The Meltdown 1.2

Classic Christian Metal.

Sent by Ravens - Our Graceful Words

There are albums that have the potential to be better with a few adjustments to the track order (Caspian's Tertia and Starflyer 59's My Island come to mind). Sent By Raven's new full-length, Our Graceful Words, is another such record. It would take a good record and make it great but it would at least be easier to listen to and not be so jarring.

As far as rock records go, Our Graceful Words is pretty generic. The albums opener, New Fire, shows a lot of potential and has enough to capture the listeners attention. But songs rely on gimmicks too much. An Honest Heart and I Hear Her Breathe both have similar intros, with the instruments EQed to give a muffled impression, also making it hard for the record to gain any ground. And I guess I should give Sent By Ravens credit on really focusing on each song but the albums doesn't flow.

Songs like Beautiful List, Philadelphia, and Stone Soup are bright spots but there's not enough on the album to hold my attention and to keep me wanting to listen. Our Graceful Words is probably the weakest release Tooth and Nail has put out in 2010.

Write This Down - Write This Down

Imagine Emery, Anberlin, and He is Legend had a big band orgy and in the process created a less talented love child. Write This Down would be that love child. It might be a little unfair for Write This Down but their Tooth and Nail self-titled debut album is a mixture of power pop rock, emo, and a little hardcore. It might seem a little all over the place but it works on a weird level. In interplay between the singing and screaming is very Emery esque. The deeper screams remind me of HE is Legend and musically Write This Down is a cross between the high flying power emo the Anberlin is very good at and a more hardcore style the Emery plays.

As a debut it's pretty solid. I had no expectations or ideas going into this record. But the record has flaws. The hybrid sound works and makes you want to hear more. But halfway through the record things change. With I Never Said That I Was Through With You Write This Down starts to move into a more straight forward emo sound and Center of Attention sounds like your bland radio emo from the 2000's. Citadel a piano ballad that's not very interesting for over half the song. The end of the song sounds like something Emery would do... only Emery would've done it better. Redemption, We Shot the Moon, and Kings and Kings And Councilors sound like b-sides from Emery's last album, although We Shot the Moon has a very pop punk sing-a-along chorus. The album ends with Heaven and Hell, a short acoustic track. I'm not sure how I feel about this as an ending but for a record that's kind of all over the place it kind of makes sense.

As a debut it's a pretty decent start. I would love to see Write This Down going to the direction of the first 4 songs on the album because I think those were the strongest tracks on the record and I'll be interested to see where they go from here.

War of Ages - Eternal

A couple weeks back I downloaded the War of Ages discography. I was really just trying to familiarize myself with the Facedown records roster. I didn't spend a lot of time listening to anything WOA had done but enough to know that they weren't a terrible band. But seeing others reviews of their new disc Eternal as their best yet I was excited to give it a spin.

Tim Lambesis of As I Lay Dying produced Eternal and to be honest, it shows. Not in a bad way, just in a War of Ages sounds exactly like As I Lay Dying kind of way. Collapse sounds like AILD light. Like a song I heard AN Ocean Between Us only more melodic. They have the screaming verse, sung chorus thing down perfectly. Desire comes in with a drum fill, a song to get the circle pit moving. Again just like An Ocean Between Us only... you know, less awesome.

On it's own Eternal is a nice album and has some really nice moments. Failure sounds like a song you'd have found on a Killswitch Engage record, in a good way. Indecision reminds me of the good things Soul Embraced does. The Fallen is a good straight ahead metal song. The production on the record is nice. Nothing offensive about the drums sounds or mixing of the record. WOA gets the benefit of being Facedown top band.

The problem with all the things that I like about the record is they remind me of some other band. I know distinguishing your band in the metal/hardcore genre can be hard but other bands have something going on that isn't reminding me directly of some other band. And listening to War of Ages just makes me want to listen to whatever band is doing it better.

I will say the albums title track, Eternal, is a great song. The reason I love this song so much; Sonny Sandoval of P.O.D. is a guest vocalist on this track and for that, I love the song.

The last track on the record is an instrumental track simply titled, Instrumental. The title, like the track itselfs is just weak, bland, and doesn't do anything interesting. The album just comes to end.

