Reformed after releasing two tentative EPs in the metalcore vein,
Act of Depression (1999) and Cries of the Past (2000),
concocted a friendlier (and Christian-tinged) form of metalcore on
The Changing of Times (2002),
A key feature of their sound was the interplay between
Dallas Taylor's angst-filled shrieking (the dominant voice) and
the melodic emo voice of Aaron Gillespie.
When the Sun Sleeps is emblematic of their ability to smoothly
transition from soft to hard sound and from whispering to screaming voices;
but this praxis can also lead to the confused and convoluted The Changing of Times.
The vocal dualism is paralleled by the contrast between
lead guitarist Tim McTague and keyboardist Chris Dudley.
Witness how the gentle trotting of Alone in December and plain
recitation, with a touch of synth,
ushers in the most catastrophic riffs of the album.
An anthemic synth line actually adds vigor to
the pounding and burning Angel Below.
The militaristic overtones of Short of Daybreak and the
poppy instrumental bridge in the middle of
Never Meant to Break Your Heart prove versatility and lyricism,
but, in the end, the standout is
A Message for Adrienne, a classic lesson in
panzer metalcore and ultra-screaming.
Spencer Chamberlain replaced Dallas Taylor as lead singer on the melodic
They're Only Chasing Safety' (Tooth & Nail, 2004), that sounded more
like mainstream sellout than new inspiration.
A Boy Brushed Red Living in Black and White is the most articulate song.
It's Dangerous Business Walking Out Your Front Door adds a
children's choir to enhance the pathos.
While Reinventing Your Exit marks perhaps the zenith of their screamo
style, Some Will Seek Forgiveness Others Escape has no
screaming at all until the very end.
The (discreet) use of electronics (Dudley's keyboards),
the dueling voices, the tempo changes, and the intricate melodies of
Define The Great Line (Tooth & Nail, 2006), possibly their artistic peak,
set them apart from pretty much every other emo-core band.
In Regards To Myself is emblematic of the multiple levels of screaming
and of the sudden incursion of a clean melody while the song is being corroded
by fractured riffing and limping brutality.
Their brand of melodic rock is constantly agonizing, and
dissonant guitar work reinforces the effect in
There Could Be Nothing After This, in vain contrasted by
You're Ever So Inviting is perhaps the best case of
colliding voices over complex dynamics (from a virulent bass progression to
The lyrical zenith is Writing On The Walls, with the two voices
competing for pathos amid disorienting tempo shifts and a ghostly ending.
Their idea of a power-ballad is perhaps Casting Such A Thin Shadow
with its lengthy instrumental overture that borders on pop-metal.
The seven-minute To Whom It May Concern allocates three minutes for Gillespie's mellow singing, then two intense minutes of Chamberlain's beastly screams, and then a coda of atmospheric strumming, syncopated drumming and droning electronics.
Sometimes they sound like a hybrid of grunge and hardcore.
Returning Empty Handed may be a rawer kind of songwriting, but
the syncopated thundering rhythmic attack, which is almost funk-punk,
coupled with Chamberlain shouting stormy refrains in a growling register,
feel like a draft of fresh air in a surgical room.
The band had lost a lot of stamina on
Lost in the Sound of Separation (2008).
The dominating structure of the songs is illustrated by
Anyone Can Dig A Hole But It Takes A Real Man To Call It Home and We Are The Involuntary:
mad screamo in loud guitars and booming drums followed by tense clean singing in a rarefied atmosphere.
Most songs are variation on this idea, with
captivating tempos and sensual singing in A Fault Line A Fault of Mine
and a closer affinity to the ballad genre in Too Bright To See Too Loud To Hear.
Their schizophrenic art peaks with the
complex melodrama Emergency Broadcast - The End Is Near.
Boundaries are bent and pushed in
the psychological ambient pseudo-song Desolate Earth - The End is Here
and the more melodic and noisier emo of
Desperate Times Desperate Measures.
Disambiguation (2010) was the first album without founding member Aaron
Gillespie, but little was changed in style or power by this sextet
(singer Spencer Chamberlain, guitarists Tim McTague and James Smith,
keyboardist Chris Dudley, bassist Grant Brandell and drummer
Daniel Davison). Paper Lung is the standout song, while
the electronic Driftwood hints at sonic remodeling.
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami