FourteenG Album Reviews 2005 Releases

Album Reviews

2005 Releases

Based on a 5-Star Rating:

5 - \m/ Fuck Yeah!! (ALL hell breaks loose)
4 - Worth The Crook In The Neck (Something to headbang to)
3 - Not Bad... (Get it for the cover & artwork alone)
2 - Buzz Bin (A second hand record store purchase at best)
1 - The Axe (After selling their souls to the devil, the devil reneged on the deal...download it!)

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ADEMA
Planets
Earache Records, 2005

Reviewer: Sharita L.

When Adema first broke in the late 90’s, their first album Adema debuted in the Top 50 on the Billboard charts. Their success was further rewarded with a spot on Ozzfest in 2002 alongside big names like Black Sabbath, POD, Black Label Society, and Rob Zombie. Many people thought their achievements were because of the bloodline of their lead singer, Mark Chavez, who is Korn's Jonathan Davis' half-brother. After such notoriety and quick fame, it is not surprising that once Adema released their sophomore album, Insomniac's Dream, that there would be problems ahead. First, Mark decided to leave the band because of martial problems, and then the band lost guitarist Mike Ransom. Finally, to make matters worse their label, Arista, closed its doors for good, leaving the band in a difficult position.

Even though the future was not looking good for them, they did not give up. After many tryouts they found singer, Luke Caraccioli. Soon after, drummer Kris Kohl’s would be told to contact Earache’s Al Dawson about a possible deal. After seeing the band live, he decided to sign them and Adema was back from near death, that revitalization is witnessed in the bands new album, Planets, which showcases the bands obvious musical talent and lyrical strength. It might not please traditional metal fans, but it definitely has all the components of a solid hard rock effort.

Luke brings an excellent voice to the table as well as a stage presence that any hard rock fan will appreciate and his emotions are felt through every tune. Tim Fluckney and Dave De Roo’s musicianship comes through from beginning to end, and the aforementioned Kris Kohl’s supplies the pounding rhythms on drums. There is so much to like on this album, that the bands first single and video “Tornado”, in my opinion, is not even the strongest track on the album. “Shoot the Arrow”, “Sevenfold”, and “Enter the Cage” are much stronger, but maybe the band wanted to save those for later. Even if you were a big fan of the Chavez-led Adema, you should at least give the new one a listen. Kris Kohl’s said the planets aligned when they found Luke as their singer, hopefully that good fortune continues for a band, I feel, deserves a second chance in the spotlight.

THE AGONY SCENE

The Darkest Red
Roadrunner Records, 2005

Reviewer: Maggie S.

If cover art could define an album perfectly, The Agony Scene would have that album. The dark, blood-splattered cover of The Darkest Red could not reflect the contents of the record more. Before purchasing the album, I only knew of "Prey" from the video that was displayed on every metal website, and I expected a good record, but nothing like this. From start to finish, repetitive lyrics hidden in separate tracks and brutal riffs piece together almost like clues to a murder scene. The static-filled, distorted prelude crumbles into the vigorous guitars and unforgiving bass lines of "The Darkest Red". Michael Williams' scratchy, almost painfully belted vocals wrap up the band's strange yet powerful sound; it's chaotic yet everything seems to be in its place. Each track has that Agony Scene sound and lyrics are brought from piece to piece. For example, blood is mentioned in probably every track, as are scars and pain. It's the theme of the album and you would think metal would talk about this all too often but somehow Williams portrays these components in a deeper way, a way that makes you feel it rather than jumping around screaming about killing because it's cool.

The Darkest Red has as mosh inducing sound to it, the songs are mostly powerful, upbeat pieces that make kids go crazy live. "My Dark Desire" is an exception to this; it still has the power, but it's mellow and deep, leaving little room for you to go all-out crazy. Somehow the Agony Scene has stepped on the shoulders of its competitors and have built themselves into an iron wall of potent metal.

AIDEN1/2

Nightmare Anatomy

Victory Records, 2005

Reviewer: Karma E.

Move over Jack Skellington, there’s a new nightmare coming to town and it seems it is not seasonal, its Seattle’s reigning kings of horror rock, Aiden. They are making Halloween an everyday occurrence with the release of their debut disc on Victory Records, Nightmare Anatomy. This disc will arrive via bat wings to a musical cave near you on October 4^th …just in the nick of time for our blessed holiday (all pending on your religious beliefs): Hallows Eve, All Souls Day, Samhain... This enhanced CD is jammed pack, full of goodies, no tricks all treats! When you pop this puppy in your computer, you will find a lengthy “featurette” in which the band offers a glimpse in the making of the album, bares all (at least almost in one scene), the history of the band… Utterly entertaining and will especially be for the screaming girlie teenyboppers populous.

With their paradoxical up-tempo, gloom latent melodies, some of which would cause Davey Havoc (of AFI) to turn his head, case in point “Genetic Design For Dying”. I mean no wonder, the band does cite AFI as major a influence. “Unbreakable (I.J.M.A.)” is dedicated in the honor of a fallen loved comrade, Ian J.M. Anderson, so is the rest of CD. The layout is pristine, in which ex co-founding member of HIMSA, Aaron Edge, was responsible for the disturbing mental images bestowed upon us, not to mention providing background vocals. The cover of the album is straight out of a B-horror movie. You expect to open the cover and find bloodied corpses strewn about with either vampires mulling about the scene or lycanthropes feasting on the remains of the unsuspecting…instead we find bloodied dolls with eyes wide open. In this case, it’s almost creepier than the aforementioned scenarios. “Last Sunrise” appeals to the Goth in me, great song with good hooks. “Die Romantic” is cheesy but worms it way into your heart after the second chorus. “See You In Hell” again appeals to the goth and blackness in my soul. What a way to go!

I do have a couple of squawks with this album, for the opener “Knife Blood Nightmares” on paper sound like it would be a sheer winner, however things do not always go according to script. The song is the weakest amongst eleven tracks. Luckily, with the rest of the CD you do not feel as if, “you can’t seem to wake up from this nightmare” by no stretch of the means. Okay, is it cheesy? Sure the hell is, cheesier than this review is to be exact. If I had a penny for every time references of dying (worse than the mounting tolls of bands with the same subject matter) were mentioned, I’d be writing this review from Transylvania instead! It offers more to look at than it does to listen too unfortunately. The band is almost there…then again; this is what debut albums are made for…they have enough time to work the kinks out. Too bad they did not use the outro to commence the CD. The outro, or the hidden track on “See You In Hell” is dark, cool, and sets an ominous tone…leaving you unfulfilled, wanting more, thus the next release?! Of course I am only speaking of the hidden portion or sound bite section of "See You In Hell". Even if you are not into punk or horror rock, there will be something on this disc for you to justify the purchase. It is above the burning/downloading status; it is worth the purchase for the packaging alone.

