REVIEW: Saints Never Surrender - Brutus

If there has been one trend as of late, and one I can't say I mind, it's the list of ever growing bands that draw from the "melodic hardcore" or Shai Hulud-esque influences. I personally grew up listening to bands like Beloved, Strongarm and Life in Your Way, both pioneers of the genre, and then later on grew to love bands like With Honor, and yes, Shai Hulud.

Though many bands try to imitate Shai Hulud's sound, they always seem to come close, but lack something, and it's usually the same thing; the technicality.

Saints Never Surrender's latest effort, Brutus is their third release, and second full length. This time aronud, they come out of the gate with the noticeable improvement of recording quality. The entire record is excellently pu ttogether. The guitar tones are both crisp and firm, the drums are precise, and though the records biggest flaw, the vocals, seem to detract, their recording is done nicely.

Brutus begins with a guitar tapping intro, extremely melodic, slow, and atmospheric, but this is the only time we see the band slow down. The album is extremely fast paced, and doesn't slow down. Mixing hardcore drumming with some very intricate arrangements as far as technicality goes. Songs are comprised of tons of short parts that rarely repeat, and transition so fast, it's even hard for me to keep up.

Where the music is strong, the vocals tend to lack. I'm personally not fan of the singers voice, but it does its job. However, some of the rythms don't follow the technicality of the music. They tend to jump around quite oftenm leaving the listener scratching their head.

while it's easy to get lost in the vocals, it's imparative that the listener pays attention to the music, as this is the records strongest suit, and what makes this an incredible record.

FINAL GRADE: A-

Kanye West - 808's & Heartbreak

I've been a big Kanye West fan ever since I heard his story on "Through the Wire". An aspiring musician, and the big brain behind so many great rappers, such as the king himself JAY-Z, and all of his production just about, his near death accident, and his debut album seemed captivating to me.

Throughout his career, West has gained much criticism, not for his music, but his cocky attitude. Indeed he has lived up to the criticism, but credit must be given where it is due, his skills are simply un-matched. A self proclaimed heir to the throne of Jigga, West has built up quite the prominence.

His talents are displayed in his lyrical content, his production abilities, and over all artistic vision behind his record, and he always seems to set the bar for innovation in the rap world.

His last record Graduation, saw West's collaborative attempts with a wide array of artists, again to make a great record.

Now, after his mother's tragic death, and a renaissance of sorts, Kanye has re-created himself, and again become the embodiment of innovation. On his latest record 808's & Heartbreak he takes a back seat on what has made him so huge, his rapping. Instead, he switches his style, to a more pop infused dance, and melodic approach, one that he does very well.

To describe the style, all one can say is that he has kept low key throughout. Every song features the same drum sound, a real live 808 drum sound that is carried throughout the album, mixed with synth based textures and keys, then layered here and there with string arrangements. Though West shows his rapping ability, 90% of the record is based off of his singing. This alone can be a noticed differnece, the addtion of Auto-Tune, and synth pop vocals. Something that has been a new trend, especially in underground music lately, however West does it the way it's supposed to be done.

Each melody is superb, both hooky and catchy, but most of all subtle. So many times that we've heard the use of dramatic auto tuning, it's all over the place, and is not masked or done with taste at all. The emotion behind each song makes up for the breakup album of the century.

Bottom line is that THIS is Kanye's defining record. Probably not one he will capitalize on over and over again, but it's the fact that he went out on such a limb to do what he is doing, and therefore, breaking boundaries, and setting fourth on his own journey.

FINAL GRADE: A+

Thwomp in the House of Boo - This is the Hunger of Bears

In today's world of music, it's rare to hear a band with originality. The whole needle in the haystack metaphor comes to mind when looking through the stacks upon stacks of carbon copy, MySpace friendly bands whose songs run together from chug, to sing, to 4x4, to puberty. It's a shame to say too, because there are a handful of bands out there trying to develop their own substance, but unfortunately, so much is taken away from them by teensters waiting to get signed by the next guy living on his mother's couch.

