I've fairly consistently enjoyed the bulk of what Equal Vision has released as of late, and this band could certainly rank right along those lines even if they do push my limits, but... they're simply not there yet. Their brand of emo/screamo metalcore is in part fairly commonplace: A mix of harsh screaming and high-pitched singing, riffing that shifts from surprisingly tight and metallic flurries to energetically melodic chord progressions and plentiful pull-off runs, some unexpectedly Maiden-esque dual guitar harmonies, etc. I'd certainly say that they're influenced by At the Drive-In (and probably The Mars Volta, too) on some level, but they don't really sound alike at all, and what separates them from some of their contemporaries is not only the fact that the vocals rest in a higher range than average and usually delve into more layering and harmonizing than is sometimes the case, but one of their two vocal contributors is a full-time keyboard player. So, ladies and gentleman, meet problem #1: Keyboards. Yeah, I simply can't hang with the keyboards here at all. They're dealing by far the biggest blow in holding this record back, as the keyboard parts range from 80's arena rock piano parts to 70's prog rock textures and then some - almost always cluttering up the mix and fighting with the guitar parts whether they're truly overpowering or not. The other setback is that the recording is just a step or two below the usual level of quality I've come to expect from Equal Vision. They're on the right track, and have actually come damn close to the mark, but... as mentioned, the mix is a little cluttered up with those pesky keyboards, and beyond that it's one of those instances where everything just needs a little something more: Brighter highs; smoother, rounder lows; etc. It feels just barely suppressed and lightly hindered by thinness, so... pushing for that wholly polished and fleshed out sound is something that would indeed benefit these songs. Because honestly, attempting to ignore the keyboards, there are definitely some potentially badass songs here if you have any appreciation for this particular style's penchant for catchiness circumventing poppiness. "Baby, You Wouldn't Last a Minute on the Creek" is by far the best track, keeping the keyboards in line as the bulk of the song follows a more streamlined approach that makes the most effective use of the band's varying dynamics. Similarly, "There's No Penguins in Alaska" rocks things out a bit more in terms of tempo and slick alternate picking patterns, but at more than four minutes this one loses steam and gets a little overly caustic on occasion - especially given how promising it starts out. "The Word 'Best Friend' Become Redefined" opens with a shockingly metal run that's almost out of place amidst the rest of the record, whereas "No Hardcore Dancing in the Living Room" ranges from lengthy clean intro lulls to anticlimactic European metalcore riffs that further prove that there are certain influences here that simply don't suit the band's strengths very well. The layout's so-so. The cover art is definitely atypical and has a hint of that 70's prog kind of element to it as well, and the color scheme and such is consistent throughout, but I have to confess finding the imagery within the booklet (specifically the plastic dolls and the recurring image of the ghostly looking female figure) to be quite lame. The lyrics do nothing for me either, as demonstrated by overdramatic drivel such as, "The spring of love resembles the uncertain glory of an April day, The sun beating against our necks..." I don't know. They need work on several levels, but at their core the collective members of Chiodos have what it takes to nail this shit. I'm not gonna lie, I'd love to see these cats send the keyboards packing, but... unfortunately I doubt that's gonna happen, so I'd just encourage them to take great measures to ensure that they keyboard patches sound as top shelf as possible without fighting for space in the mix with the guitars so often. And definitely toss those god damn keyboard interludes, because they suck and do nothing but kill the flow. Were more songs as strong as "Baby, You Wouldn't Last a Minute on the Creek" I could probably even get past my distaste for the keyboards, but... they're just falling back on too many typical devices (which happen to be pitfalls) at the moment. Maybe next time.
[Equal Vision]
Running time - 42:08, Tracks: 13
[Notable tracks: One Day Women Will All Become Monsters, Expired in Goreville, Baby, You Wouldn't Last a Minute on the Creek]
Equal Vision Records - http://www.equalvision.com