ASG

Feeling Good is Good Enough
Volcom Records, 2005

Reviewer: Maggie S.

Listening to today's music scene is like reaching into a grab-bag of small animals. You can either end up picking up a venomous snake or a harmless box turtle. It's a gamble, because there are more snakes than turtles and you're most likely going to end up getting bitten by one of the many fang-bearing serpents. In the music-world, those serpents are the ever-present, similar-sounding bands that always find some way to bite you on the ass with their generic music. ASG (Amplification of Self Gratification) is on the fence when it comes to if they're a snake or a turtle. If you look at the instrumental aspect of Feeling Good is Good Enough, every track is practically the same. I didn't know that just now the second track had changed to the third because the style is the same. It's some sort of punkish rock music, and even if you aren't a punk fan you know the music and bands don't vary that much in sound. The vocals have an almost Irish accent to them (which adds to the punk style) and shove the band completely into the serpent pasture. Watch out punk bands – there's, uh, another group joining your fleshpot of repetition.

AS I LAY DYING

Shadows Are Security
Metal Blade Records, 2005

Reviewer: Maggie S.

As I Lay Dying is a band that is constantly slotted into the genre of generic metalcore, but in my eyes they stand at least one step out of that stereotype. Shadows Are Security is a wave of refreshing double bass and singing guitar chords that creates a perfect edition to this west coast band's discography. It starts powerful and ends strong, with a single cut in the middle as a less brutal piece - "Repeating Yesterday", which reflects the gentleness of such tracks off "Frail Words Collapse" as "Behind Me Lies Another Fallen Soldier" and "Song 10", which then breaks through into headman Tim Lambesis' shuddering vocals that rattles the bones of anyone within earshot.

A second take on unique introductions - the last song on the album, 'Illusions', begins with two minutes of a gradually loudening static that fizzles into more of Lambesis' impressive screeches. Jordan Mancino continues to rise above a majority of metal drummers with his satisfying mix of pounding bass symphonies and snare abuse, but never over-lapping the talents of axemen Nick Hipa and Phil Sgrosso who never fail to break out the melodic riffs at the right moments.

All highs and lows adding up, this album is definitely one metalcore fans will enjoy, though it does not differ completely from the band's previous release - it's still worth the pit stop at Best Buy.

BEAR VS SHARK

Terrorhawk

Equal Vision Records, 2005

Reviewer: John Grotans - InnerGroove33

The outfit from Michigan (all members are natives of the Great Lakes state) wonder off to a cabin in the upper peninsula of their home state and explore musical territory similar to Fugazi and post-hardcore art-rock on their latest release, Terrorhawk.

BVS are at their best when they drop the pretentious post-hardcore angle and go for the straight vocal song. The sprinkled experimentation throughout the album helps rather than hurts. Some say this is Motown meets post-hardcore type of music, it's only mildly apparent on "Song About Old Roller Coaster", overall it's more like a mixing of post-hardcore meets post-punk or even avant-garde art rock. Marc Paffi (vocals, guitar, keyboards) shows excellent range on all tracks and never sways from the point at hand. Paffi, who is also a painter, did the cover and booklet art for the CD. All tracks are produced by Matt Ellard (Motörhead, Morphine, Converge, Between the Buried And Me, Kendra Flowers, Rubikon) resulting in an overall quality layered production that has the right flow. The 15 tracks of Terrorhawk do not repeat themselves, but rather take you on an emotional and environmentalist journey somewhere between the politics of the day and societies ills and vices. Just about every track here is radio friendly.

The album kicks off with the post-modern rocker "Catamuran" with straightforward guitar riffs and style. On Rollercoaster the taking of land for commercial gain is addressed in a very telling style: "It'll mix with minerals and backbones to go home and reflect how they tore this building down you ask for more." Mike Muldoon adds keyboard elements that complete the texture , the organ sounds are done to perfection and is a highlight of the album. 5, 6 Kids seems to be intensely reflecting on the music industry in general, or just plain business after the song climaxes to a super slow crawl with lyrics such as "Dog eats the man... Man eats the dog" "5,6 Kids" is currently available as a free mp3 download from the bands official website: www.bearvsshark.com This is definitely worth the free download.

The short interludes of 6 Bar Phrase (28 seconds) and India Foot are well placed in the track sequence, as 6 Bar Phrase works as a punk interlude and the later as a technology bridge to the remainder of the album. The Great Dinosaurs With Fifties Section is a very radio-friendly take on society. Memorable parts and lyrics such as "The voice of the cars on the road next to mine to remind me of things that I burned in my skin how a boy makes decisions and bases them all on lies" and then breaks into the perfect bridge. Also addressing the waste philosophy of industry "Please don't make me buy new shoes this year please don't make me buy new sneakers this year." provide a further insight to where this band is going with it's view on society and social implications, as well as the social ills of drugs and alcohol addiction in a unique BVS way. "You a hero with real gold inside your hands - Show her what she wants ..." This is by far the stand out track on the album.

Starting out in a folksy rock style, Baraga Embankment goes into an avant-garde pattern similar to something like Pink Floyd. This is one of those songs that will grow on you with every listen. The sad story of I Fucked Your Dad is LA post-modern rock opera that is really like anything else on Terrorhawk. Thru the Entrance Of The Elected requests of you to "Change your life into a postcard version of white snow or so the story goes and the horse that you rode in on will be the horse that's taking you home." The haunting layered keys in the background add an element of wonderment to the track. Slowing it down is What A Horrible Night For A Curse, in standard modern rock style. It's tracks like Seven Stop Hold Restart, Out Loud Hey Hey, Antwan and Heard Iron Bug where some falsetto's and post modern styles are retreaded and are ultimately not on a par with the rest of the album. The album closes with Rich People Say Yeah Hey Hey, another social commentary on the state of unemployment in the big city. One wonders if they are referring to Detroit directly.

BESEECH

Sunless Days

Napalm Records, 2005

Reviewer: Thorne

You know, I'm always thankful for Napalm Records and the materials they send for review. Of all the CD's I received from them to review here, not one is anything remotely bad. While some are most definitely better than others, they're all good in their own right...even if they're not exactly metal. That, my dear friends, is the case of Beseech. Beseech plays a style of music made famous by HIM but Beseech actually plays this music with more passion and heartfelt honesty than Ville Valo and his merry band of Finnish goons could ever hope to muster...even though I will admit I liked "Razorblade Romance". So yeah...

"Sunless Days" is a collection of melodic rock, with your typical moaning about lost loves and depression but with a twist...sincerity. It's easy to tell when bands are being sincere about the music they play, and Beseech is most definitely serious about their music...so serious that even my cold, blackened heart was moved by their display. Rather than laugh at them, I sang along and enjoyed the tunes. The combination of the lovelorn male vocalist and the sympathetic female vocalist (Seeing a trend with Napalm's bands in this edition, are we?) work very well to the music's advantage and always seem to keep things interesting.

Now, while this review has been littered with punchlines and jokingly obvious material, I am being serious when I say that Beseech is a band worth listening to if you're into melodic music like this. On "Sunless Days" the band brings the hooks, melodies, and powerful songs into full focus and offers up a record worthy of a night of romance or good old fashioned gothic boot knockin'...and with this kind of music, what more could you ask for?

Solid offering...just not really my cup of tea.

BIF NAKED
Superbeautifulmonster
Her Royal Majesty's Records, 2005
Reviewer: Maggie S.

When I received this CD I was slightly confused about the entire thing. The artist was titled as "Bif Naked", and I soon found it was more of a solo thing and the singer was actually Bif Naked herself. With that out of the way - this is one of the female artists who should be all over the press, not the crappy pop singers that are currently clogging radios. "Superbeautifulmonster" hops from genre to genre within rock, from beat-bashing rock to modern punk, each song fronted with amazing vocals that can cover the punkish scowling on "Let Down" to the harmony on the strangely touching "Everyday".

Though most of the songs are pretty distant from any sort of metal, Bif makes a name for herself within the world of rockin' females rather than just another no-talent slut and would shake the world if her material reached the surface. Shockingly brave, Bif stepped into bigger shoes to do a cover of "Nothing Else Matters", creating a brand new version of the metal original that is the best a woman could ever do in covering the piece and did not scar it at all. Independent and risk-taking, Bif Naked has proven to be something new.

Black Dahlia Murder

Miasma
Metal Blade Records, 2005

Reviewer: Maggie S.

Having no previous experience with Black Dahlia Murder's work, Miasma struck me. It was slightly repetitive yet indulging, and not having the lyrics at hand frustrated me some. The constant switch from high-pitched screaming to low-pitched growls caught my ears the most, next to the extremely in-tune, side-by-side guitar work, changing with each beat, from an 'I will break your face' tempo to a creepy metal mood.

The introduction track of "Built For Sin" was only a taste of what the album as a whole held in its clutches as it splintered into shockingly powerful "I'm Charming". Even though Zach Gibbs has parted from the group, his work on this record is amazing – his bass rhythm speeds up with his snare and symbols as if there was a 'faster' or 'slower' button attached to his spine. For some odd reason this is the second review of mine where I mention resemblance to Mastodon in some way – the riffing on "A Vulgar Picture" contains that random, almost foreign-sounding tweak to it, like the entire albums' music videos should've been recorded inside a pyramid – which Mastodon seems to possess. Back to Dahlia, the sheer shredding and altogether rhythm on "Miasma" is impressive and tight, like they spent twenty-five years practicing for this moment. In a world of metalcore and hardcore, they chew up the core and spit it out, leaving pure metal.

BLEED THE SKY

Paradigm In Entropy

Nuclear Blast Records, 2005

Reviewer: Karma E.

Bleed The Sky is comprised of nothing but heart and soul exhibiting it the best way they know how, in your face! Paradigm in Entropy, the first offering from this Orange County sextet serves as a stepping-stone as these ambitious men are already in the process of laying down ideas for their sophomore release. What’s interesting about this disc is you can hear the evolution of sound from start to finish; it also serves as a barometer to where the band is going. According to vocalist Noah Robinson, the band plans to go in the musical direction of the final two songs on the disc “Division” and “Borellia Mass” which ranges from brutality to the melodious unlike the other songs toward the start of the CD; the opening tracks focuses on melody then brutality. Either way you look at it, this debut disc is quite a solid effort by this collective. Side note: T.J. Frost and Joe Cafarella, two members of the hardcore band Stemm from New York offer guest vocals on track ten “Division”.

The pros of this endeavor far outweigh the cons. The biggest problem is the CD does not seem to flow; the progression is not smooth as it seemingly spans over a longer period of time exposing different styles as touched on a little earlier. The other issue is that the title track bombinates on a skosh too long. Constantly bombarded with the incessant comparisons to Chimaira; personally, I do not hear it. The only similarities I can come up as Robinsons says they are both a six-piece outfit, which includes an electronics “master”; they also utilize clean vocals. Another “similarity” to style could stem from BTS using the same producer, Ben Schigel; however, this would be where the parallels end. BTS may be in the same vein but arteries apart from their contemporaries. Guitarists Kyle Moorman and Wayne Miller riffs are blazing yet tuneful which then is a pleasant complement to the thunderous rhythm section, which is comprised of drummer Austin D'Amond and Casey Kulek on bass then accompanied by the sweet sequencing and samples of Luke "Puck" Andersen. Best tracks: “Skin Un Skin”, “Minion”, “Leverage”, “Gated” (an amazing instrumental), and “Borellia Mass”. Going back to producers, Noah Robinson and Kyle Moorman co-produced this CD.

Cover artist Aaron Marsh features an attractive sprawl of the morbid underworld mainly focusing on a headless winged skeleton figure whose vast wings spread over a mountaintop. Since words like paradigm and entropy are not contained in 100% of the viewers vocabulary, the band makes it easy to brush up on your vernacular supplying definitions to both words inside the booklet itself. Another tasty little treat on this enhanced CD is the music video for “Minion”. Overall, this CD is definitely one to pick up; it’s the first step in what seems to be a long line of succession of releases by Bleed The Sky!

BOYS NIGHT OUT
Trainwreck
Ferret Music, 2005
Reviewer: Maggie S.

When I turned this album on for the first time, I didn't know what to think. The first track, titled "Introducing", began with a slow instrumental and a strange voice reciting what sounded like a doctor of some sort reciting the diagnosis from a mental patient. Then glancing at the artwork, I realized that was the theme of the record. Several pictures in the cover sleeve portray a man suffering from confusion and sadness in a gloomy room. The song then ended with "these lines I wear around my wrist are there to prove that I exist". If that is not emo, I don't know what is, and pondering the decision to turn the CD off I then decided to give it another try when I heard the second track. Produced by Machine (Armor For Sleep, etc.), Trainwreck even resembles some of the producer's earlier works mixed in with the talents of the musicians to piece a somewhat unique emo/rock album.