Fortunately enough though, look no further. Out of the rolling hills of Verona Kentucky comes a Mario named band called Thwomp in the House of Boo, or TITHOB for short. Their debut, This is the Hunger of Bears came out some time ago, but for the sake of people who care about music's sanity, I figured I would throw a review of their record at you.

From start to finish, this is a spazzy heavy outlet that will leave you scratching your head (in a good way) wondering where you've just been for the last half hour. Though the band takes a undertone metalcore outline of heavy chugs and growling vocals as the basis of their musical ADD formula, they quickly flip it on its backside to redefine the sound.

The record is at its very core a heavy music record, however it draws bits and pieces of Sonic Youth esque distortion to give it a tossed salad type of feel. Though you may be listening to what sounds like some sort rock riff such as the beginning of "All Day Grillet" the records first actual song, you find yourself amidst an atmosphere of screaming noise and distortion later on, somewhat reminiscent of early Post-Hardcore bands such as Heroin, Antioch Arrow, or even genre defining At The Drive-In.

The band utilize a sense of noise among their breed of rock/post hardcore ideas very well, and perhaps the most exciting part of this record, is how young the band is in their musical endeavors. Great bands progress, but even this record has such a sense of outward progression already.

The only low points on this record lie in the recording, which you can't really expect much of on a basically independent band's debut album. The guitar tones are quite crunchy, but the mix itself is actually decent, and the mastering is perfect. The other drawback could be the vocals. At times, the deep growling seems a bit out of place for this band, but hey, you can't really knock a band pushing the boundaries of originality.

This record is a must have for fans of early post-hardcore, even people growing listening to bands like Thursday, considering TITHOB uses quite a bit of aggresive rock style riffs.

FINAL GRADE: A-

Underoath - Lost in the Sound of Seperation

Over the past few years, Underoath have walked around the music scene witha huge X on their backs. Seemingly being the poster boys for our generations underground community. Their breakout record They're Only Chasing Safety became the sing songy scream songy anthemic record in which has been used as a blueprint for hundreds of carbon copy bands. 2006's Define The Great Line was supposed to be their opus, and with no pun inteded, their defining record. The record saw a decomposing of the hooky choruses, and a peak at the darkness in which the band gave a sense of.

To me, Define... was just a glimpse of what the band was capable of. While some where hailing them for what was their career record, I just sat back thinking... "there has to be more to this."
In my mind, I was right with the follow up to 2006's acclaimed record, this years Lost in the Sound of Seperation.

Judging by their single that was released quite some time before the actual release, it would seem the band fell into a lull of sorts. Simply reminiscing on what Define... had offered us. Something scary to most bands, especially Underoath, considering they ARE the poster boys.
Instead the album is absolutely everywhere. From beginning to end, the album has an omniscient, and creepy feel to it. With it's technical guitar composition, to the whaling noise in which they have fully invested themselves in.

Songs move along nicely, absolutely unpredictable, and the band has fully embraced, and bridged the gap between their biggest influences in which they have been so vocal about. Bands like Botch, and At the Drive In.

The album's forefront is a narrative on vocalist Spencer Chamberlains public struggle with substance abuse in the past year,and it seems the record starts off in a deep dark hole. Songs barely having any melody, barely any singing, highly bass driven, and minor chords fill tracks 1 through 4. The songs approach the heavier side of Underoath, and are enveloped in the description "DARK SONG".
This seems to be the case all the way up until track 5 "The End is Near". This is the transition track from complete darkness, as after this track it seems the songs get progressively lighter and more melodic, feeling clean vocalist Aaron Gillespie's incredible singing.

The songs from here are incredibly progressive and fast paced, and it isn't until the As Cities Burn esque track "Too Bright to See, Too Loud to Hear" that we realize this is truly a perfect record that has everything. Forget everything you ever knew about Underoath because this is the band that defines progressive music for our generation. If last generation had Zepplin, this generation has Underoath because for once, they have absolutely been the definition of progressing from record to record without repeating themselves. Rarely, if not ever do they replay any sense of what has made them famous. This is truly a perfect record.

