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:
- Children of Cybertron
- Area 64-66
- Digs Get Put Down
- Demons With Ryu
- Solar Flare Homicide
- Eulogy of Giants
- Bohemian Grove
- 4 Poisons 3 Words
- Cries of Credo
- Last Words to Rose
- A Voice From Below
- Drug Dealer Friend
- My Name is Thanos
- Lights Bring Salvation
- Word of Intulo
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