While listening I found traces of synthesized effects and even jazz-like sounds, things most bands in the same genre would now label as stupid, but it actually adds to the band's partial originality. Something else that caught my eyes was the pattern of the titles, all ending in "ing", from "Introducing" to "Dying" and various actions in between. Songs such as "Recovering" and "Waking" particularly caught my attention with the softer vocals and conversation-like chords between guitars, along with various percussion instruments. Boys Night Out is experimenting with things most bands would never touch, and this will soon be beneficial to them.

BULLET FOR MY VALENTINE

Hand Of Blood, EP
Trustkill Records, 2005

Reviewer: Erika Kristen

Finally, Britain’s answer to Trivium!!! They go by the name, Bullet For My Valentine. Four little guys making all this noise, I knew it would be promising. Their style is reminiscent of A7x but not as comical. One key wonders resonates throughout this 2005 fall release. Showcasing every other Power 80’s guitar riff in all its glory. And they do it darn well too! It seems this brand of shredding has surfaced all over the globe it seems but at Bullet For My Valentine is giving it justice. Hand Of Blood has only 6 songs with not a one going over 4 minutes in length. At first glance, the artwork by laBoca is what catches your eye. The down side to this album is that just when you get into a grove, it’s over. The opening track "4 Words (To Choke Upon)" features falling guitar riffs that would make Whitesnake proud. Fancy finger work for an EP that is a clean and very good example of what this band has to offer. You just truly hope that this effort is a prerequisite of what’s to come from their 2006 full-length release.

Each song has the potential of becoming an anthem. The song titles tells a story in and in of itself. "Cries in Vain, No Control". Speaking of which, 2 ½ minutes into "No Control" they sneak in a break that should have gone on for another 20 seconds or so but instead became a HUGE tease! Whiney though tight vocal chords are exercised with smooth vocal changes. The lyrics throughout are designed for the wiseacre youth of today. Very well thought out and honest.

On "Curses" vocalist/guitarist Matthew Tucks’ singing is plain in today’s genre yet sincere. Slide in a little dancehall style drum n’ bass by Michael Thomas and Jason James adds a nice switch between tunes. Added to the mix, nice fretwork by Matthew and fellow guitarist Michael Padget. Riffs not so over the top where it wouldn’t be lost in a live performance. I can hear the girls screaming from here. Kudos to Matt for creating lyrics that shoots straight to the jugular of today’s youth. As fate has it, they have the promise of a notable future. Let’s hope they evolve out of their stagnate genre to produce some worthy meaningful music that this band has the potential of producing.

Calico System

They Live
Eulogy Recordings, 2005

Reviewer: Maggie S.

As soon as I heard Mark Owens' vocals on this record, I knew it was something good, and instantly Poison The Well clicked in my mind. His screaming resembles no other than the Florida ass-kickers and that alone brings 'future' to the table. On the track "They Live" the guitars and bass are tight with each other in short, jumpy breakdowns as though a sheet of glass were being picked apart by thrown pebbles before shattering into melodic, dripping choruses. The songs are quick and don't miss a beat, leaving no room for mistakes or other things that could drag them down, cutting out the middle man completely.

The balance of singing and screaming balances each other out, but the growls still overpower the harmony and the breakdowns overpower the growls – all equally – bringing it all together in a metalcore-like style that would make any hardcore kid drool. The lyrics throughout the album are actually quite emotional and touching at times, but the way that they're delivered don't make them so crybabyish, instead they're in-your-face and fun at the same time. This isn't easy, when vocalists deliver things from their hearts it's hard to get away from singing in a way that expresses that emotion as well. Owens lets rage take over, hiding heartache and life lessons in a layer of heaviness dashed with melody. To me the cover art was deceiving – two nurses operating on a heart. I was unimpressed by this image, pondering it to be another screamo group, and I shouldn't have because Calico System succeeded in proving me wrong. Maybe unintentionally under the influences of PTW, Calico System definitely have a bounce in their step and confidence under their belt.

CANNAE1/2

Gold Become Sacrifice
Prosthetic Records, 2005
Reviewer: Karma E.

As a follow-up to their last release which hit the shelves in 2003, Horror, New England hardcore/metalcore warriors, Cannae, are definitely still brutal, and in your face as ever! In comparison to their last effort, clearly their sound has evolved; however, the band’s latest contribution (and junior effort) Gold Becomes Sacrifice comes up a tad flat in the end. Please understand I am not necessarily criticizing them either. To be honest, I am looking forward to hearing the next release, this band seemingly is aging like fine wine, getting better with time! As for now, Gold weighs in at 38:33 offering ten vicious, hard-hitting, no holds barred tracks to batter your ass into oblivion, dousing you with gasoline, and setting the rest of your limp, lifeless, bloodied body on fire…barring the short yet immensely sweet interlude, instrumental entitled “Collapse”!

As far as the artwork and production are concerned, Grail Mortillaro did a damn good job with the artwork on the layout of the CD by incorporating the lyrics and bringing it to life, visually speaking that is. As far as production is concerned, Jason Suecof [Trivium and God Forbid] guitarist of Capharnaum in conjunction with the band, co-produced the CD. Suecof stepped up to plate by maintaining the integrity of Cannae’s artistry in the meantime tweaking it to sheer excellence. Gold was recorded at Suecof’s studio, Audiohammer and Jim Morris mastered it at the legendary death metal staple, Morrisound Studio.

A couple of surprises appear on Gold, Suecof has a guest guitar solo on “Acts of False Signals” as well as famed guitar virtuoso, James Murphy, ex-Death, Testament and Obituary fame, lent his masterful talents on my personal favorite track, "Bastinado". The aforementioned track is superb, flawless…perfect! Melds classic death metal riffs with a metalcore spin, in a word, amazing with dual guitars, double bass kicks - furious crashing cymbals, and the bass work...well it's off the hook! The third surprise is the break that occurs in the final track, “Fear and Panic”, during the guitar solo, the other instrumentation oddly sounds alla Soilwork, and it works. It’s the perfect send-off. At this moment I am left with the mental imagery of the band standing over charred remains, not hesitating to look back at the carnage they left in arrears, triumphantly treading on along the battle path... In this instance, it is the road of success.

Strongest tracks on the CD are “Indemnity”, “Collapse”, “Bastinado”, “Mechanics of Moving Backwards”, and “Acts of False Signals”. “Mechanics” comes at you like a home invader bursting through your front door in the middle of the night. As it turns out none of Cannae’s hard efforts have gone unnoticed, their sacrifice has become gold!

A Change of Pace1/2

An Offer You Can't Refuse
Immortal Records, 2005

Reviewer: Maggie S.