FINAL GRADE: A+

Agraceful - The Great I Am

It's hard for me to pin point exactly where alot of musicians who are barely out of high school, or who should still be in high school are really coming from. It's just odd to me, it's also hard to find a sense of honesty in their music. I can honestly say, looking back on it, if the band I was in while in high school publicly released music, it would be an absolute joke. The thing about growing up a music lover is that you can look back on either the stuff you listened to when you were younger, or even the music you made and laugh.

In Agraceful's case, it's a similar fashion. This young band is the product of ex-Emarosa singer Chris Roetter re-uniting with old band mates to make a new record. The funny thing is, the band has been a band for less than a year, but luckily they have had a working relationship, and found a record deal in what I call the MySpace A&R label Sumerian Records.

With all that being said, the band's debut release The Great I Am is exactly what you would expect from a band of their nature. Simple song structures, low and high screaming parts for your teen angst, breakdowns galore, and oh yeah, you betcha, the ever so illustrious singing choruses.

For all parts, the band passes as generic, and something I honestly can't say is my cup of tee, and though I can't pinpoint it, the band does have some sort of different edge from their peers, however I will get to that in a second. Though the record is pretty cookie cutter, it is honestly catchy as hell and has stayed on repeat for the past few days because I can't get the melodies out of my head.

The record was produced by Grant Beachy at Electric Angel Studios (The Revival Sound, O Jerusalem). Yeah, you saw my bands name to the left, and guilty as charged, I do have a biased opinion. However, the production is pinpoint. Extremely stripped down and crisp.

Bottom line with this record and this band, is like their peers, it's hard to pass any sense of judgment because of how young they are. The key is to watch what they do on their next two releases, and therefore, see the sense of progression they endure. If it's the same thing, I would say write them off, however, i'm an optimist, and this record IS on my good side, so im excited to see what happens next.

FINAL GRADE: B

Anberlin - New Surrender

I have to admit that I was shocked when I had heard that Anberlin was making another record as soon as they were. The follow up to their highly successful, and impressive title Cities, is New Surrender.

This album is rough before listening, simply because of the fact that it's the follow up to what was probably their career defining record. From the start I have to admit I was scratching my head. The songs seem as if they would have been on one of their previous records, almost a digression of maturity. The songs lack presence, and the melodies aren't as straight forward as many of their songs, and like most Anberlin records some songs stick out as being good, but other are simply forgettable.

For most Anberlin fans, I think all will like this record, however this will not be the album they are remembered for, and i'm sure if they have a deep catalog, this may even be the one that is disregarded as whole. Not saying the record is bad, it just doesn't have the presence and larger than life power pop prowess in which was so apparent in previous releases.

Now that isn't saying this record doesn't have high points. Perhaps the best track is one of the better Anberlin songs i've heard in a while, the last track "Misearbile Visu" sounds like it came directly out of a Death Cab For Cutie record, and sounds quite impressive for the soul fact that it's different. Maybe it's not the direction I or most fans would want to see them take completely, but it's a good track.
Also pop heavy songs like "Haight St." will keep you singing over and over again. I actually love this song. There are some other really great tracks on this one, but I think the lowest point of this record is in the re-recorded version of "The Feel Good Drag" which was on of the more powerful tracks on their sophomore effort Never Take Friendship Personal. The song just sounds terrible re-recorded, and it's way too stripped down from the original. It sounds like a b-side.

Though this isn't their best effort, I think it's worth picking up, just don't go out of your way to learn the words to every song, simply because I don't think most of them will end up on set lists down the road.

FINAL GRADE: B-

The Showdown - Back Breaker

The Showdown rather it was live, or on their last record Temptation Come My Way, the band could be perceived as a complete joke. Temptation was my pick for worst album of the year last year, and it was tough considering they produced an extremely impressive debut album. Their first record was a Southern Metal onslaught, complete with songs about battle, blood, and war, something that fit the demeanor perfect.

On their latest release Back Breaker, the band has rekindled old flames of straight forward metal, and even taking tidbits from Temptation, and chocking them into a mixture that works.

