns intended), Underoath has assembled possibly one of the best production teams in our generation. Producer Adam D. (August Burns Red, Acacia Strain, He Is Legend), who has made a name for making crisp, heavy onslaught records, almost building bands popularity with his production quality, as well as Atlanta Georgia's Matt Goldman (The Chariot, Copeland) who is known for vintage sounds, as well as picture perfect drums, and Chris Lord Alge at the helms of mixing and mastering the record.

With such an arsenal of production at their disposal, this record is possibly one of the best produced records I have ever heard. The ambiance, and the levels of everything are superb, and as I can see now (it being many months since this record came out), this is a record producers will copy for years to come.

Passing from the production, onto the music, listening to the record as far quality goes, is a pleasure, however, the songs on the record are less than stellar. Basically the songs are just unoriginal on a good 90% of all cylinders. Besides the progression into a heavier band, slightly more technical, and the departure of choruses, the songs show little to no originality, which is quite sad considering this is supposed to be the bands DEFINING record.

Instead, the band incorporated singing, and screaming, which isn't even the unoriginal part. They instead incorporate Botch/Coalesce/Spitfire influenced noise parts, to what im sure THEY consider to be technical, into sing songy catchy screamo, despite the fact that Every Time I Die did this last year and succeeded (due to the fact that they kind of pioneered the catchy noise song anyways), as well as the fact that label mates Norma Jean already carbon copied Botch on their album Oh God, The Aftermath.

Vocally, drummer/singer Aaron Gillespie creates great melodies, and frontman Spencer Chamberlain's vocal range is intimidating and impressive, however, extremely unthoughtful. While he can hit screaming notes, from high, to low in mere measures, they don't make since. It is simply tasteless to go from range to range with no transition, leaving the song to sound almost sloppy. I guess that's what sets screamo vocalist apart from incredible metal vocalists.

Bottom line, this record will be well received, copied off of, and talked about for quite sometime. However, the band in the eyes of a music conniesuer, and someone that views records on all forms, the band just did not live up to their hype of this record being THEIR record, or the record that people will remember. Those records change the course of music, and inspire.

Sorry guys, maybe next round.

FINAL GRADE: B-

Circa Survive- On Letting Go

With the month of May winding down, and on the eve of an incredible season of releases, I did get a chance to get my hands on the advance version of Circa Survive's latest records On Letting Go.
Circa Survive is by far one of my favorite bands for numerous reasons. For one, singer Anthony Green is one of the most incredible vocalists I have ever heard in my entire life, and his contributions to us as music lovers will forever be etched in my mind, therefore, making it hard to not at least like anything he works on for that reason.
Secondly, I grew up on Green's era of post-hardcore act Saosin, therefore, giving me a raised eyebrow to this band when they first burst on the scene.
On Letting Go is the band's Sophomore effort (not including a sessions demo they released early on), and though it's hard to see such a progressive band progress, this release has but those doubts to shame.
First hand, the only draw back of this record was a lack of presence production wise, however, other than the simple fact of its production mediocrity, On Letting Go is a masterpiece from start to finish.
Musically, the band has shifted to a slightly heavier, almost more vibrant guitar sound. Not meaning the songs are faster by any means, actually, overall the pace of the record is slower than their earlier release. However, guitar licks, as opposed to guitar riffs are what set this album apart musically. Also the instance of incredibly insightful lyrics, appropriate melodies, and GREAT time signatures that will have any Rush fan crooning.
Bottom line is that this is how bands should progress from record to record. Not necessarily fixing what isn't broke, but merely shifting subtle aspects to leave listeners trying to pinpoint what exactly it is that makes this record more special than others.
Growth doesn't always have to be outside of your music style, this it what sets great bands, apart from good ones.

FINAL GRADE: A

Saints Never Surrender- Hope for the Best, Prepare for the Worst

Posi-Hardcore in the days of bands like Stretch Arm Strong were done so right, and what recently Blood and Ink Records signees have done, have taken elements of those days, and added to that. SNS's label debut Hope for the Best, Prepare for the Worst is quite honestly impressive as a release. The band showcases a heavy music explosion on the listener. With an obvious emphasis on legit hardcore, fast beats with the melodic taste of positive hardcore. Thoutgh in essence this is a hardcore record, there are some incredible solos that sort of remind me of punk band Slick Shoes. There are basically some really great riffs, as well as some decent breakdowns.

Vocally, the record is strange, and a little boring. The vocal tone on this record is very monitone, no real range, causing most songs to sound exactly the same. Also adding to this is the production quality. Produced at Burning Bridge Studios (Still Remains, Haste the Day, Annaparatus), this record just isn't produced that great, and I feel there are alot more options for a band like this production wise.

