The Meltdown 86

New music from Project 86, Flatfoot 56, Beautiful Eulogy, and P.O.D.

Flatfoot 56 - Toil

The idea of celtic punk is always better than celtic punk actually is. In theory, I really like celtic punk bands... Until I listen to celtic punk bands. The music is always fun and really enjoyable. But usually after two songs I'm over it and bored.

Toil is different from previous Flat 56 efforts. Toil is a punk record with celtic influence. And that works for me.

Brother Brother starts with the bagpipes but quickly kicks in with an intensity that was missing from the band's last record, Black Thorn. It's an attitude that Flatfoot 56 hasn't had in their career to this point. The Rich, The Strong, The Poor and Take Hold Again are solid, hook driven punk songs. Toil is a nice acoustic track but it has that punk energy that Brother Brother had.

Toil is the band's best work to date. But it's still nothing amazing in my opinion. While I'm not bored with it at any point it's just missing that thing that makes it stand out and makes me say wow. An all around good album... Just not album of the year material.

Tourniquet - Antiseptic Bloodbath

What to say about Tourniquet's Antiseptic Bloodbath?

That's the question I've been asking myself all week. I've spun the record a couple dozen times, started reviews... And then deleted what I had written.

It's not that the album is bad. It's actually really damn good. But it's Tourniquet. And that's said with a ton of respect and as a good thing.

Antiseptic Blood bath is technical, rifftastic, thrash metal goodness. But it sounds like Tourniquet. Which is good. Too many times myself (and countless others) bitch about bands changing their sound or going a different direction. Tourniquet even switch it up in the 90's going the hard rock route.

Chart of the Elements and Antiseptic Bloodbath kick the album off right. Great, fast thrash metal. Chart has a super catchy hook that makes the song super easy to dive into and enjoy. The Maiden Who Slept In The Glass Coffin is a super ballad full of fantastic solo work. On the flip side, Chamunda Temple Stampede is more of the hard rock side of Tourniquet coming out. The solos blast at 100 but the track itself has elements of Crawl to China.

From start to finish Antiseptic Bloodbath is a great metal record. It's everything that is, or has been good about Tourniquet. The metal legends have dropped another killer album.

The Meltdown 85

New music from Owl City, Beautiful Eulogy, Tourniquet, Wolves At the Gate and more.

Beautiful Eulogy - Satellite Kites

I first took notice of Beautiful Eulogy when Humble Beast posted the video for King Kulture on the website. The song is dope. I was super disappointed when it wasn't on Satellite Kite (Spoiler right out of the gate). The "super group" features Braille, Odd Thomas, and Courtland Urbano.

Satellite Kite is a great record. But it's also a record that has to grow on you. Instantly there were tracks I loved. But there were also songs I was unsure about and didn't get my first listen through. First off, the rhymes are legit and on point. Braille and Odd Thomas are not inadequate rappers and their skill on the mic shines.

On the musical side, Satellite Kite has a ton of variety and interesting pieces that will keep the listener engaged and scratching their head at some points. But it works together nicely... In the way a family works. A little dysfunctional at times but they all love each other. Ok... That metaphor might be a reach.

Hello From Portland is a lovely instrumental piece to start the record off. Rain in the background as an ambient guitar filters through before the drum machine kicks in. It sounds more like a track you'd hear from Hammock or The Album Leaf than a hip hip group. But the song is beautiful and really sets the tone that this isn't going to be like any hip hop album you've every heard. An Open Letter to Whoever's Listening and Covet are solid hip hop tunes with great beats. Nothing that'd you'd hear on the radio, but real hip hop.

And then things get weird... And awesome.

Take It Easy sounds like one of those DJ Pogo tracks where he uses all Disney movie parts for the songs. It's a trippy beat that took me a couple listens to really get into. But the rhymes come so strong and hit with ferociousness that both compliments and battles the beat. The String That Ties Us is another great instrumental piece that features a semonette from Art Azurdia. 


Anchor is the centerpiece of the record and rightfully so. The track features Josh Garrels and is a masterpiece. Josh's haunting vocals come in over a simple piano. Then the beat drops and the track moves between Garrel's vocals and great rhymes from Braille and Thomas. 