The Meltdown 1.1

Celeste - http://denovali.com/celeste/
The Radio Sky - http://www.myspace.com/theradiosky
Kowloon Walled City - http://inthewalledcity.com/

Red Sparowes - The Fear Is Excruciating, But Therein Lies the Answer

I'm not the greatest objective judge of post rock because to be honest, I love almost everything the genre has to offer and then upper echelon on bands always seem to release great albums. So it comes as no surprise that when I put on the new Red Sparowes album, I liked it.

I'm not a huge fan by any means but I have the first two albums and I like them very much put they aren't albums I find myself listening to all the time and I don't think The Fear Is Excruciating, But Therein Lies the Answer will be on either. That seems like an unfair statement but it's good but there is nothing to distinguish it from any number of other post rock albums out.

The album starts a little weird for me. Truth Arise seems more like an idea then a song. At a 1:49 the songs builds and has the feeling that track 2, In Illusions of Order, is going to be an explosion... but it's not. Truth Arise just ends and In Illusions of Order starts a new song. Which is how the album goes. Which is both good and bad. Each song is self contained. Each song has a beginning, middle, and end. They build, crescendo, and land. Which makes each song it's own listening experience and the Red Sparowes have done that. It isn't a concept album where the album works as one piece of music with many movements. Each song is it's own piece of work. The longest song on the album is In Illusions of Order at 7:37, making this the shortest Red Sparowes record to date.

As a whole the album works beautifully. The songs are well crafted and interesting and there's enough movement and ups and downs that each track is it's own piece of music and it doesn't get to a point where you feel like you're listening to the same song over and over again. Having said that, there's not a stand out track where you're blown away and paying lots of attention. I find myself listening to The Fear is Excruciating as a background record. It's on, I enjoy it and it's a pleasant listen but I'm not finding myself stopping and really dissecting the album. It falls short of the great post rock albums from 09 that Mono, Russian Circles, Saxon Shore, and Gifts from Enola released. It's good, but not great.

When As Each End Looms and Subsides, the albums closer, ends, I find myself shocked that the record is over already. I don't know if that's because the record's shorter then previous efforts or if I really enjoy it more then it seems and I want more. Another good record from a good band.

Jonsi - Go

I’ve been listening to Jonsi’s Go for a couple weeks now, just taking it all in and trying to decide how I actually feel about it. In one word Go is whimsical.

When I heard that Sigur Ros front man Jonsi was releasing an English solo record I wasn’t sure what I expect or more to the point, if I wanted it. I love Sigur Ros and I had no doubt that Jonsi would release a great record. But like I said, I love Sigur Ros. And I guess that’s where Go falls flat for me. It’s got all the musicality of Sigur Ros but the joy and movement that makes Sigur Ros such a great band isn’t here.

To call this record an English speaking record seems a little unfair. I didn’t even know the singing was in English on my first listen and it wasn’t until I read it on the internet that I had any idea. And that’s not a bad thing. Lyrically isn’t Go’s strongest feature and I don’t think it hurts the album that Jonsi’s vocals end up as a part of the musical landscape.

Musically, Go is more complex than anything Sigur Ros has done (it’s closest comparison might be to their last effort). Go is a free flowing, joyous, and happy. The darker sadder songs hit as poignant moments in the album. I imagine Go as the soundtrack to a young child. Whimsical is the best word to describe what Jonsi has created.

Go plays like a score. The movements are grand and the happy upbeat songs of joy transition into dark or sad pieces that transition back into something happy. Listening to Go is like watching a movie. It plays with your heart and your emotions and creates inside you a story and as a piece of music, I’m impressed.

It’s not a new Sigur Ros album and as solo records go Jonsi has done a pretty good job at creating something different. (And Go is a far better piece of music then last years Riceboy Sleeps effort). Go will be enough to keep Sigur Ros fans happy until their next full length and Jonsi shows he can stand on his own two feet.

Letter to the Exiles - The Shadow Line

Hardcore seems to be a grab bag these days. Sometimes you get a record and it's a winner and awesome. Sometimes you listen to a record and it sucks.

Letter to the Exiles' The Shadow Line, the band's Strike First Records debut, is a bit of a clunker. I had high hopes for this record because Erich Barto, former Alove For Enemies vocalist, was the front man. But where Alove For Enemies always came across as raw and aggressive, the production on The Shadow Lines hinders what could've been a decent album.

Musically, The Shadow Line is pretty standard hardcore. Not far from ALFE's sound but more melodic and more metal infused. But what kills this record is the production. The guitars are muffled and are the driving force of the record. Barto's vocals get lost in the mix. The album as a whole has a muddy quality that too the normal listener might not be a big deal but it strikes me as odd and distracting.

The album comes across as low budget compared to more recent Strike First and Facedown releases. You expect hard hitting triggered drums but the drums on The Shadow Line are under produced and sound flat. Where Wrench in the Works punched you in the face with double kick machine gun style drums, Letter to the Exiles feels like a baby hitting your hand.

It's disappointing. In the world of hardcore and metal, The Shadow Line is an album that can be missed.

The Meltdown

Murs and 9th Wonder - Fornever

It seems like it's been a while since I listened to a hip-hop record and really enjoyed it. Like start to finish head bobbing. A real good neck breaker. There have been beat tapes and albums from a few years back that I'm just getting around to hearing but nothing new. And while Fornever isn't a perfect record by any means, it's a good hip-hop record.

I've always been a fan of 9th Wonder as a producer and his beats are on point on Fornever... mostly. A handful of beats don't hit my ears right... But that could be I'm heavily based in metal, punk, and rock music and my love for hip-hop doesn't account for things that die hard hip-hop fans might enjoy or appreciate more then I do.

And there are only two tracks that hit me in a weird way. Asian Girls and Cigarettes and Liquor are the tracks that I just don't find as enjoyable. The beats don't do it for me. And if the beat is failing me, the mc isn't going to save it.

Other then that I'm loving Fornever. A lot of nice grooves on this album. 9th Wonder's production is nice. The album isn't front loaded with the best beats and best tracks, which is welcome. From start to finish Fornever is an enjoyable record. I don't know what else the hip-hop scene has to offer in 2010 but Murs and 9th Wonder have given us a good record.

Kaki King - Junior

Kaki King's transition from guitar godess to indie rock super star has seemed like a slow progression. And with each record her confidence seems to grow. Junior is her confidence at an all time high. I would never call Junior a punk record by style but the attitude is there.

Until We Felt Red sound King changing her sound, using electric guitars and singing, stepping outside of slapping and playing her guitar like a mad woman. Dreaming of Revenge saw more vocals and more confident vocals from King. The sound of the album was a fuller sound, like a band effort album. On Junior King grabs the mic and belts her little lungs out. And although a part of me wishes she would've stuck to a sound similar to that of Until We Felt Red, the music and songwriting on Junior are top notch. Listening to Kaki King through the years is truly listening to an artist gain confidence and step into her own.

Right from the get go Junior is a rock record. Again working with producer Malcolm Burn has paid off. The dueling lead guitars that play against each other on the album's opener, The Betrayer, showcase King's skill as a guitarist, well the track as whole gives you a sense of her growth and confidence as a singer, as well as sets the tone for the record. The guitar tones on Spit It Back in My Mouth match with the tones we heard on Dreaming of Revenge. Where Dreaming of Revenge drifted between instrumental pieces and King singing, Junior is King's album to shine.

The Instrumental pieces on the album, EVerything Has An End, Even Sadness, My Nerves That Committed Suicide, and Sloan Shore, are all in the their own right beautiful pieces of music that almost make you wish this record were an instrumental record. The song Falling Day and Death Head are pure punk rock attitude song. Hallucinations From My Poisonous German Streets has a long pretty intro that lulls you into comfort only to crescendo halfway through and then dip back down where King's vocals come in.

From production and songwriting to overall flow and direction, Junior is a hit on all fronts. The highs and lows balance each other nicely, and the album is enjoyable from start to finish. Another great album from a true talent.

Secret and Whisper - Teenage Fantasy

I don't think it's a secret that I really hope Tooth and Nail can get to a place where they're constantly releasing quality music. So I continue to download their newest albums hoping for the best.

Secret and Whisper is pretty standard emo... Whiny vocals and all. Think of them as Taking Back Sunday's younger, less talented brother. But that doesn't discredit Teenage Fantasy. It's not catchy song writing, but the hooks and discordant melodies are enough to keep you listening... For a little while. After 4 or 5 songs I find myself losing interest and tuning out. The songs began to run together as if it were all one sound.