The songs, though great, have small nitpicky elements that take away from them, ultimatly taking away from the record as a whole. While this is a very promising band, and I look forward to hearing things from them in the future, this is a very sub-par. Good effort though.

FINAL GRADE: C+

REVIEW VAULT | Thrice: Vheissu

Due to the fact that this month has been kind of slow with stuff i've wanted to review, I figured I would dig into my CD catalog and review some CD's of the past.
ENJOY!!!
-Jaye


Thrice as a band is an anomoly, a living example of perfect musical evolution that can be studied and observed for years to come. Not for their influence on bands, but for the solid fact, that during the course of their existence have evolved, changed, and progress, the way that progression must be done. As much as I have been flogged, for my theory, that Thrice, in the since of their progression, can be compared to the Beatles. Not in a since of the impact they have on music (considering Thrice's impact of music wont be seen for years to come), or their size, or genre, but in the since that they have changed over time, accordingly.

Thrice's most recent record Vheissu is the documentation of the band's evolution into New Age sounds. Literally a progression, Vheissu is the departure from the metal-esque sounds of The Illusion of Safety the hooky Artist in the Ambulance and a complete put-to-rest of the punk/hardcore sound of Identity Crisis.
Vheissu sounds more like Radio Head, meets Isis on some kind of Caffeine buzz, with a twist of C.S. Lewis tang. Lyrically, vocalist Dustin Kensrue showcases his growth into faith, outlining MANY biblical references that take steps towards the maturity of his writing, putting into place, that Kensrue is one of the best writers in our generation, plain and simple. His metaphors, and alliterations can be seen in the most complex views, but still come across as tasteful, and not overdone.

Musically, Vheissu is beautiful, and is a showcase of many of Thrice's impressive aspects. Heavier and noiser songs like "Hold Fast Hope" sound like Vheissu and less like The Illusion of Safety, and catchier songs like "Image of the Invisible" relate more to this record than Artist in the Ambulance. All the songs, though in different time signatures, and often in different tunings, fit perfectly together, as if created JUST for this record. Bottom line, one of the most consistent records one will hear in a long time.

This record is a defining record in Thrice's long lasting career, and will be talked about as the turning point in this band, however, I do think as their span continues to impress us, and as surprsing as this may sound, we have yet to see, or hear the best from Thrice

FINAL GRADE: A+
(does that really surprise you haha?)

Grading Disclaimer

I know I rate my albums different than most people, which is kind of the point, but here's a little discription of the rating system.

First of all...
At the end of the year, when I do my top 25 albums of the year, the grading system has absolutely nothing to do with my top 25 albums of the year. I don't even take that into consideration actually. Sometimes records grow on me, and sometimes they lose their touch.

+/-
The pluses and minuses indicate the strength and weakness level of the record. A plus generally means something about the record makes it above the average grade that it's been given, just not enough to take it to the next level. A minus usually means the opposite.

A
A great record, one that is to be noticed for multiple reasons.

B
A good record, nothing special about it though

C
A mediocre record, usually with high points, but nothing to go out of your way to listen to.

D
Less than par, a record that is usually lacking in many areas, and is less than mediocre.

F
Failure to make a notable record

Linkin Park- Minutes to Midnight

This isn't the Linkin Park from old, actually this isn't the Linkin Park from when I was in middle school, it's more my parents version of Linkin Park.
In the last five years, we've seen bands like Blink 182, Green Day, New Found Glory and more, grow out of the styles of music that made them popular, and begin creating the music they want to make, as the musicians that they are. Im sure when LP started the band, they never thought it would get as huge as it has become, nor did they probably dream that they be playing as long as they have. Like any musician that cares about their music, they progress and grow. This band has grown from nu-metal rapping, and mosh guitar licks, into a piano driven power rock band.
It's hard to even pin-point the kind of music this is, but it reminds me of a radio friendly post-hardcore band, except Linkin Park is ANYTHING but post-hardcore.
I seriously think most music fans could fall in love with this record, and if you would have aske me even half a year ago, I would have told you that it would be virtually impossible to do so.
This record is flat out brilliant. Because of the musicianship, the production, or the songs in general, no, not really, but the story that Linkin Park has layed out. What they were, and what they have become, is a beautiful spectacle to watch, and it shows in their new record.
This record is more politically driven, as well as backed behind singing, as opposed to rapping. While vocalist Mike Shinoda does showcase his rhyming ability, it's tastefully done, and his writing is phenomenal.
I don't do this alot, but this record deserves it.