Yes, Satellite Kite took a couple listens to really grow on me but it did grow on me and it's easily the best hip hop record I've heard this year. It's an out of the box approach that a lot of people and a lot of non-hip hop fans will dig as well. 

Saint - Desperate Night

I like Saint. A forgotten christian metal outfit that was/is just as good as any of their counterparts. The band's 2010 record, Hell Blade, was a great throwback metal record that fans of Judas Priest, Sabbath, and Dio would love.

So naturally my excitement for Desperate Night was high.

Desperate Night is a clunker... Sort of.

There are some good moments... Although I'm not sure any of those moments is a whole song. And every one of Jerry Johnson's guitar solos is on point. But there's just something about Desperate Night that doesn't work for me.

This isn't like Stryper's 2009 release, Murder By Pride, where the band abandons what it does well, but there is some of that. Saint is trying to balance being a hard rock band and a glam metal band. At times it feels like they've pulled it off, but mostly the chunky, hard rock, drop d guitar riffs that drive the verses don't really match well with the guitar solos and glam riffs. Sometimes it sounds like Judas Priest or even Heave and Hell but sometimes it's disjointed.

Crusified starts Desperate Night on a pretty high note. The track is solid and while the heavy verse riff isn't my favorite, the song is driving and sounds like glam metal in 2012 should probably sound like. The Key... Well, I'm not a huge fan of The Key. It's full on cock rock. And that's kind of how the record goes. It's back and forth between a song that's decent and a song that's less than stellar.

Some decent moments but nothing great about Saint's latest effort. A real disappointment in my book.

The Meltdown 84

New music from Your Memorial, Project 86, Gideon, P.O.D. and more.

Your Memorial - Redirect

Album of the Year!

Maybe it's too soon to make that claim but Redirect is a top contender for sure.

I loved Your Memorial's Facedown debut, Atonement. It was a perfect melodic hardcore album. Redirect continues in the same vain.

Transfiguration is a great ambient piece that feature a radio broadcast from C.S. Lewis. It's a beautiful opening. Redirect is a strong, driving track but it's the lyrics that really connect with me.

"Your thoughts are not like mine
Your ways extend
outside the lines of space and time
redirect my steps towards your light

I will give thanks
through my walk
and through my faith
My life is Yours, you set the pace
You are worthy of all my praise"

There's a deeper connection lyrically on Redirect that is the real difference between it and Atonement. While Atonement was a great album lyrically, there's a deeper passion coming through on Redirect that you can really feel. 

Musically, Redirect is a little more defined, a little smoother sounding. The ambient pieces compliment the heavy pieces really nicely, creating a cinema feel to the music. It's a bigger, better version of Atonement. 

Your Memorial have delivered an Album of the Year contender with Redirect. It's worth your time and attention. 

Gojira - L'enfant Sauvage

When French metalers Gojira released The Way of All Flesh, they seemed to come out of nowhere. The band has been around for a while but The Way of All Flesh brought them a bigger American following.

There's something fresh and interesting about Gojira. L'enfant Sauvage (The Wild Child) is a rifftastic record. Riff writing is Gojira's strength and L'enfant Sauvage is full of great ones. From a country western riff to end Explosia to prog riffs on The Gift of Guilt to speed metal riffs on The Axe, there's something for every metal fan. Born In WInter even has a great tapping riff to kick the song off.

The drum production is top notch and Joe Duplantier's vocals are clear and crisp, full of power. If there's one fault in Gojira's brand of metal, it's the lack of guitar solos. But it almost doesn't bother me. The album is so interesting and such an intricate listen that solos aren't necessary (although I still would've liked some).

If you're looking for something interesting and new in metal, than L'enfant Sauvage is a record to check out.

Gideon - Milestone

Gideon's debut record, Costs, had a lot of hype. It was over-hyped in my opinion. When Jason Dunn decided Gideon was good enough to have their record released on Facedown instead of Strike First, people took notice and the hype machine went to work. Costs was a good record, but not an album of the year candidate or best heavy record the year it was released. Gideon had a huge upside and Costs was a solid debut.

Milestone didn't seem to have any of the same kind of hype. It almost came out to a whisper. Which is a shame because I think Milestone is leaps and bounds better than Costs. It's a more focused record. The sound might not be anything new but it's more cohesive.