Gone are the cheesy lyrics about Christian perseverance, and back are songs of victory, and war, all themed around Greek mythology (song titles labeled as Achilles, Aphrodite, and Odysseus), the lyrics on this record are just as heavy as the music.

Musically, it's straight forward metal, with Metallica/Pantera esque choruses that do just fine. Some standout tracks are songs like "Back Breaker" "You Will Move" and "Give Us This Day", perhaps the heaviest track on the record. Its weak point comes in "The Hellhound Awaits" a ballad that seems like a B-Side from Temptation.

Bottom line is that this record is one of THE HEAVIEST I've heard this year, and all in all The Showdown is back to their old ways and I couldn't be more excited.

FINAL GRADE: A

Sky Eats Airplane - S/T

So I have to admit I fell into a deep trap with this band. My first impression with this band upon very first listen, was that they were just like everyone else, didn't give a ton of thought. Then my band actually played with them when we were on tour, maybe on 4 or 5 dates, and they didn't put off the greatest vibe in the world, so ultimately I just wrote them off. Upon second a second chance listen, I found myself being drawn into this band, listening, and looking deeper, and I remember thinking, wow there actually is something to this band.

Beneath the surface of downtrodden, carbon copy music that is almost put off from this bands reputation, lies an incredibly talented band. Probably one of the more talented new bands around. Sky Eats Airplane layers their mix of start stoppy metalcore, with electronic OVERTONES, not to be confused with undertones, and then distributes tastefully, a layer of power pop esque vocal hooks. This is where I think this band gets a bad wrap, because these choruses stick out so much, it's easy to turn ones back.

However, the appreciation for this band lies with the electronics. The digital beats lead the charge with this band, and almost let the music add the texture. The music itself is reminescent of bands like Scarlet, Misery Signals, and at some points Messhugah like breakdowns, not to mention som MASTERFUL guitar work. If there was ever any doubt, simply skip ahead to track 10, "Machines". If every track on this record was musically like this song, this band would take over the world. It's Dillinger Escaple Plan song structure, mixed with the attitude of Scarlet make this song stick out insanely, the song is SO impressive it's not even funny.

As far the record goes, it all goes toegether nicely, and it has its ups and downs. While the diversity is a good thing, some songs do have some cheeseball factor with the singing and lyrics, however everything works together good. The record has some songs that are straight singy, hooky power pop songs with a few breakdowns, and they have songs that are strictly techy, however the rest of the record include songs that blend the two together.

Bottom line is I think this band has it down, and I respect them. I would love to see more bands like this actually, maybe not with the whole electronic thing as present, and NOT with a keyboard. There is a big difference between electronic loops (more difficult) and a keyboard that adds texture.

FINAL GRADE: A-

Emarosa- Relativity

Around May last year, if you would have asked me what I thought about Emarosa, I would have told you I thought they lacked originality, musical maturity, and were struggling to find their sound. However, among this, I would have also told you that I saw an indescribable potential in their song writing capabilities. What it took to see that happen, or what changes needed to be made were unforeseeable at the time, but one thing is for sure, something did change, and something did happen.

Fast forward to the fall of 2007, after seeing Johnny Craig, former singer of Dance Gavin Dance, had parted ways with his former band, and Emarosa had begun writing new material for their follow up to their first release. Thanks to contacts, and what probably was their relationship as label mates, Craig eventually made his way to Kentucky, in an abrupt performance in the band's hometown, shocking most, and leaving people wondering what's next?

So here we are, i'm currently listening to the record, song for song, and from the very beginning, the albums introduction "The Past Should Stay Dead" sets the tone, in every since of the word for the rest of the record. The first thing that stands out, is maybe one of the most precise recordings i've ever heard from a Rise band. Crisp, layered overtones of ambient guitars, mixed with subtle drumming, slight atmospheric key parts, and of course, the harshness of Craig's phenomenal voice. The production on this record is every bit just right. Mixed perfectly, and NOT over mastered, in which is a rarity when standing next to most Rise releases.