FINAL GRADE: A+

Becoming the Archeype- The Physics of Fire

Becoming the Archetype is the incarnation of a newer band, compiling different styles of metal, from thrash, to classic, to epic, even to the occasional metalcore. The bands debut Terminate Damnation was a sonic onslaught, a record that truly brought back a metal sound that had seem forgotten in Christian music.

In their latest effort, the band has generally the same idea, and generally a similiar record, but not the same. Musically, the record stays consistent in the metal sound, however, from song to song, I think the thing that stands out the most, is the fact that on every song, I just noticed that nothing really flowed.

Which particular records have every right doing, but a band like BTA just doesnt seem like they should have songs like this.

The production on this record is great again, much like their last record, as well as the musicianship is as good, if not better. Some of the solos would have any Guitar Hero on Expert crying like a child.

I think the biggest draw back to this record isnt the musicianship, I can give them that, but it's the fact that nothing stands out to me that takes it to the next level. Nothing is groundbreaking, nothing is really THAT original, except for the fact that metal like this generally isnt done. It's like Becoming the Archetype is just paying homage to alot of metal bands that influence them, instead of taking those influences and turning the music into their own.

FINAL GRADE B

Dance Gavin Dance- Downtown Battle Mountain

I myself am kind of weirded out about how many Rise Records releases i've done already this month, and for the most part, none of them have been terrible to the point where it makes me not want to listen to music, but none of them have really stood out to me.
That is until now.
With all the other records i've heard from this label, I was just very skeptical. However, this CD is incredible. Off the bat, I realized it was one of the most original sounding screamoesque records i've heard in a long time. While the band's sound is familiar, it is not watered down, or a rip-off by anymeans. Instead, they perfectly blend various types of music, from metal, to post-emo, to rock, to R&B, and (of course) post-hardcore. Basically this record reminds me of Circa Survive, Vanna, and some Beloved. The guitars are beautiful and ambient, technical and rich. Th vocal melodies are superb and so complex they remind me (seriously) of singers like Usher. Every time I draw that conclusion I laugh at myself, but it really is the truth, it's rare to find vocal progressions like these in modern music anymore, ESPECIALLY in the third leg of post-hardcore.
One thing that hasn't been mentioned are the screams. They are terrorizing, in a goodway, they are everywhere, both scary and obsessive, reminding me of From Autumn to Ashes Too Bad You're Beautiful.
Not a whole lot of set backs, actually none at all, however, I wold have like to seen this band branch out a little bit with their talents and right something with a quicker pace, or even something incredibly ambient, but regardless, this record is phenomenal, and a diamond in an over saturated, carbon copied rough.

FINAL GRADE: A-

Chasing Victory- Fiends

This is the third release (seond full-length) from good friends of mine, Chasing Victory. I've known the guys for maybe 3 years now and i've seen them go through MANY changes. With that said, I can safely say, it didn't surprise me that this CD came out the way it did.
I didn't care for a handful of things on their previous record, including random songs, bad lyrics etc, and i've always been a fan of their debut E.P.
Fiends is probably one of the most original records i've heard in a long time. It's a strange mixture of dance rock, ambient guitars, and signature Chasing Victory screamo. I can honestly give them alot of credit for creating such original songs. Also, the CD is as consistent as a band can get. All the songs have the same tones to them (a darker record), the vocals have the same presence, which is all aiding to the quality of the record.
Lyrically, I think there are high points, but DEFINATE low points lyrically. Some of the lyrics are just way too cheesy, especially for the seriousness of the music.
Also the style change really doesn't do a whole lot of justice to me, though I can thouroughly enjoy the CD, I don't enjoy it the same way i've enjoyed any Chasing Victory prior to this. If Fiends is the "new" Chasing Victory, then the band of old will be laid to rest, much like "old" Underoath is just a different band.
I will stand by this opinion for this record, as I did for the last record. While I don't think that Chasing Victory has reached their full potential as a band, I do think that they have progressed tremendously. While they are probably going to lose some fan-base, I do feel like the direction they are going in, is the direction they want to go in, and will probably reach full potential at.
Like it or not.

FINAL GRADE: B

Despised Icon- Ills of Modern Man

French Canadian Deathcore master minds Despised Icon made quite the splash with their previous effort The Healing Process, now they are releasing their latest full-length The Ills of Modern Man.

From start to finish, this record is non-stop brutal. From defening dual vocals, thick as mud guitars, and intense fast drumming, this record is the definitive of heavy.

I guess we'll start off with that. This record is just brutal as hell, the musicianship is phenomenal, and the vocals are just good. Production is also superb.

The only thing about this record that seems to rub me the wrong way, is that the songs tend to run together, and any signs of progression from previous efforts are minimal. The only change in this band at all, is that they tend to draw from the more hardcore influence on this record.

