Emmure - Speaker of the Dead REVIEW

When I heard Joey Sturgis (Miss May I, Attack Attack!, the entire hardcore scene, and Oceano) was producing the new Emmure record...I lost it. The man's a genius for drum tone, effects and overall production value, so I knew Emmure was in good hands. I got ready for some nasty riffing and crushing breakdowns...but nothing could prepare me for this album.

Speaker of the Dead gave me new appreciation for Frankie Palmeri's vocals. Not only because I learned he does the overwhelming majority of them in one take (no matter what genre, that's a serious damned accomplishment), or because he was able make me take the line "I stay banging, I stay strapped" seriously, but because they were finally more distinguishable. Foundation Studios understands that vox men (and women) shouldn't have to coherent words for brutal tone, and I felt like this was the clearest Palmeri had ever been. The lyrics were mostly more of the usual: Fuck My Ex, Everyone Who Didn't Believe In Me Can Suck It, and others. But there are a few newer messages on this offering, especially in Demons With Ryu and My Name is Thanos; Palmeri finally seems to be straying out of his lyrical comfort zone. 






When you tune as low as Jesse Ketive, Mark Davis and Mike Mulholand (they got down into the G's this go round) tone is usually something impossible to retain. Not so on this album; the slight muddiness of the past few albums is gone; again, clarity is the rule rather than the exception. This new clarity finally gives light to the writing ability of Emmure. The isolated oases of melodic sections rise from the rabble of unique chug patterns and skull-crushing low notes. The riffs on this album seem more inspired, more mature and overall more interesting than the last couple of albums. Again, a good 70% of this album is more of the Emmure style; chug, let ring, bass drop. That being said, the other 30% is made up of a newer writing approach that called for a heavier use of atmospheric noises and shrill effects that add a new kind of intensity to these tracks. The new fx, the better production quality and the more solid, technical writing give this album just enough edge to outshine the rest of the Emmure discography.

Mike Kaabe gives new life to Emmure drumming on this album. When I first heard his playing, it struck me how similar his style was to former drummer Joe Lionetti. On Speaker of the Dead, Kaabe not only shows he came from the same school as Lionetti, but expands on his playing. He creates a kind of counterpoint to the guitar and bass rhythms; rather than directly contrasting from them or playing in a completely independent state, he seems to weave in and out of the song. At some points in the album (Dogs Get Put Down, Solar Flare Homicide) he seems to be the driving force of the track, and on others he seems to play as more of a traditional backbone to the song (Drug Dealer Friend and intro track Children of Cybertron.) This is an album of both understated and powerful drum playing.

As a huge Emmure fan (I have everything they've ever written except the two demos....working on it) I have to say I actually enjoyed this album. Someone who just got into them after hearing a track here and there of the last few albums may cry "repetitive!" and "nothing new!" I feel like taking Emmure's entire discography into account really brings this album into its own. As with every album they've ever put out, Speaker of the Dead not only picks up where Felony and the albums before it left off, but builds and improves on it in every way. The incredible production value of this record (thanks again to Joey Sturgis) and the overall musicianship shown by Emmure makes this album epic. Get it, let it grow on you.

Tracklisting:

1. Children of Cybertron
2. Area 64-66
3. Digs Get Put Down
4. Demons With Ryu
5. Solar Flare Homicide
6. Eulogy of Giants
7. Bohemian Grove
8. 4 Poisons 3 Words
9. Cries of Credo
10. Last Words to Rose
11. A Voice From Below
12. Drug Dealer Friend
13. My Name is Thanos
14. Lights Bring Salvation
15. Word of Intulo 

Stoked! (also, gear list)

I'm just happy about life right now, in this moment. I've got some of the best equipment I've ever had either in hand or on the way. and I'm finally learning how to use it. New songs are coming along great, and as weird as it is to say, I work better alone than I ever did with most (MOST) people. My drumming is getting better, recording is not only fun as hell but it's a learning experience. I want to produce the best music possible from my bedroom; that's my mission, dammit. I'm a long way from there, but its gonna happen. Anyway, heres what I have:

SOFTWARE:
Cakewalk SONAR Home Studio 7
HARDWARE:
Toshiba Satellite L305
550G External Memory
INTERFACE:
Lexicon Alpha
MIXER:
Peavey PV6
MICS:
Sennheiser e609
Nady DM70
(2) RadioShack Omnidirectional Mics
on the way: (2) CAD CM217
AMPS:
Randall 120 RHS
GUITARS/BASS:
Ibanez RG350M
ESP/LTD H-250 (discontinued 2007 model)
ESP/LTD MH-53
Schecter Omen 6
Fender Starcaster
ESP/LTD F-104 (bass)
DRUMS:
DDrum Diablo 5-pc
14 in. snare
12 in. rack tom
14 in. floor tom
16 in. floor tom
22 x 20 bass drum
Tama Iron Cobra Jr's pedals
Gibraltar Hardware
Zildjian 18 in. rock crash (2)
Zildjian 14 in. crash
Zildjian 14 in. hi-hats
Sabian 10 in. splash
Wuhan 16 in. China

This or the Apocalypse - Haunt What's Left REVIEW

Ok, yes: I'm unforgivably late to the TOTA party. How did I not buy this album when it came out last year? Beautiful melodic sections and acoustic breaks coupled with pure thrash riffing and syncopated, staccato muted breakdowns? This band is like if August Burns Red and As I Lay Dying had a musical baby. So, you know, its truly breathtaking in its brutal perfection.