Don't you love bands where you can always hear the bass perfectly? I think it's great and A Change of Pace has a lot of it. "Loose Lips Sink Ships" begins the album with a bang, pounding away with powerful riffs to match powerful beats and a promising scream – but unfortunately the promise is broken in the first line of a song when the dreaded emo vocals return. As the next song, "Death Do Us Part" starts off, I'm confused. Is this now a different band? The style has completely changed and has maybe taken a turn for the worse. Back up vocals kick in to increase the emotion the lyrics emit, maybe just a bit too emotional. Thankfully the music continues to be solid and powerful behind the singing and there isn't an open moment when battling guitars, bass and drums aren't raping your ears – and to me that's a good quality. But before long the crying returns, "I stole your heart, ripped it out and smashed it on this floor", as if competing with the rhythm for the loudest sound in the song.

Despite some of these set backs, each song surprised me. Each one took a new turn and it kept the record juicy, and distracted you from the vocals themselves. Bands that can keep variety within genre are those that give birth to new sounds, which is always needed in the music scene. Maybe one day A Change of Pace could make a new baby of sound, if they got rid of the vocals! Thank God for meaty riffs.

CHILDREN OF BODOM1/2

Are You Dead Yet?

Spinefarm Records, 2005

Reviewer: Karma E.

Are You Dead Yet? the fifth release on Spinefarm Records by one of Finland’s most highly respected acts, Children of Bodom…however after this release can they maintain the level of respect they once garnered is the question. When I first heard this album, I thought it was a cruel joke. I literally laughed aloud and almost spat my morning coffee out on a nearby commuter after hearing guitar god Alexi Laiho sing “Oh my god you’re so fine”. (????) Immediately I thought, damn, was he drunk when he wrote this? This was all but confirmed by his own admission in my interview with Alexi himself; it may have not been “In Your Face” as in a hardcore concrete answer but damn near! Not that I’m trying to be mean or anything, just objective. I dreaded writing this review because I knew whatever I would write would not be favorable really, for it should never be a struggle to talk about a band you revere.

Having said that and as much as I love COB, I can gather no real understanding for this release other than understanding the band has chosen to go in a different direction. I’m down with that, truly I am but then again I could be prejudice or swayed by my general anger. Judging from past Hatecrew releases one could assess how remarkable they are however; this CD continues to elude me. When I first listened to AYDY I must admit it was with my Hatebreeder ear (this was the band’s second album and also when I got into them). I then chose to back away from the tree of originality and greatness to give it another whirl with my more relaxed and way more forgiving Hate Crew Deathroll ear. With this line of reasoning, Are You Dead Yet receives 2.5 pentagrams due to me needing to split the difference. My Hatebreeder ear gave it 1 star as opposed to my HCDR ear 3.5 stars. Now if I wanted to go further, it would be 1.75 stars, but hey, no one’s perfect, right?

One should never begrudge a band for change or growth; someone will always have his or her mouths parted on this situation good, bad, or indifferent. Forethought is an important piece of the puzzle especially for songwriters and musicians. Hindsight should not be the highlight; it sure as hell doesn’t count after CD has been released and is on the shelf at your local record store and/or in someone’s CD player. As soon as the Trashed, Lost and Strungout EP was released it was definitely a portend of things to come, i.e. Are You Dead Yet.

The highlight of AYDY is the music. Despite the ridiculous lyrics in “In Your Face”, the song is a surefire winner. The riffs are catchy along with a funky bass line coupled with the keys and drums. Speaking of which, bassist Henkka Seppälä shines brightly throughout however he is particularly at his brightest on “Next In Line”. Both drummer Jaska Raatikainen and keyboardist Janne Warman have gotten more technical in their old age, seemingly branching out more. They have definitely come into their own. Janne is also featured more prominently throughout the CD. This also marks the first effort without ex-guitarist Alex Kuoppola however; replacement Roope Latvala makes a wonderful addition to COBHC.

“Living Dead Beat”, “If You Want Peace…Prepare For War”, “Are You Dead Yet”, and “In Your Face” are the best tracks. “Punch Me I Bleed” is very reminiscent of “Angels Don’t Kill” but less poignant, just doesn’t grab you by the balls or the heartstring in the same way “Angels” does. The riffs are Michael Amott (Arch Enemy) meets Alexi Laiho; it’s a meld of Amott hooks with signature Laiho riffs. Overall I really like the song; it has a lot of character though as a stand alone item without comparing it to other songs by the band or artists. As far as that’s concerned, the same can be said for the entire album. The disc ends with a fine rendition of the Ramones cover “Somebody Put Something In My Drink”…well now this could explain a lot!

Having said that, Alexi, drop the Jack next go round and prepare for some better lyrics. Long-time fans of Something Wild and Hatebreeder will more than likely be none too receptive of this new offering however, fans of HCDR will probably dig it, and the newbies will adore it. In conclusion, I lay torn somewhere in the middle of all of this. Lesson for the day, no matter what, you should always keep an open mind, that’s what I learned during this exercise! Until next time boys and girls!!

CIRCULUS
Lick on the Tip of An Envelope

Rise Above Records / Candlelight Records, 2005

Reviewer: Maggie S.

This has got to be the most extreme folk music I have ever heard in my life. The cover art is deceiving; I think it's a horse head made of plants and swirling designs – and the band's name itself – Circulus – sounds like some sort of dark metal. This is about as far as you could get from metal unless you started a one-man band with a banjo and a triangle. I really don't know what to say about this album. They use an array of instruments, including flutes, tambourines, guitars and bongo drums which are smothered by odd, choral singing from both men and women. It's like folk music for hippies. The CD sleeve contains a short bio of the band, and it really makes no sense to me. I'm running out of things to say about this album. It's... gross. You need to hear it for yourself.

CRYPTOPSY

Once Was Not

Century Media Records, 2005

Reviewer: Thorne

Cryptopsy...the name alone will incite a reaction from any death metal fan. The reaction is either "Those guys are geniuses" or "Too technical for me." I've always been the guy who's lodged somewhere in the middle...but not too close to the last option. I've always found Cryptopsy to be some of the most talented musicians and insanely gifted songwriters of the death metal genre, but never once did I consider them geniuses...until I heard "Once Was Not". Now folks, this is not one of those albums you put on for random playing. When you listen to this disc, you better prepare yourself for the literal maelstrom of brutality that's about to unfold.

The first time I listened to this all the way through, according to friends, I had a look of sheer disbelief. And I'd say they were right. Cryptopsy has always been known for their technicality and their sheer violence, but on "Once Was Not" they took it to an entirely new and devastating level...and yet, in a very intelligent and sophisticated way. Part of the sophistication comes from the return of original frontman and death metal vocal god, Lord Worm.

