metalcore

Suspended Animation (Asking Alexandria, Asking Alexandria review)

Posted on by Tim Kuefler

It’s evolution baby.

And if you think an old dog can’t perform new tricks, you haven’t seen what a day at home alone and the treat of steak will do as a motivating factor.

If you’re still confused what that means for this weeks Watch Culture review, maybe just ask?

 

 

Asking Alexandria – Asking Alexandria

released December 15, 2017
******* 7/10

Asking Alexandria are an English rock band, comprised of lead vocalist Danny Worsnop (returning after a short one album deparature), guitarists Ben Bruce and Cameron Liddell, drummer James Cassells and bassist Sam Bettley.

Initially formed in 2006 by Ben Bruce, the band evolved into a six piece in 2008 and then adjusted their lineup one more time before their debut album in 2009 – Stand Up and Scream. Asking Alexandria released two more full length albums Reckless & Relentless (2011) and From Death to Destiny (2013), before the departure of Worsnop in January 2015. At that time Denis Stoff and the rest of the band released The Black in 2016. But Stoff didn’t last very long and left the band within the year, with Worsnop returning to lead live performances before his official return. And so we arrive at the fifth album and what a doozy it is. It’s self-titled and a very hard turn away from previous efforts, but it feels oh so fresh.

For starters, the self-titled album is much less metalcore and much more melodic hard rock in sound. When you listen to track no. 2 Into the Fire, you’ll immediately notice how they’ve dialed back on the guitars, and tried to fill that void with more electronics. Yes I ignored the track opener, which I’ll get back to in a second, because Into the Fire is the first single, and a signal that these guys have converted to full on arena rock.

Alone in a Room is a hallmark of high end production, multi layered sonics, and thoughtful lyrics, a typical hype machine to get you started with the tone of the rest of the record. Under Denver follows similar notes at the midpoint, and is a welcome pick me up.

The third and fourth songs are a bit of a wash (Hopelessly Hopeful, Where Did It Go?), with Where Did It Go? being particularly self-congratulatory… but when we get past the ego stroking, the next rack, Rise Up, is a sobering moment and way more naturally motivating to listen to.

 

For all of the effort to move away from their original successes, Worsnop and the rest of Asking Alexandria do make a point to nod to their past. When The Lights Come On features a lyrics form Stand Up, and Room 138‘s chorus is the same melody as the bridge from another song on that first record. On top of that, Room 138 is an excellent unofficial closer with lots of emotions packed into 3 minutes and 44 seconds.

 

Pros: Later tracks seem to fit the bill and redeem this tonal shift. Vultures, When the Lights Come On and Room 138 are all very enjoyable to listen to, and Under Denver will also grow on you if you give it some time.

Cons: Eve should have been a demonstration that Asking Alexandria still ‘had it,’ but the vocal work and backing instrumentals don’t stand up (pun not intended) and comes across weakly. Ironic given that it was the first song recorded. And I love combining rap and rock as much as the next guy, but Empire is hokey at best and offensive at worst.

Runtime: 47 minutes

Points of Interest: This is their first album working with producer Matt Good, a staple in the post-hardcore community. And Taylor Larson mixed the record, which is excellent, because because he played with Good in the band From First to Last for a couple of years.

It’s obvious that these guys enjoy making music together, and their creativity is alive and well, even if not all of the new songs gel well together. This is not the renewal of a sound we’ve heard before, and that’s going to upset some purists. But I really enjoyed the anthemic tone set and the risks they’ve taken to make this record, even if it doesn’t all work together perfectly.

theories Summarized

A great album to celebrate the return of Worsnop and an opportunity for them to explore a direction to take in this next chapter, deciding to self-title the album was a symbolic move and I appreciate the thought. I have a theory that this isn’t the last we’ve heard from Asking Alexandria. But I won’t tell.

Tim!

See The Math Of It (The Dillinger Escape Plan, Dissociation review)

Posted on by Tim Kuefler

Saying goodbye is incredibly tough – Particularly if you don’t know if you’ll ever meet again. When all you have are memories from a painful departure, it numbs you to your core being.

You need to be thoughtful in your farewell messages, because once you do, there is no second chance. This week’s album review is an exercise is that experience. Someone leaves and the other stays behind.

The Dillinger Escape Plan – Dissociation
released October 14, 2016
******** 8/10

tdepcover1

 

The Dillinger Escape Plan are an American mathcore and heavy metal band which claimed their name from the bank robber John Dillinger. Founded in 1997 and born out of a hardcore punk group called Arcane, these guys have seen numerous roster changes over their 10 year tenure and 6 studio album showing.

Like the man, The Dillinger Escape Plan have successfully executed numerous projects which have given them creative control and an ability to dictate the course of their own trajectory despite numerous changes to the lineup, intentional and otherwise.

Dissociation marks the last time that TDEP will be performing together on tour. Initially thought to be an indefinite hiatus, lead singer Greg Puciato has since confirmed that the band will be breaking up once the tour ends in March 2017.