Where songs like Youth Cats and Warriors start the record off strong and give a sense that this might be something fresh and nice to listen to, the record doesn't have a lot of dynamic range and by the time songs like Star Blankets and Blush hit the stereo, you feel like you've been listening to the record for a while. The album is all up with no down, and it's not helpful for the listener. A few slower jams or ballads might've gone a long way in helping Teenage Fantasy not seem like a stain on the ears.

DIllinger Escape Plan - Option Paralysis

Calculating Infinity is the standard by which all DEP records are held. I prefer Miss Machine but what do I know. After the commercial success and praise of Ire Works, DEP parted ways with their label and decided to release Option Paralysis on their own. Also, to the fold is a new drummer and a new guitarist. To be honest Ire Works seems to have filler moments that didn't help make it a great record.

Option Paralysis is the real deal. Billy Rymer (DEP's new drummer) is the real deal. This might be the closest DIllinger has come to matching the furry that was Calculating Infinity but still keeping the progression that they had on Miss Machine and Ire Works. The album's opening track Farewell, Mona Lisa is a good snapshot of what you're about experience. The songs kicks in standard DEP style, straight and uncontrollable chaos. But halfway through the track they bring it down. And the album moves that way, between the bring of completely falling apart and the most melodic chaos you've ever heard. Billy Rymer's drumming is top notch. His grooves might not be as tight as Gil Sharone's but he can match Chris Pennie any day. The album's less chaotic moments are more similar to those on Miss Machine then Ire Works but they drumming and guitar work seems far more technical and intricate.

Widower comes almost right in the middle of the album and it's the most interesting song DEP has ever done and I might even go as far to say their best song yet. The album starts with piano and Greg Puciato singing. A very non-Dillinger sound song. It reminds of Mouth of Ghost from Ire Works only Widower is so much more. It's more melodic, more technical and just a better song. It's DEP out of the box and yet not unexpected. And then 4 minutes into the song all hell breaks lose and whatever control was being held onto is lost and DEP explodes. The song is one big crescendo into a jazzy ending back into the hook of the song. The song moves in so many different directions and leaves you feeling so satisfied after hearing it, that you can't help but wonder why this wasn't the closing song on the record and what is left for you to hear.

Dilling has taken a lot of risks and chances with Option Paralysis and all of them pay off. The album is classic DEP with a twist of the experimental, which they do nicely. There is no band that even comes close to being a good as Dillinger Escape Plan.

A Hope For Home - Realis

I don't know if there's a line between screamo/melodic hardcore/post hardcore anymore. The genre lines blur and I guess it's up to the listener to decide. I guess it's post hardcore if you don't want to be associated with the screamo and hot topic scene. But genre lines blur and the terminology changes over time. Whatever you want to call A Hope for Home is fine with me. I'll stick with saying they're a damn good band.

Maturity and a new sound without really changing your style or sound is a hard thing to accomplish. Maturity shines through on Realis. Realis doesn't deviate far from The Everlasting Man but expands the sounds. It's more dynamically interesting. In a hardcore scene that thrives on triggered drums and precision guitars, Realis a raw throwback to the mid 90's.

No Light offer's a lighter side to the band. A pretty piano plays the melody in the background while Matt Ellis sings. Nathan Winchell delivers a scream that reminds me of when Chad Gilbert was singing for Shai Hulud. Realis steers clear of being just another album of screaming verses and clean sung choruses. It's post hardcore that is done right in a genre that's mostly known for being pretty terrible. No can't help but be remind of As Cities Burn's first two records.

Concept records are hard to pull off and Realis is a concept record. The first half based around Nietzsche's quote "God is Dead", the second half of the album is a man “building his beliefs from the ground up”. A Hope For Home half created something special and fans who might have been skeptical after hearing The Everlasting Man might not be too impressed with Realis but in my book maturity has been shown and Realis is a step in the right direction.

Like normal I'm lacking on reviewing and posting stuff. I have reviews for the latest Dillinger Escape Plan and A Hope for Home records.

This week brings a handful of releases.

The Classic Crime - Vagabonds
Jónsi - Go
Olaf Arnalds - Vid Og Vid
Red Sparowes - The Fear is Excruciating, But Therein Lies the Answer


Time to stop being so lazy