"The Worm" has always been a favorite of mine, and in mine and countless others' opinion, the best singer Cryptopsy ever had even though I still enjoyed the records they made with Mike Disalvo. On this disc, Worm truly took his performance to incredible heights mixing in the classic "Blasphemy Made Flesh" era Death growls with the "None So Vile" era screams and mixing them up with some truly sinister and bone-chilling spoken word parts. This gave me an even greater appreciation for him, as a singer, because his intentions were quite obvious from his vocal performance. You see, this album just simply wouldn't have worked with some A-typical growling and an occasional scream. The album is structured as a story, and quite an amazing one at that. So therefore, Worm's performance in itself is as if through the harsh vocals, hideous screams, and spoken word parts he is telling a story of man's greatest enemy...fear. According to him, lyrically and conceptually, this album focuses on how fear has existed for man from The Big Bang all the way to The Big Suck...we've yet to experience the Big Suck, but I've got a feeling that it's on the way.

Musically, the entire band just topped everything they've ever done. As far as guitars and bass go, Alex Auburn and Eric Langolis have written some of the most perplexing and intriguing songs to ever be put to tape...by any band. Even the inclusion of some Psyopus-like guitar start-stop insanity (for you unaware of Psyopus, think of The Dillinger Escape Plan but with talent) sounds amazing when Auburn throws it down. For proof on this, check out "Carrionshine". And I can even hear the bass on this disc at times, which is more than I can say for most death metal bands who seemingly ignore the bassist. Yes, the music is very guitar and drum oriented, but Eric is still able to shine through when required. And let us not forget the pivotal piece of the Cryptopsy puzzle...Flo Mounier. Flo Mounier is to death metal drumming what Jesus Christ is to Christianity...LORD AND SAVIOR! And frankly, if you can listen to this album and state otherwise, I question not only your sanity but your manhood...and that goes for you too females. Why? I don't know...it just does. Anyways, Flo's performance on this CD will forever, in my humble opinion, be the performance by which all other death metal drummers are measured from now on.

In fact, sometimes, when I really sit down and think about this CD for extended periods of time, I begin to wonder how these men can create music this insane and this complex and still be able to call themselves humans. This album MUST be listened to more than once for you to understand all of what is going on here. Among the contents of this release, you will find insane death metal grinding, jazz, mathematical wizardry...and even the quoting of Biblical scripture. As I said, this is one well-rounded and incredibly insane collection of the most barbaric tunes imaginable.

Cryptopsy will have a hard time topping this one, and yet, I know in my heart they will be able to. Why? Because they're Cryptopsy...that's why. Superb on every level!

DARKANE1/2

Layers of Lies

Nuclear Blast Records, 2005

Reviewer: Karma E.

Layers of Lies, the fourth release from Sweden’s Darkane. Technically speaking, the futuristic self-proclaimed “Architects of the Armageddon” have and still are involved in some groundbreaking projects. Drummer Peter Wildoer has been in more bands than times blinks of the eye in any given hour (ex-Arch Enemy, ex-Agretator, Time of Requiem, Non-Human Level, Ben – just to name a few); guitarist Klas Ideberg (The Defaced, Terror 2000); guitarist Christofer Malmström (ex- Agretator, Non-Human Level) and bassist Jörgen Löfberg (ex-The Defaced, ex-Agretator). Then there is vocalist Andreas Sydow a newcomer to the death metal scene whose experience was minimal to none before joining Darkane. His perspective is refreshingly unsullied. The band’s star roots run a lot deeper, Björn “Speed” Strid, vocalist for Soilwork, did vocals on the band’s demo. How ‘bout that?!

The entire feel of the CD teeters the line betwixt the cleverly blissful state of psychotic lunacy vs. sanity. I'll go out on that cheesy limb and say it's “Chaos vs. Order”. This band takes over where their fellow countrymen, Soilwork and their Scandinavian neighbors MNEMIC, leave off. Another scenario could be Darkane being The Haunted vs. MNEMIC explosion, yet much more technical and diverse (best displayed through the cleverly titled instrumentals). In a span of 42:57, Layers of Lies takes you on a journey through the dark, lush landscapes into the underworld of Darkane. A place where a flurry of melodic discord is systematically unleashed unto you. The auditory assault is pleasantly tuneful especially with the poignant opener “Amnesia of the Wildoerian Apocalypse”. This choir filled textural dreamscaped instrumental sets the tone for the entire CD.

The catchy and well timed vocals of Sydow are interlaced with the additional vocals of Wildoer. The mix is divine as this is no easy feat. Sydow is made to compete with some furious beats of the manic drums and the devilish rapacious guitars and bass. Andreas definitely succeeds; his clean vocals add to the complex layering where as his “death metal vocals” are mildly reminiscent of one Peter Dolving's (vox of The Haunted), but with a unique twist all unto himself. The guitar work is a sonic delight; haunting even, no puns intended, as is the overall feel of this CD…it is deliciously surreal. Peter Wildoer’s speed is brutal and rhythmic; he is one hell of a drummer. The fast, methodically free, and technical thrashy riffs of Klas Ideberg and Christofer Malmström reign supreme as best heard on the melodic yet aggressive “Organic Canvas”, “Fading Dimensions”, and “Unforsaken Universe”; bassist Jörgen Löfberg is a diamond in the ruff. Speaking of “Organic Canvas” in my interview with the band, they admitted that it was the hardest song on the CD for them to write…well it seems like their diligence paid off big time!

Exploring the insanity factor of this offering a little further, the cover was done by artist Fredrik Ödman featuring a manlike figure releasing a projectile stream of water from its mouth. To add to the visual cacophony, the booklet starts off with track #5, ending with track #8. However once explained it made perfect sense; the lyrics appear in the booklet as a story. Gotta love visual artists and their visions! Now we move to the middle of booklet, the group photo in conjunction with their facial expressions and unnatural positions, it is the uber depiction of morbidity. Marionette strings strategically pull the band's ingeniously covered naked body parts. Talk about creepy, yet cool! The final song, "Creation Insane" lives up to its name. This neurotic song is the proverbial cherry on top, the pièce de résistance. Adding to the madness, during the conclusion of the song it abruptly ends without any hint or warning. At first I thought something was wrong with the CD itself. Like a dangling participle, it is so annoying; it leaves you thirsty, wanting more…such an ingenious ploy!

There was an additional song recorded "Subliminal Seduction" but is currently only available as a bonus track on the Japanese release. By expanding their senses, the band has elevated themselves moving ahead of their previous releases. Layers of Lies offers many gradations to the listener, this contagiously catchy offering will cause you to listen to this CD endlessly. It leaves you with the sensation of constantly trying to uncover the unknown. Through all the digging who knows, you may uncover some truffles!