Bottom line is im generally not a big fan of this style of music. As a friend put it, it seems like genres like this are on their second legs. Meaning that there are bands that are still good, before the third leg comes and just makes watered down carbon copies, much like last years metalcore explosion, and this years post-hardcore explosion. The good news is, after the trends die down, you have bands that come later, to expand on the genre, luckily Despised Icon sits at the helms of the second leg of the deathcore genre, however, I fear the worst as I see the third generation coming upon us.

FINAL GRADE: B

KillWhitneyDead- Ten New Songs

I think it's quite the understatement to say that i've lived under a rock for a long time considering I am just now getting into KillWhitneyDead. Their blend of who-knows-what metal is quite possibly one of the most addictive metal sounds i've heard. KWD is one of those bands that just belongs embedded in the creases of the underground music scene for numerous reasons, mainly because of their extremely offensive lyrics, which don't bother me, but I mean come on, Tipper Gore would turn over in her grave, as soon as she got done killing herself to KWD.
Ten New Songs are ten songs in which the band has put up on their myspace, and pretty much is just showing that the band is still alive.
The album is along the same styles of their previous release as far as style goes, VERY Metal. I think it would be simple for this band to throw technicality out the window, but they don't, they stay true to their talents.
Bottom line is these are possibly KillWhitneyDeads best songs, I think these songs are definitive to the band, and im really excited to picking up whatever record these songs appear on.

FINAL GRADE: B+

It Prevails- S/T

Im not going to lie to you, I don't know much about It Prevails. I do however know that this is their first full-length release off of Rise Records, and I guess first and foremost, is the most honest release i've heard from this label in a long time.
It Prevails blends different styles of melodic hardcore that comes out just right, or at least the way they wanted it to come out im sure.
The album from start to finish is full of stark vocals, heavy riffs, and melodic streams that tend to just float in the background. Sounds of melodic hardcore pioneers Life In Your way are VERY present, but not too over done, as well as neo-Misery Signals-esque vocals saturate this release, maybe a little too much.
There really isn't too much too say about this album outside of the fact that I did enjoy it. The only negative I have for it is that at some points the songs run together just a little bit, but outside/getting around that, this is a good release.

FINAL GRADE: B

Before Their Eyes- S/T

Before Your Eyes consists of former Drama Summer vocalist, and I guess a handfull of other random people. This in all honesty was the only thing that drew me to this record. Not that I ever really cared for The Drama Summer, but I dunno, curiosity I guess.
Their S/T is their debut on Rise Records, once again, home of a bunch of young bands that sound alot alike. Anyways, I guess i'll come out and say it, this band is quite original. They create a blend of pop-punk, rock, and screamo with some pretty heavy licks hear and there. The problem with this is that im not so sure they blend them together all that great, but that's a personal taste issue, im sure kids are gonna eat this up one way or another.
I do think some of the heavy parts of this record are just inda thrown in there, but I am impressed with the way they have written them. They are like rock guitar riffs, distorted and made metal. I dunno it's just weird.
I think the biggest set backs on this record are actually the vocals. There is ALOT of distinct auto-tune on his voice, mainly due to the fact that producer Joey Sturgis (Emarosa, TDWP, Gwen Stacy) doesnt do a good job, nor has he ever done a good job, at masking the auto tune. It sounds as if the singer is using a synthesizer to sing.
Also, some of his melody progressions are just off.
Bottom line, im digging what this band is trying to do, but im not really feeling the music, not awful though.

FINAL GRADE: C+

Sorry for Lack of Updates

No decent releases this month to review...
I might have something for the new Before Their Eyes record...

so yeah i'll keep you posted

The Chariot- The Fiancee

Singer Josh Scogin, formerly of Norma Jean has left one sour taste in all of our mouths ever since leaving the band many years ago. A few years since, Scogin's new band The Chariot releases their debut, one of the worst produced records put out on SolidState in the last 5 years i've ever heard.
Fast forward about a year ago, the band releases their favorite songs from that CD, re-recorded, and gave us something more listenable. The problem with this was that the recordings were much more pinpoint, and crisp sounding. Why is this a problem you ask? By doing so, many critics, and fans understand that The Chariot are simply not that talented.
The Chariot's second full length The Fiancee seems to be a progression in many different reasons. The band features a COMPLETELY different line-up from the first record, and the loss of EVERY musician in the band other than Scogin. However, even though the addition of completely new muscians, the music pretty much is the same.
Forever and all ways The Chariot will leave the same impression to me. The Chariot is The Chariot, and they will always have a potential. Unfortunatly, in my opinion, The Chariot has reached the fullest of their potential with this record.
With that being said, this IS a good record, and is more thought out. I would have liked to see quite a bit more of evolution in the music outside of long drawn out notes that sound like dying animals, strange feedback, and 4/4 timing.
The downside of The Chariot, is that they try to cover up the simplicity of their music, with awkward noise, and a bunch of little simple parts. My suggestion, is to stop thinking this band is technical and listen to bands like Spitfire, and Scarlet.