The lyrics have to be what catch me about this band the most. They tell some pretty vivid, haunting metaphorical tales delivered by passionate and honest screams and singing. What surprised me was how unorthodox an approach to writing TOTA took in creating this album. Gone are the obvious breakdown buildups, or the predictable solos or patterns; the super catchy and memorable choruses seem to sneak up on the listener.

The guitars and bass seem to all be the same person; by that I mean that they work better as a unit than most any other string units in metal music today. Be it an anthem (Lamnidae), a driving, percussive beast (Charmer) or a more ethereal, epic song (Hellish, my personal favorite), this unit of stringsmen never fails to deliver catchy, stuck-in-my-head-all-day riffs. The lead guitar weaves in and out of the mix with riffs and solos that seem to be classical and modern all at the same time. The rhythm guitar and bass connect every unit of every song with fluid, expert playing that makes for an album that can progress logically from note to note, on every song of this album. The guitar playing on this album is pretty much what inspired me to start playing for real again; its the kind of playing that makes you want to listen to nothing but this album for weeks at a time, which is far from common in modern metal music.

And, as usual, I save the drumming section for last. This whole review I've been secretly trying to find words to describe Grant Mcfarland's playing...I got nothing. Here, you try:



...exactly. It's exactly what this band needed: driving, intense precision-driven rhythm that never lets up. He doesn't beat eardrums to death with an over-abundance of bass beats, nor does he spend the whole song using about 1/3 of his drumset, as is the case with most metal drummers. No, Grant gets the full use out of every cymbal/drum/effect in his arsenal, and makes a a four-piece set sound like it take up an entire building. Flawless. 

I hate that I was so behind on finding this gem of a hardcore album. August Burns Red fanboys like myself will tell you: this is something a metal fan must have in their collection. The riffs, the songwriting, the level of musicianship...pick your reason, but whatever you do, buy this album.

Tracklisting:

1. Charmer
2. Subverse
3. The Incoherent
4. Lamnidae
5. Hellish
6. Toro
7. Backlit
8. Hayseed
9. Deadringer
10. Revenant

The Human Abstract - Digital Veil REVIEW

Figured I'd restart things with a brand-new record, and Digital Veil seemed pretty perfect. I've been blasting it for the entire 30 minutes I've owned it, and it's playing right now.And it may be all I listen to for the rest of the year.

This album...wait a minute. Let me build this up a bit: I happened across Vela, Together We Await the Storm a few years back and it just...it was incredible. It still is. I bought shirts, I went to shows, I became an ardent fan. Then AJ left....and my world seemed to end. Midheaven came out, and confirmed AJ's departure was the worst thing that could have ever happened. I loved Tapley as a dude, and a player, but...AJ just couldn't be replaced.

2010: AJ's is announced as returning to THA, along with a new vocalist (thank God) being added to the lineup. My heart skips a beat, and I start creepin on THA in forums and on websites again, salivating at the promise of a new album.

And the reborn California quintet delivered. Will Putney and AJ engineered this beast of an album to perfection. The bass and drums are eloquently layered with the guitars and vocals to create an audio-based sex sandwich for your ears. Richter's vocals bring an entire new form to THA; his range, his delivery, his ability to stay distinguishable, all make for an unparalleled vocal performance in modern metal. His screams are everything a metal vocalist (should) aspire to be, and his clean singing rivals that of just about any other vocalist working right now, in my opinion. The lyrics he delivers seem to match the music and overall mood more so than Nathan Ells' ever did; THA could not have picked a better frontman to replace him, honestly.

Guitars: yes. Thats all that needs to be said. Just...yes. Dean and AJ, reunited, tearing shit up like the good ole days...oh wait, except they aren't. Forget comparing this to Nocturne; it just isn't possible. Dean's flawless riffing builds the foundation for AJ's new masterclass level of soloing and lead playing. Minette and THA reached (maybe even surpassed?) Matthew Bellamy-esque levels of song composition on this album. Dean and bassist Henry Selva are, as always, at the top of their game in terms of playing on this offering. The precision and fluid grace which accompany every note of their playing makes the album just as much as AJ's godlike playing.

And Brett Powell. Good lord, Brett Powell. Under appreciated though he may be (at least to me), his playing impressed me most of all. He is a machine, the eye of a hurricane made of thundering fills and machine gun bass. He is what I and any drummer that has heard his playing want to be when we grow up. From the band's inception to now, Powell has proven his undeniable skill time and again, and Digital Veil is no different. 


After all the rumors, waiting and lineup changes (one can't help but wonder what a Tapley/Minette/Herrera beast would have sounded like) Digital Veil is the only proof anyone has that patience pays off. Ever. Make no mistake, ladies and gentlemen: this album wasn't the work of mere musicians, but virtuosos. Buy this album. Download it. Listen to it.


Tracklisting:

1. Elegaic
2. Complex Terms
3. Digital Veil
4. Faust
5. Antebellum
6. Holographic Sight
7. Horizon to Zenith
8. Patterns

I'm Alive!!

so, yeah. almost forgot I had this thing. Where have I been? Workin on getting a home studio going. I'm about 500 dollars in, and things are finally coming together. But, I've been missing writing these reviews, and analyzing the music I listen to. So, these next few posts may just kind of be vomited out of my mind.

Also, here's one of my songs: (shameless self-promotion, I know)



Enjoy, and get ready to read.