Each song moves along masterfully, the music adding an almost romantic, yet epic feel, and using Johnny Craig's voice as almost an atlas to gude you through the journey, using intricate, and technical melodies, hardly ever repeating, and completely avoiding the use of a chorus.

Perhaps the strongest point of the record comes from "Heads or Tails, Real or Not"
The songs stands epic from start to end, with probably one of the most climactic melodies i've possibly ever heard. The vocal prowess, and presence in this song sounds like something one would see be highlighted on American Idol. It has such a strong, and heartfelt feel to it, it's almost impossible to describe with words.
Though this song seems quite the stretch from old Emarosa, there are songs with the same "attack" so to say as other bands would do. Songs like "Set it Off Like Napalm" and "Pretend Release the Close" both are a little more agressive than most of the other record, and I will say they take some getting used to, because they are quite different from the demo versions most have fallen in love with, but they're still great.

Bottom line is that this has completely estabilshed themselves, and developed an incredible sense of originality with this record. They could have completely taken the easy way out with what they have been given. A vocalist that could be singing songs on top 40 R&B radio, mixed with ambient, and melodic music. The band could have made every song on this record have choruses out the rear, but they completely avoid that, they also could have had catchy hooks and melodies, but they even go as far as to avoid that. Craig's voice, along with the music is every where, and instead of hitting you with "catchy" they grab you with force and drive, causing an almost trance like feel.

This record is amazing, and while I think the band still has some potential to unlock, this is quite the effort. It may not be a record of the year, simply because they are competing with an almost Beatles-esque Death Cab for Cutie album, but I guarantie you won't hear another record that sounds like this, at least not this year.

FINAL GRADE: A

Misery Signals - Controller

I'll keep this review pretty short and sweet. Bottom line, Misery Signals' Controller is hands down their best all around release. I will admit the record doesn't have as many memorable tracks, or the tracks don't live up to some of the more notable songs like "The Failsafe" or "In Summary of What I am" just to name a few, BUT this record works perfectly as one collective effort.
Overall, the record is notably faster, dwelling more on their influence from bands like Shai Hulud, which has always garnered the bands comparison. The record is put together nicely, and comes across alot more "thrashy" which seems to be a new trend upon heavy bands, however Misery Signals does it well.
This record is simply stunning, and only has a few low points. Lyrically, I think this record is great, however in possibly my favorite song lyrically "Parallels" the song is ruined when the singer drops the FBOMB out of nowhere. I have nothing against cussing in records, trust me, I don't, but it was very out of place and odd. Also, on the track "Labyrinthian" they showcase probably their most brutal side ever in the last 30 seconds of this song, however everything else leading up to is basically a snooze.
The record will hold its on amongst others for record of the year, but has quite the competition.

FINAL GRADE: A

Our Last Night- The Ghosts Among Us

I kind of have some weird prideful issue with listening to bands that are really young, let alone a band with a 14 year old singer, it's just difficult. However, luckily for this band, they have a recipe in which I absolutely salivate over.
I have been a huge fan of melodic hardcore bands for a long time, and while it's easy for someone to categorize this band as a "screamo band" they need to be a bit more open minded about it. Yes, the band screams, yes the band sings, but then again so do bands like Life in Your Way, and numerous other bands that aren't "screamo". Nonetheless, this record hit on all cylinders for me. It's catchy when it needs to be catchy, NOT overly heavy, which is, and should never be the focus for a melodic hardcore band, and it's SO honest. I think the best part of this band is the fact that they're as young as they are, and their pears are trying to rip off bands like the Devil Wears Prada, and Underoath, however, this band takes pages from bands like Strongarm, Life in Your Way, and other great melodic hardcore bands.
This CD should definitely be given a chance if you are fans of the latter bands. Don't write it off right away, give it a few listens.