Let me start first by stating that I was disappointed to learn that TDEP would be breaking up after this record. As I immerse myself more fully in the music scene, especially in metal, I realize that there a number of fantastic groups that make metal music which I know absolutely nothing about. Dissociation feels like the right title knowing what we now know of the future. Whether the album is about the separation of it’s elements, literal or metaphorically, the foundations of the record are set up rather nicely with Limerent Death. A song that addresses the death of a romantic sentiment and the lingering frustrations therein. The follow up track Symptom of Terminal Illness is definitely more methodical and slow in it’s delivery.

Wanting Not So Much As To is one of my favourites on this album. I suspect it has something to do with the punk tones and howls featured throughout, plus it features melodic notes, spoken-word, and it all fits in together rather nicely in it’s instrumentation.

Fugue has great electronic influences, Low Feels Blvd is jazzy, while Surrogates and Honeysuckle feature prominent opening, middle, and closing sections.

Manufacturing Disconent is heavy. And in the past this would’ve been exactly the kind of song I stayed away from, but it’s considerably more interesting to consider it with the backup vocals and sampled audio. Taken as a whole, this song represents the creative ability of The Dillinger Escape Plan almost perfectly, and other critics have labelled it as a classic sound for them.

The final three tracks are all excellent in their own right – Apologies Not Included, Nothing to Forget, and title track Dissociation. It is the light at the end of tunnel. And as mentioned before whether literal or a metaphor, this song has a simple structure and even some hope of the future ahead. I blame the strings for that. They are beautifully included and introduce us to a very different side of The Dillinger Escape Plan. It’s going to be hard to say goodbye, but I suspect a great many replays of Dissociation in the years to come.

 

 

 

I’ve heard this idea that true friends don’t ever really say good-bye, they just take a sabbatical from each other, picking up the pieces easily upon reconnection. The Dillinger Escape Plan have had an excellent run, and while they may be leaving to pursue other opportunities, the memories they have made will last a lifetime, even better because we have a musical record. That could just be a theory though.

Tim!

Let It Go (Every Time I Die, Low Teens review)

Posted on by Tim Kuefler

I’m not the biggest fan of winter. Like at all. I should have a better taste for it as my ancestors are a variety of European types, but for whatever reason, I was a skinny kid with a fair complexion. So I hated winter. Like a lot.

It makes me want to scream into a microphone.

Thankfully, I found my winter jam just in time – So enjoy it along with me dear readers.

Every Time I Die – Low Teens
released September 23, 2016
******** 8/10

cover

 

Every Time I Die is an American metalcore group that have been around for almost 20 years. Known for their energetic shows and ability to infuse meaning with melody, Every Time I Die have been with Epitaph records since 2008, and were with Ferret Music before that.

I probably sound like a crotchety old man, but I fucking love most artists signed to Epitaph records, so vis a vis, I love Every Time I Die. Maybe that’s a juvenile or closed minded way to look at the subject, but come on people I’ve reviewed everything from pop, to hip hop, to metal, to jazz, and everything in between in the past year, which should tell you that I may have favourites, but I play a bit of everything to continuously expand my sonic ability.

Now let’s get down to business.

Low Teens was recorded in the midst of winter, but it has a surprising amount of heat behind it – these guys decided to focus their already biting sound and circle pit tendencies on a rather somber and enduring note of the frailty of life. For instance, frontman Keith Buckley almost lost his wife and daughter during pregnancy complications while the album was being recorded.

Which is awesome, given that these guys have never had a slump of quality in their long run, despite a few lineup changes over the years.

Let’s start with album opener Fear and Trembling which is a duel between Buckley and death itself, and he stands firm in the belief that he’ll follow death straight into the pit itself if he loses the battle for his loved ones. This is quickly followed up by the speed and precision of Glitches, one of the albums singles and a great way to keep us engaged.

C++ is yet another track that explores death and that pleading for another sweet moment with a woman on life support. Seriously haunting.

Track number four, Two Summers is somewhat divisive, as it deviates from the typical sound of the band somewhat, but damn it if it doesn’t have a great southern drawl, and I cannot seem to place my finger on what song it reminds me of, so hopefully one of you will help me out.

The adventure continues onward and upward with I Didn’t Want To Join Your Stupid Cult Anyway, It Remembers, and Petal. Only gaining in steam and energy. It’s not until we hear The Coin Has A Say, that we take pause and recall a time when ETID was a bit younger and less world weary. When we finally reach album closer Map Change, the audience is primed and the stage is set for a song that really addresses the cold of winter AKA hell.

As is so consistent with their track record, throughout the years, the track record on this album is one of both chaos and order. A challenge well met.

 

 

 

Everything is coming up roses Buckley screams in bonus track Skin WIthout Bones, and I have to agree with him. This album is reliable and also noteworthy. If you’ve been wavering on the fence about whether you should listen to Every Time I Die, now’s the time to give them a chance. They’re made of the right stuff.

Tim!