Milestone is a melodic hardcore record through and through. Costs dabbled with the melodic but had a ton of metalcore and straight hardcore elements that made Costs a little scatter-brained. Gone are the random clean vocals from every song. They have an appearance here and there but it's more tasteful.

Hitting play, Gutter hits you right away, and it's obvious that Gideon has stepped up their came. The riffs are stronger and the overall songwriting is better. Bad Blood has a classic hardcore feel lyrically and a modern twist musically. The transition into No Acceptance is a little weird but is quickly forgotten.

The title track, Milestone, is the only real misstep in my opinion. I know I've beaten the instrumental track to death on this site but I just don't get it. Yes, you have musical chops and can rock an instrumental track the features nice electric lead over an acoustic guitar. It seems like everyone has one now a days and it (almost) never fits or comes of as a successful or necessary. It's like everyone heard P.O.D.'s Eternal and said, "hey we can do that too." More than any other trend in heavy music, this is the one I want to die most.

Having said that, Milestone is a great record and a huge step forward from Costs. Gideon has delivered a solid melodic hardcore record (minus that stupid instrumental track).

House of Heroes - Cold Hard Want

House of Heroes is one of the best bands going right now. The band's 2010 release, Suburba, blew my mind. It was an epic summer rock record. It was also my real introduction to the band. I went back and picked up The End is Not the End and Say No More. I quickly realized that Sunurba wasn't House of Heroes hitting their stride but it was a continuation of an incredible band that knocked it out of the park on every record.

So my excitement for Cold Hard Want was super high.

And House of Heroes does not disappoint.

The band does have a couple of outside the box moments on Cold Hard Want that I'm still not sure about. The album's opener, A Man Who's Not Afraid, is a beautiful acapella, minute long song full of great harmonies. It's an interesting way to kick off the record that still has me scratching my head. The Cop is the track that I'm unsure about. It's a nice acoustic song but it feels a little out of place.

Even though there are two tracks that I'm unsure about, there are still ten incredible rock and roll songs.

Out Of My Way has an epic quality about it. It's an understated epicness (if that makes any sense). Dance (Blow It All Away) is full out, balls to wall rock and roll. Remember the Empire comes blazing in and I quickly begin to think that Cold Hard Want is nothing but hit after hit after hit. We Were Giants is more of a ballad  but still hits on all the right notes.

The album's first single, Touch This Light, is without a doubt the best song House of Heroes has ever written, which is really saying something because God Save Us The Foolish Kings is an amazing song!  Touch This Light is more straightforward than God Save Us and the hook is not quite as catchy but it's sonically more appealing. And I think that's the real selling point with Cold Hard Want.

House of Heroes has written dozens of great songs over their career and have always found ways to push themselves and create interesting arrangements and use different instrumentation to deliver fantastic soundtracks. But Cold Hard Want is more of a classic rock record. But within that classic rock record is a huge sound. I think having Eric Newcomer in studio with them really helped create a sonically dynamic sound. Cold Hard Want is 100% House of Heroes and yet 100% something new and different for the band.

Cold Hard Want, despite the two tracks I'm still iffy on, is one of my favorite records of 2012. It's an epic rock and roll record. If you've missed the House of Heroes bandwagon in the past, Cold Hard Want is a great place to jump on.

P.O.D. - Murdered Love

What can I say about P.O.D.? Seeing the video for Selah and then picking up Brown was a huge musical moment in my life. The Warriors Come Out and Play Tour still ranks as one of my favorite concerts. The Fundamental Elements of the Southtown launched the band into the spotlight and Rock the Party was the first rock video to go number 1 on MTV's Total Request Live. Satellite was even bigger step for the band. Alive, Boom, and Youth of the Nation were huge hits for P.O.D. and one would think there place in hard rock was set.

But with Marcos Curiel "departure" and the quick change in the music scene, P.O.D.'s star faded quickly. The band's self-titled record explored a roots and reggae sound that had always been present in the band's music to varying degrees. It was similar to Bad Brains' I Against I. Testify saw the band get back to their roots on certain songs but critics found it tiresome and uninspired. Even with Curiel back on When Angels and Serpents Dance, the band felt like it was testing the waters and not diving in. It was good to have Curiel's guitar work back and there are some stellar tracks but overall the record was missing something.