FINAL GRADE: B

The Chariot- The Fiancee

Singer Josh Scogin, formerly of Norma Jean has left one sour taste in all of our mouths ever since leaving the band many years ago. A few years since, Scogin's new band The Chariot releases their debut, one of the worst produced records put out on SolidState in the last 5 years i've ever heard.
Fast forward about a year ago, the band releases their favorite songs from that CD, re-recorded, and gave us something more listenable. The problem with this was that the recordings were much more pinpoint, and crisp sounding. Why is this a problem you ask? By doing so, many critics, and fans understand that The Chariot are simply not that talented.
The Chariot's second full length The Fiancee seems to be a progression in many different reasons. The band features a COMPLETELY different line-up from the first record, and the loss of EVERY musician in the band other than Scogin. However, even though the addition of completely new muscians, the music pretty much is the same.
Forever and all ways The Chariot will leave the same impression to me. The Chariot is The Chariot, and they will always have a potential. Unfortunatly, in my opinion, The Chariot has reached the fullest of their potential with this record.
With that being said, this IS a good record, and is more thought out. I would have liked to see quite a bit more of evolution in the music outside of long drawn out notes that sound like dying animals, strange feedback, and 4/4 timing.
The downside of The Chariot, is that they try to cover up the simplicity of their music, with awkward noise, and a bunch of little simple parts. My suggestion, is to stop thinking this band is technical and listen to bands like Spitfire, and Scarlet.

FINAL GRADE: B

Emarosa- This is Your Way Out

Emarosa, fmka Corsets are Cages, are the latest band to be signed to quickly rising (no pun intended) Rise Records, home of bands who sound just like Emarosa, and the bands it seems as if they are trying to imitate, The Devil Wears Prada, Drop Dead Gorgeous, and some other carbon copies that probably wont be around in 5 years.

But i'm not here to discuss those bands, but Emarosa's debut record.
I guess the thing that stands out the most is how much this record just sounds WAY too much like Underoath. Whether it's their singing parts that are placed at JUST the right times, their moany drawn out slur chanting that has become SO prevalent in ALL things screamo, or their "noisy" guitar licks they try to incorporate.
I dunno...
I just can't really get over the un-originality on this record.
I think what did it for me, was the track "Breather," an instrumental track that seems as if it were the b-side to one of the 7 minute Underoath songs off of Define the Great Line.
Though from the things i've discussed so far, there are some positives in this record. I think the melodies written by this band are very good, which is something you cannot take away. As a matter of fact, I think this record as a whole is VERY well written, it's just a little too unoriginal.
Another high point is that the vocals, though at some points overbearing, are executed decently.

The bottom line is that this young band just isn't displaying originality YET. I do think there is promise, but it goes with any young band, they just want to copy the people they look up to, and trust me, they aren't the first band to do this. I think in even a year, hopefully this talented group of songwriters will be inspired to create something original and amazing.

FINAL GRADE: C

March Wrap Up

So this is the last Tuesday of the month, which means the last time I will get pre releases for the month of March (I will get more but I have to tally them for April).

So in light of such event, jayeMOSH reviews will be giving you a run-down of sorts on the reviews we've done. Some notable releases and not so notable releases will be discussed.

My favorite record for the month of March goes to Vanna's debut full-length Curses (even thhough the record isn't REALLY out yet). It was shockingly good, and a breathe of fresh air amoung so many bands that are trying to do the same thing as them.
Some more really good releases I enjoyed were Sleeping Giant's bedut, as well as the return of From Autumn to Ashes with their latest Holding a Wolf by the Ears, and as always, the great Anberlin.

Some not so great releases this month was one of the worst record i've heard in a long time, The Showdown's Temptation Come my Way. The record was offensive in how bad it was. You really don't have to read my review of it, plain and simple, it's completely different from their debut record which was amazing, and it's a Metallica rip-off. There are only two good songs on the CD, and one of them is a cover song.
Some other that we're just below par, were Haste the Day's latest Pressure the Hinges, and the latest Comeback Kid album,

One final thing I did want to comment on.
I'm kinda going back on the way I felt about Maylene's new record. I still feel the same way about most of it, but after giving it a few more listens, i'm starting to enjoy it. And the packaging is inrcredible. I'm not gonna change the original grade, but based on my latest listen, it's probably a B.

