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