DARK TRANQUILLITY

Character

Century Media Records, 2005

Reviewer: Kate

Overlapping their classic sound with new progressive ones, Dark Tranquility have outdone themselves and given their fans more than they could ask for. Mixing speed with aggression, melodic and intelligent lyrics there really is not one bad song on Character. Michael Stanne continues to amaze with his conviction and passion in his lyrics and it seems like he’s practically spitting them out on these tracks. The riffs of Niklas Sundin and Martin Henriksson are unmistakable as you can hear on “One Thought” and “Dry Run” and as always one of the highlights of the release. Anders Jivarp’s drumming is very dominant and appears to be a lot more technical than on previous albums.

“Lost to Apathy” is a true example of Stanne’s capabilities as a vocalist, running on all cylinders here he shows true intensity and emotion with this track. “My Negation” immediately gets into your mind and entrances you with dual guitar riffs. The opening track “The New Build” starts off with thundering drums and takes off with incredible speed, giving you an idea of what this album is about to deliver. There’s a moment of beautiful introspection on the track “Am I 1?” where Michael Stanne sings “There’s a part of me that cannot deal with the character I’m forced to be”, and shows he has the ability to bring raw and painful feelings to the surface.

This album is full of complex emotions all rolled into one which might be a little overwhelming to take in all at once. Give it time and you will realize what a masterpiece Character is. Dark Tranquility has released an album that is truly larger than life.

DEMON HUNTER1/2

The Triptych

Solid State Records, 2005

Reviewer: Karma E.

First off, I need to start this review out by saying I purchased The Triptych as quickly as possible after having the pleasure of hearing the first single “Not I” on Music Choice. Other factors that strongly persuaded to buy this CD were the visual amazement (considering two of the members in the band are the masterminds behind the famed Asterik Studio –Ryan and Don Clark) and the musical aspect. Seattle’s Demon Hunter's has to be of one the moodiest alternative metallers (or nü metal to others) around.

By the way, now is as good of time as any to mention their Christian affiliations. I love their style; they are not preachy about the whole God thing. Of course, the message is never lost, it's just not pronounced. So for all you pseudo devil-worshipers whom were attracted to the band’s name, if you close your yourself up a little more and bathe yourself in their dark, mysterious, and arcane music, you’ll miss the lesson all together! Guaranteed!! The vast majority of the populous have no clue they are a Christian band but to be honest, it is easy to miss at first glance until you dissect some their lyrics. But then again, it’s not like the majority of their tunes are based on this premise either and if it was, who cares! Let’s get back on the subject of mystery, back in the day during their first self-titled album, the band used to hide their identities from the public. One could only imagine how much havoc that wreaked as far as the press was concerned. Great marketing ploy, wouldn't you say? By the time their sophomore release rolled around [Summer of Darkness], they revealed the men behind the masks. Now to bring you back to the band’s appropriately titled CD, The Triptych, and third installment in the DH chronicles. Just in case you were wondering what a triptych was it is a concept which is based on threes like as in the Trinity. To further explore the concept of the three, the band issued 3 separate album covers for the CD…artists I tell ya! Today the lineup consists of the angelic to devilish vocals of Ryan Clark; his brother and guitarist Don; on drums, Timothy “Yogi” Watts; on lead guitars, Ethan Luck; and on bass there's Jon Dunn whom just so happens to be the A&R manager of Licensing and Publications of Tooth & Nail Records, the band’s mothership label.

Despite the bands’, connect in the Industry, they are perfectly able to stand on their own merit! This more than competent five-piece is comprised of some very talented musicians and songwriter! Let’s get into the lyrical content for a hot second shall we? Listen to the following songs to make your own assessment, you'll be blown away: “Not I”, “Deteriorate”, “The Science of Lies”, and “The Tide Began To Rise”. Now the music, where do to begin? Well out of the twelve passion injected songs there is the bass laden Prong cover, “Snap Your Fingers, Snap Your Neck”; two amazingly robust ballads “Deteriorate” and “The Tide Began To Rise”; and the remaining nine tracks blister with deep-seated emotions, blazing riffs, heavy breakdowns, kicking bass lines, glorious melodies, deep growls, choruses which equals pure addiction. These songs are highly infectious; they'll hook you something fierce!! After saying all of this, there is a downside, the fillers... three too many. Other than that, I return to the original assessment!! Songs that will shred your mind, body, and soul are “Not I”, “Undying”, “Deteriorate”, and “The Tide Began To Rise”.

Demon Hunter transcends above the negative connotations associated with nü metal and or being a Christian band. They offer music for the masses, no matter which side of the fence you straddle – for the angel and the devil in you, or for the Bible thumper, or the lover of the inverted cross…! Asides the fact, who really gives a flying rats ass or a rolling doughnut here, when music is good, it should be revered!

DEVILDRIVER

Fury Of Our Maker's Hand

Roadrunner Records, 2005

Reviewer: Sharita L.

This would definitely be the year for Devildriver who have just released this fantastic piece called Fury of Our Maker’s Hand. This record is about 40 minutes of the heavy, bone-crushing metal that I really was not expecting from them but I feel better being surprised. During my interview with bassist Jon Miller, he warned me of the dangerous riffs and excellent lyrical work that was on this album. From the beginning, when Jon and company play the soft and soothing rhythm of “End of the Line” to the end with the title track, Dez Fafara and the boys give us perhaps the best album of the year.

Jon Miller also spoke of playing guitar and bass on certain parts showing how multi-talented he is. However, that doesn't overshadow the efforts of Jeff Kendrick or Mike Spreitzer who offer some brilliant notes themselves. Not to mention the superior, almost inhuman drum work of John Boecklin, who may well be one of the most underrated musicians in metal and Dez, well he is just showing how much he has matured into one of metal's most talented frontmen and vocalists.

There's no sophomore letdown here, this release blows away their first effort and puts Dez’s first band to rest for good! All hail to one of the new kings of metal, Devildriver!

A DOZEN FURIES
A Concept From Fire

Sanctuary Records USA, 2005
Reviewer: Maggie S.

For the uninformed... A Dozen Furies won MTV's Battle For Ozzfest last year and a slot on second stage of this year's Ozzfest. With that said and without mentioning it again - this album is fiery blast of melodic metalcore that hides emotion with a shell of brutality, a huge step from their 2004 EP Rip The Stars Down. Bucky Garret tears at your eardrums with the growls of his greatly improved vocal cords, then patches the wounds with symphonic choruses that constantly barge their way into your head. Examples of this are the 're-mastered' versions of "An Idea And Some Rope", "Lost In A Fantasy", and "Push Away", which flows with the signature metalcore sound before stepping out of the box with unique lyrical lines that keeps you pondering on what exactly is going on in Garret's mind.