Anyways...
I can't remember too many releases coming in April, but you can expect the new Chariot record very soon.

Thanks
-Jaye

The Almost- Southern Weather

The Almost is Underoath drummer/singer Aaron Gillespie's rock solo side project. He recorded everything on the record himself and tours part time with a band and such backing him up. Southern Weather, is his debut record on Tooth and Nail records.
The record rocks like an honest version of Copeland, Anberlin, Mae, and even bands like The Fray, and All-American Rejects. The album from start to finish honestly has a sort of randomness to it. It's as if Gillespie wrote and recorded the songs, put them on his iTunes and hit shuffle for the song order.
While this record is in no way a concept album, that doesn't mean it shouldn't flow.
Gillespie has a great sense of melody, but rarely has a sense of creating hooks. Where Underoath at least has some lively-ness with their hybrid of singing and screaming, The Almost is just a little on the boring side.
At first listen it's great in the sense that these songs are well written and have some great melodies, but what does any of that matter if I never want to listen to the record?
On a side note, the packaging is impressive. I love the simplicity of the cover plain and simple, as well as the unique colors. I guess when you're as big as Underoath you can just pay people to make you look good.
On a side note, the record reminds me alot of Classic Case, not only from sound, but from the way I can't just see myself listening to this that much.

FINAL GRADE: B-

Sleeping Giant- Dread Champions of the Last Days

Sleeping Giant is one of the most recent signs for Christian hardcore label Facedown records. The band features members of xDeathstarx, as well as Facedown's Impending Doom. With some background knowledge said, you now know that this band is a hybrid of two very different music styles, and with that being said, I will start this review.
Sleeping Giant is one of the most diverse, original heavy music band's I may have ever heard. They bring a blend of EVERY heavy music style I can think of into one of the coolest hardcore records i've heard in a long time.
The record starts out as you may expect. Very in your face vocals, gang vocals, breakdowns etc. nothing too out of the ordinary.
However, from song to song, the record has a different feel to it through that of the song styles.
The most standout track in my opinion is "Whoremonger", what seems to be their take on a melodic hardcore song, that ends up sounding like if Throwdown and P.O.D. decided to join forces, and best of all, this sounds incredible.
The influences of metal are very prevalent as well, with thrashy drums styles, and noodly guitar parts.

It's very hard to pick low points of this record, but lets start off with the obvious. The CD cover of this record is horrific. It's one of the most awful things i've maybe ever seen. It looks like someone learned how to create 3d graphics via somekind of "... For Dummies" book, and thought it would be cool to offer it as a CD cover.
The other downside tho this record that i've noticed, is though each song is different, it seems as if every song has some kind of xDeathstarx b-side part in it, which I guess in a sense is inevitable, but it's just really obvious.
Bottom line.
One of the best, and most original hardcore records we're going to hear this year. It's good plain and simple, and pushes on four wheels. Production is superb for a Facedown record, songs are heartfelt and well put together.
It's just a good listen.

FINAL GRADE: A-

Comeback Kid- Broadcasting

After the success of 2005's Wake the Dead, Comeback Kid found themselves in the promiseland of hardcore. In the midst of this, their original singer leaves, and is replaced by guitar player and former Figure Four lead singer Andrew Neufield.
Considering that two members of the band were ex Figure Four, and they were recruiting another one, my expectations for this album was a new Figure Four record. However instead we got a VERY mediocre Comeback Kid record.
Neufield tries his best to imitate their former front man and succeeds, instead of using his "growl" in Figure Four which was very Hatebreed/Jamey Jasta-esque. This isn't that bad because he sounds almost identical to the former singer Scott Wade, however until you hear Neufield doing HIS OWN BACK VOCALS, you realize that there is quite the bit of head scratching.
Now lets back up for a second. ALOT of bands do their own background vocals right? Yes, but Comeback Decides to do it with the same guy, with a DIFFERENT vocal tone. Huh?
Not only is that a little strange, but half the record seems like they were writing to please fans of Wake the Dead, while the other half is displaying their "progression" by writing slow, droney, Modern Life is War rip-off songs.
Basically this record is just boring. Nothing stands out, and it's MEDIOCORE at its best. Seriously, did we ever think CBK would fall victim to this disease?