Murdered Love has been billed as the band's "return to their roots." By roots, people mean Southtown and Satellite. Back to writing hits and the rapcore that made the band such a success.

Murdered Love is almost exactly what I hoped it would be.

Eyez doesn't have an intro that starts strong and grabs your attention from the word but when the track kicks in, it's a strong statement piece. The track is heavy in a way that P.O.D. hasn't been ever. The transition to Murdered Love is stellar and again, the track packs a punch. Marcos Curiel's guitar work really shines through. Higher is a great hook driven song. The groove is nice and it's P.O.D.'s pop side at it's best.

Lost in Forever, the album's first single, is the band's best single to date. The chorus is infectious and clicks in your brain instantly. It's got the same elements that made Alive and Boom such great hits but Lost in Forever feels different. Maybe it's just newer and fresh but everything about the track works for me.

West Coast Rock Steady is Kaliforn-Eye-A part two but the song has a much stronger groove and musical sensibility. Beautiful and Bad Boy are solid songs but they seem a tad out of place on the record. Beautiful is a a slow jam (at least in context to the rest of the record). Strong lyrics really drive the track. Bad Boy is more reggae influenced and again, solid musically but the lyrics are... They seem a little hollow compared to the rest of the record. Not that every song needs to be spiritual but something about Bad Boy doesn't work for me.

Babylon the Murderer, On Fire, and Panic and Run are just solid P.O.D. songs. On Fire is another song with a hook written to get stuck in your head. Babylon the Murderer feels like a song you've heard P.O.D. rock before and love. Panic and Run is a punk song that's a nice throwback to the Snuff the Punk days. Bad Brains influence from start to finish.

But the talk of Murdered Love is the album's closer, I Am. It's probably my favorite track on the record. A strong, hard-hitting track about the evil in this world that is man. But the song comes with controversy. The chorus goes like this:

"Are You The One That's Come To Set Me Free ? 
Cause If You Knew Who I Am, Would You Really Want To Die For Me ? 
They Say You Are The Cursed Man, The One Who Hangs From This Tree.
I Know This Is The One and only son of GOD But Tell Me Who the fuck is he?"


The album version actually doesn't have the band saying fuck. Sonny has explained he spent a lot of time praying about it and seeking advice and decided to edit the word out. But there's no mistaking what the edit is supposed to be. And I get it. I understand why people are upset with P.O.D. using such harsh language. But in reading Sonny's statement behind the song and lyric in question, I see no fault in him using it. I'm more upset that a) the band decided edit the word out. Just own it. And b) that there will be a second version of the album without I Am being sold in Christian Bookstores. I wish Family Christian bookstores would take a stand and just refuse to sell the record. Your sending a mixed message by releasing the album without a song. 


Whoops... I need to get off that soapbox. 


I've been a P.O.D. fan for a long time and Murdered Love is without a doubt their best record since Satellite. It's just some great heavy elements but is also a nice combo of nearly everything the band does well. The warriors should love this record!

Wolves At the Gate - Captors

Do what you do well.

It's solid advice. And it seems to be advice Wolves At the Gate is taking to heart. The band's debut ep, We Are the One, was an excellent metalcore showing that got the attention of Solid State. With a new lead vocalist in place, I was excited to give Captors a spin.

Wolves At the Gate fill the void in metalcore that Haste the Day left when they disbanded last year. They don't sound like Haste the Day but it's just solid, quality metalcore. No gimmicks, nothing fancy, just quality songs.

The Harvest is a great opening song. It packs a punch and grabs your attention right away. Nick Detty, the band's new lead vocalist, is strong and his screams and Steve Cobucci's clean vocals work eally well together. Awaken and Morning Star both continue to hit hard. But it's tracks like Dead Men, Slaves, and Step Out on The Water that makes Captors such a good record. Great melody with strong hooks that capture's the listeners attention.

Musically and lyrically, Captors is solid. Wolves At the Gate have delivered a great record. Metalcore and heavy music fans shouldn't pass this record up.