The tracks that also snagged my ear the most were "The Cycle" and "A Concept From Fire" where heavy riffs and heavy bass beats combine to create the perfect mosh mood. Guitarists Marc Serrano and Joey Turner mesh together flawlessly in a partnership of talent, following the backbone support of bassist Keith Reber and drummer Mike Miller to accomplish a common yet uncommon sound. Another thing about this album that I liked was the prelude "The Gift" and the outro "The Ill Will" - "The Gift", pieced together by calm guitar chords that eventually break into the glass-shattering heaviness of "Awake And Lifeless", and "The Ill Will", a five minute and forty-nine second collage of light chaos and screaming which then melts into the singing of birds and the piano compilation of bassist Reber.

I have yet to hear this on any other metalcore album, and I found it as another unique streak for A Dozen Furies. As a result of all these elements, this band definitely fits in with the current "fad" of the metal world but they still lug the needed talent that strives to keep them individual.

EMERY

The Question
Tooth & Nail Records, 2005
Reviewer: Maggie S.

Emery is an almost unclassifyable group that runs from emo lyrics to melodic choruses to hardcore screams and back. This is why their unpopularity and place in the underground puzzles me - especially after the release of "The Question". Vocalist Toby Morrett seems as though singing has been his niche from birth, but it seems odd to place such a dynamic talent in a heavy band. Nonetheless, it gives the band a unique step-up - a singer that can actually sing! Make that two singers and a screamer. You would think all of that noise would distract you from the other musical talents; but it doesn't. Up-beat songs like "Studying Politics" and "Listening to Freddie Mercury" equalize the skills of every member, fitting together snuggly like the pieces of a puzzle. The word play on the titles is also fresh. "The question" of the album is "Where Were You When I Was.." like "Miss Behavin'" and "Playing With Fire". Emery's free-flowing style and careful organization proves that they are a group to keep an eye on in the future.

EVERGREEN TERRACE

Sincerity Is An Easy Disguise To Wear In This Business
Eulogy Records, 2005
Reviewer: Karma E.

Unlike some of the other CD’s that have crossed my desk as of late, Evergreen Terrace’s intrigued me from the moment I unwrapped it from the brown envelope. The cover is shades of Fallen Down, the movie. The red colored tie is indicative of the wearer being fed up with the “business” and scales all around to depict the amphibians he has grown tired of. Another scenario the well-dressed man or “suit” represents all that is evil in the “business” with red tie and scales as a larger sign of his treachery, wolf masked in sheep’s clothing. Either scenario fits the title of the CD perfectly Sincerity Is An Easy Disguise To Wear In This Business to a tee. Who knew one could redirect their feelings of cynicism and bitterness and turn it into a melodious masterpiece? What a way to exact revenge fellas!

I thoroughly enjoyed this work of art, weighing in at 27:54 seconds in duration. This short but tuneful magnum opus is nothing short of brilliant. This is not one of those “Weezer trying to fulfill their contract requirement and buck against the system” dealies either; this is a full-bodied, well orchestrated production. Pure musicianship is highlighted on this effort. Tight, passionate, dirty sludge bass lines, harmonious, and funky are all adjectives that are a major derailment to the normal hardcore / metalcore platform. It’s exhilarating and fresh, realizing these descriptors sounds like it should be an ad for a soap commercial or something other than a depiction for a hardcore band’s CD. The first song “Dogfight” had me hooked! Like a slithering snake, it has not crept its way out of heavy rotation since the first spin. During my interview with the band, they said, “who would want to hear a hardcore band play for more than thirty minutes?” Once upon a time, I too felt this way but now I am faced with conflicting thoughts. The timing is perfect along with the rich layer of three vocals, dirty bass lines, effortless and heavy guitars, and pummeling drums/percussion. Who knows if it were any longer would it carry the same weight?

This release flattens the competition as ET has fortified their hold in hardcore. Some may argue that it does in fact follow the cookie cutter formula tried by their predecessors, as having some of the same hard-hitting riffs accompanied by the clean vocal method with screaming vocals, but to squelch the naysayers, each song brings something different to the table. It turns out to be a full course meal comprised of eleven stout tracks. The strongest ones are “Dog Fight”, “Brave New Reality”, “New Friend Request”, and “The Smell of Summer”.

It breaks down like this:

Dogfight – Song that speaks out against the haters, remember the opening with a nice acoustic break; it will play an important role later on.
Give ‘Em The Sleeper – Love the lyric “Searching for eternity all you find is apathy”.
Brave New Reality – Guitarist and clean vocalist Craig Chaney along with bassist Jason Southwell shine on this flavorful offering.
New Friend Request – Andrew Carey figures prominent in this song along with Chaney and Southwell showing all they’ve got on this outcry vs. the growing populace of the fake legion that one can encounter in the My Space community.
Gerald Did What – A hxc classic equipped with catchy breaks. My only complaint is that the song is not long enough. Guitar work from Josh James and Chaney is a tasty treat. Just when you are really getting into the song…#6 starts.
I Can See My House From Here – Wait; is that the distinct sound of a double bass kick and shredding? Gotta love those Floridians! There is also some clever usage of feedback… WOW!
The Thunder – Love the breaks, vocals, and James’ background vocals are clear as bell. The drum work adds to the feast, it is icing on the cake.
I Say You He Dead – This entertaining number is one of the shortest songs on the CD however, it sets up #9 like a middle relief man bringing the game intact to the closer. Wait a minute; I am mixing my analogies up, better stick to food. Must have gotten all excited with the instantaneous correlation of smells of summer and baseball. Sorry! It will not happen again.
The Smell of Summer – This song is tight on all ends, band should enjoy much success from this song. It is perfect: vocals, arrangement, and poppy yet robust instrumentation.
Tonight Is The Night We Ride – Perfect “ending” track, definitely one of their strongest ones.
Untitled Track – Remember when I told you to recall the opening ditty at the beginning of #1? Congratulations, your memory will serve you well here; this acoustic track picks up right where the acoustic part of “Dogfight” left off. Nice of the guys to make this a separate track for all of the downloading looters.

Having said all of this Sincerity Is An Easy Disguise To Wear In This Business easily receives the coveted 5-star pentagram for a full-bodied, tantalizing, and delightful experience given to the listener! <<<<BELCH>>>> Hmmm, a nap sounds good right about now, but before I slumber, my compliments to the chef!

EXODUS