FINAL GRADE: C+

Means- Sending Your Strength

I am a huge fan of melodic hardcore, the mixture of progressional guitar melodies, mixed with tasteful growls and deeply emotional singing parts. Bands like Beloved, Life in Your Way, and Changing of Times Underoath perfected this.
Facedown's Canadian imports Means is Facedown's latest melodic hardcore band. Lets start off by saying that this band is just plane good. I heard about them randomly through MySpace, bought their E.P. and liked what I heard. Their full length is an expansion if you will on that E.P.
A little less melody and a little more heavyness which isn't a big deal, some bands do it.
The record is good, it's a decent full length, and it's one of those general debuts. It's nothing special, but it's not bad by any means (no pun intended).
There are alot of high points, in this record, and really aren't any bad parts, other than the fact that the record gets a little boring.
It's not something I wanna pop in because it's great, I almost want to listen to it because I feel bad I haven't in a while.
The production is good, the song composition is good, the only drawbacks is it's just a little too basic all the way around.
Maybe some kind of ELABORATE single, or huge breakdowns, or sometime special in the production.
Bottom line, it's a good record, just not special.

FINAL GRADE: B

From Autumn to Ashes- Holding a Wolf by the Ears

When the words From Autumn to Ashes coarse through my ear drums, the thoughts of one of the most perfect debut records in modern heavy music. I can be tormented and sent hate mail for years to come, but their barrage of insane bi polar core... the mixture of singing and screaming, and the EXTREME change of pace in music was both fresh, and relieving when it first popped on the scene.
However, after their initial release Too Bad Your Beautiful, things seemed to go down hill for this band. Their next release was less that stellar, and the one after that (the album which must not be named) was almost like a joke.
Rumors of breakup circled the band like hungry vultures, and when it finally surfaced that their "screamer" was leaving, things came to a head, and even for fans like myself that had forgot about FATA of old, seemingly gave this band another chance.
Now, Francis Mark (ex drummer/singer) has taken the rains of vocal duties.
Mark's vocals seem to be a baptism umong the music, once a gain, a fresh start if you will to this band.
This album pulses on ALL cylinders, and yes, maybe it's not the FATA of old, but after everything that they've been through (two terrible records) you come up with one of the most brilliant, and honest melodic/post-hardcore record one will hear in a long time.
The album reminds me of old Deadguy, old ZAO, and At The Drive-In, all with a more melodic or metal twist.
Believe it or not, this is one of the most original sounding records from a heavy music band i've heard in a LONG time... not to mention from a heavy music band trying to re-invent themselves. It seems as if all the bands trying to do that lately have failed miserably.

FINAL GRADE: A

Anberlin- Cities

Anberlin has been one of those bands over the past 5 years that has been a delight to watch grow, while still staying true to their sound. Ever since their debut Blueprints for the Black Market, the band has been churning out power pop tunes with aggressive guitar licks, driving drums, and some of the most emotional vocals heard in the genre, if not the most.
While so many have copied of the sound that Anberlin has adopted, the band has realized they needed to branch out on their latest record.
To understand Anberlin, one must understand where this band is coming from. They are taking influences from some of the late 80's rock movement, and combines it with modern swagger. In Cities, the band has nearly perfected their sound. While some of the songs are general masterpieces, I do think that the record overall is not as good as their previous Never Take Friendship Personal, however the composition of some of the songs are phenomenal, showcasing this bands in depth song writing ability. I do think however there was a lack of though on how the record was put together as a whole.
In summing up this review, Anberlin's third album is incredible, and one to be noted for the year. A must have for TRUE fans of rock music.

FINAL GRADE- A-

Haste the Day- Pressure the Hinges

Haste the Day is one of those bands you just seem to not expect much from. I mean they are what they are. From the beginning embracing the theatrics of cliche metalcore, which at the time wasn't so bad. It was at the beginning of the whole explosion with their first record Burning Bridges. After a less than stellar sophomore album, eventually leading to flamboyant frontman Jimmy Ryan's departure, the band has picked up a new singer, for their third record, titled Pressure the Hinges. The band has progressed some with the new record, almost expanding on the METAL side of metalcore, instead of the HARDCORE side of metalcore, like old Haste the Day.
The record is filled with over exaggerated guitar leads, all in basic 4/4, all still predictable, but somewhat tasteful. The record rocks like a metalcore motley crue if one could be so inclined. The singing parts have increased, and are cheesy as ever.
Their new vocalist is a plus to the record, his voice is powerful and in your face, something that keeps bringing me back.
Though this is MEDIOcore, and this is cheesy, and this is everything that makes me want to throw up in my mouth, something about it screams seriousness at me. They get an A for effort on this one, but effort isn't spelled with an A, it's with and E... and in between I give it a C+ (trust me that's good for Haste the Day.