FINAL GRADE: A

Century- Black Ocean

Former Arms Bend Back guitar player, turned producer Carson Slovak showcases his new band Century. The album plays like an homage to old school metalcore in vein of bands like Deadguy, Cave In, Coalesce, and Seven Angels Seven Plagues, in which it succeeds very well and acts as quite the breathe of fresh air.
Right off the bat the record shines a light on the biggest negative, in which comes as the downfall of this record, the recording. The record is so over saturated with compression, it almost is unbearable to listen to for too long. The bass is extremely over powering, the compression muddies up the guitars and vocals, and it causes the record to run together.One positive to the recording however is that the drums sound great, but that alone obviously can't save it.
The record is heavy as hell and stands as mosh friendly, without being disgustingly moshtastic. Melodies on the record are quite beautiful when you press your ear to the speaker to decipher between what you think is the ringing of you going def, when you realize it's the crunchy computer digitization.
Basically I really don't listening to my records, even one with the potential to be as great as this one, through a cardboard toilet paper tube, it sucks when such good bands have recordings ruin their records.

FINAL GRADE: B-

Protest the Hero- Fortress

It's only January, and already one of my two most anticipated records of the year (the other being Spitfire's Cult Classic) is already in my hands.

Protest the Heroe's Sophomore label release is the follow up to their 2006 masterpiece Kezia, which I willingly awarded my number one album of the year,
Jokingly, the band has commented on the album as being "Kezia pt. II", however, the record is anything but.
Yes it is still technical, yes there are more guitar harmonies than the Trans Siberian Orchestra, and yes... it is still metal. The album however has a more progressive feel if one can believe it, and ultimately seems like the album Between the Buried and Me was trying to create.
Without seeming like they were showing off, Protest the Hero has composed ten masterful songs, all of which fall under one umbrella, supporting each other.

Often times it's easy to get lost in this record because of the shear technicality in both musicianship and song composition, however it seems to have been there goal. At one point you listening to a keytar solo on track one, and then all the sudden you find yourself at the end of the record, forty minutes later, satisfied and ready for about 300 more listens.
Though this may seem bad, in so many ways it's not. By giving the listener a broad landscape to explore, there is something new upon each listen.

While I would say on this record the only negative is the less the stellar lyrical side of the record, especially when compared to Kezia, singer Rody Walker's diverse melodies drive the record home.

Bottom line is that this band has already created two phenomenal records, and they have figured out just the right recipe for succesful progression. Alot of bands go from one record from the other, "progressing" too much and either sounding un-honest, or just overcompensating. PTH however have made metal records at the very root, and minorly tweaking small things; things that solidify each record in their own monuments.
Though Protest the Hero are still young by many standards, they are quickly building their own ground to stand on. Something we just down see from modern day bands.

FINAL GRADE: A+

Gwen Stacy- The Life I Know

Gwen Stacy and I met a long time ago, sometime in 2005, maybe early 06, they randomly played my small hometown of Versailles KY, in a small coffee shop to about 25 people. Upon hearing them I fell in love. Their debut E.P. comprised alot of what I love about heavy music, spuratic party rock, with very fun compositions of upbeat breakdowns, and just head bobbing metalcore, quite the exception from the tediousness of alot of their peers of the time. I immediately purchased the E.P. and carefully watched them into their rise to glory, and up front, I know them personally, they are great guys, and one of the hardest working bands in the game right now.
Their debut full length The Life in Know on Ferret has also garnered quite high expectation because of the stature of the label. Ferret has always been the standard for their genre, and rarely ever gets bands that do less than that.
The record's opener sets the tone for the entire thing. If you have heard this song, you have essentially heard most of the CD. From song to song, they seem to run together, due to the fact that the tempo stays near, if not exactly consistant. This causes the album to seem quite tedious, as the song structures also come off as a sort of recipe; it's as if the songs include these ingredients...

Big break down - filler time between breakdown/singing chourus - repeat - bridge - chorus

I guess the best part about this album is that it's production is superb, however sometimes the clean vocals fall under the mix, but for the most part, everything else is on point. Unfortunatly it just cant save the musical composition, as written all over are the words simplicity, and monotanous but mostly, and unfortunately has the record filed under mediocre.

FINAL GRADE: D+

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-