FINAL GRADE: C+

A Day To Remember- For Those Who Have Heart

A Day To Remember have capatalized on something I think so many of us, for so long have had in the back of our minds. A combination of extremely brutal moshcore, with catchy as hell emo choruses. What may seem as one of the worst sound combinations ever (think Bury Your Dead meets Fall Out Boy), ADTR pulls this off well. The band knows how to write some incredible melodies both musically and vocally, they will have you singing the hooks to all of their songs.
However, their breakdowns and anything remotely heavy, is not only appaulingly cliche, but some of the most basic heavy music parts known to man.
Want a break down? How about... chug chug chugh chug
Yeah that's about as complicated as they get.

As bad as this may seem, I can't really rag on them too much. The breakdowns are EXTREMELY heavy, and seem to be placed right, they aren't TOO over done, and overall serve their purpose.
While this record isn't perfect, it is VERY listanable. Some could call it a guilty pleasure, but why bother? This band seems like they are doing what they set out to accomplish.

FINAL GRADE: B

The Showdown- Temptation Come My Way

There's only so much one can say about The Showdown. The band has amazing energy on stage, funny guys, and their debut record A Chorus of Obliteration was one of the the most refreshing metal albums I had heard in a long time.

However with their latest release Temptation Comes My Way, the band has simply failed. Failed on all cylinders. This is the saddest attempt at becoming a radio friendly band I have maybe ever seen. All joking aside, it seems as if they themselves have been defined as one big joke. Whether it's Metallica rip-offs, Pantera carbon-copies, or Megadeth guitar solos, this is not only one of the biggest rip off records i've heard in a long time, but this record is just all around bad.

The only high points I could pick out, was a song they wrote about two years ago (the only song that even remotely resembles their old style), "Breathe of the Swamp" or their conver of the Kanas classic "Carry on my Wayward Son." Other than that... this record should be used a coaster on Superbowl Sunday.

FINAL GRADE: D-

VANNA- CURSES

When I first heard Vanna, I thought they were joke. Just Epitaph's version of jumping on the metalcore band wagon, as their AP ad read: "For Fans of Underoath, Every Time I Die, The Chariot, and Norma Jean." When I checked their debut E.P. out, The Search Party Never Came, it was not impressive at all. A few decent catchy singing parts, sub par breakdowns, and you would have just what i expected, just another part of the trend.
However, with Vanna's new CD Curses, the band has done more than grown. The writing on this record is superb, bringing to mind old Fear Before the March of Flames, the good days of Norma Jean, and even Coalesce. Curses reminds you, that while the progression of the said bands was a good thing, one just misses the sounds of their youth. Think if Metallica never grew out of Master of Puppets, or Norma Jean out of Bless the Martyr.
Curses is just a reminder of what it was like the hear those bands for the first time. The album is also a breathe of fresh air, as produces, and legend Matt Bayles brings home a great recording. I think my ears were so used to hearing digital fakeness, that hearing this was like drinking my first glass of chocolate milk.
This record is simply put, great. From start to finish, i've never heard a band as young as this put so much taste into a sound that is becoming as repetitive as Sportscenter on a day home from school.

FINAL GRADE: A

Maylene & the Sons of Disaster- II

MATSOD's self-titled two years ago was a pinacle in southern rock, southern hardcore, or just the south in general. Dallas Taylor (ex- singer of Underoath) had become the front man of a masterpiece.

While this album IS a progression for the band, the album just isn't par for me. It seems as if they have lost their bearings on what is good song writing. It would have been very easy for them to just create a CD with the same chord progressions in every song, and they didn't, and for that, I applaud them. However, it seems like there is a sense of tediousness to each of these songs, leaving most listeners waiting for some anything besides overbearing guitar work, and the most random vocal arrangements i've heard since Underoath's Define the Great Line (ironic huh?).
Bottom line, I just wasn't feeling this record. Yeah, im sure it's good to put on with your buddies while you're drinking, but I don't drink.

FINAL GRADE: C-

Life in Your Way- Waking Giants

Life in Your Way's latest endeavor is simply incredible. This band is the definition of melodic hardcore, and has been one of the most unique in the genre since 2003. This is their debut release on Solidstate, but their third record overall.
One of the highpoints of the record is the diversity in song styles, while still staying true to the LIYW sound.
This record reminds me more of their first CD, but is definitely a progression from anything they have done.
The only thing I think I will have trouble getting used to on this record, is the rawness in the production quality. In previous records, the quality wasn't that great, but became almost a benchmark in the LIYW sound. I miss that.
On a side note, one thing I fail to mention in other reviews, but I ALWAYS take into consideration, is the amazing packaging of this record. It's something that shouldn't be spoiled, so you owe it to yourself to go out and pick up the hardcopy of this CD.


FINAL GRADE: A