Review: Under Paris - Transitions

Philosopher Ralph Waldo Emerson once stated, “Not in his goals but in his transitions is man great.” Some may think or regard this as adaptation, but it’s actually more of a form of transcendence through hardships. Should you persevere and successfully surpass and navigate your goals through life’s plethora of trials and tribulations, you will likely thrive in the name of your efforts and fluid determination. If it holds true that in his transitions man finds greatness, then Under Paris’ debut release, Transitions, has set the band on a course towards success with every energetic riff and merciless breakdown.

Kicking off the album is “Shallow Grave”, a blistering, brooding track that is armed to the teeth with ravaging musicality and relentless brutality. A quick, eerie, discordant guitar lick greets your ears before swiftly introducing you face-first to a murderous frenzy of vicious, heavy riffage and guttural screams. Guitarists Serrano and Morrow masterfully craft intertwining spastic melodic arias that burst and flourish overtop the hail of slightly groovy, thundering riffs that are guaranteed to shred through your ears. Drummer Lucas Richards puts forth a magnificent display of quick, skillful footwork and excellent cymbal play in his pulsating, jaw-breaking percussion as bassist Riley Phillips steadily grooves on. Vocalist Michael “Thorr” Alexander proves his given namesake of the mighty Norse God with a frenzied array of deep, vengeful growls and ferocious, throat-tearing mid screams. The seemingly endless torrent of fierce instrumentation and relentless rage suddenly delves down into one last sprinting, face-melting breakdown.

Up next is “At War With Myself”, a weighted track that displays the band’s softer, yet energetic and emotionally heavier side. A melodic strummed riff steadily merges into heavy, driven riffs, driving percussion, and deep, somewhat gentler screams. Serrano and Morrow showcase their well-rounded instrumental talent with a clashing pairing of melodic, emotionally weighted riffs and jarring bursts of heavy chugging and melodic overlays to make an instrumental dichotomy that runs parallel with the song’s lyrical content. Richards also intelligently mashes a gentler, more cymbal and toms-driven style with bursts of footwork-driven, “traditional” metalcore elements that perfectly matches the rest of the presented instrumentation. Michael Alexander’s split between vengeful, heavy lows and deep mid screams add a layer of intensity to the emotional disparity that is clearly felt throughout the track. Alexander’s screams intermittently subside to allow a surprising added element of clean vocals from bassist Riley Phillips to soar and captivate. Under Paris ends this emotionally torn track with a final hair-raising, somber, ringing question from Phillips: “What have I become? Is there something more?”

Although Transitions features quite a few stand-out tracks, the explosive track “Yolswag#420” is absolutely deserving of an honorable mention. This short track packs a heavy punch that is guaranteed to rupture your eardrums. Grooving, pitch bent riffs from Serrano and Morrow become progressively more violent as tumultuous layers of grooving, unforgiving bass lines from Phillips and Richards’ pounding, driving percussion join the mania-inducing fray. What truly sets this track apart from the rest is the abrupt mashing of pacing in which previously fast-paced riffage comes to a gradual, grinding halt for a series of intense, grooving, sexy, sliding, bone-crunching breakdowns. Every slide, kick, and chug is presented as aural ecstasy as your ears are repeatedly pummeled with the audible replication of the feeling of having your skin slowly ground away as your face is repeatedly introduced to a concrete wall of heavy sound. 

Another honorable mention is “Midwest Winters”, yet another surprisingly instrumentally and vocally emotive track. A simple chain of strummed notes gives way to emotionally charged riffage backed by relentless driving percussion. Vocalists Alexander and Phillips cleverly weave a beautiful pairing of clean screams and harsh mid screams and growls. The lightly echoed lyrics of Phillips’ cleanly sung chorus adds a nice layer of backing intensity to the overall vocal delivery of this track.  Serrano and Morrow have this extremely skillful quality of adding slightly discordant or melodic notes on their chords and have a special knack for putting an unwavering amount of energy behind every emotive melodic overlay and passionate, intensely chugged verse. A surprisingly forceful breakdown smashes through the layers of emotive riffs before quickly taking a lighter turn and returning to the passionate chord progression of the emotionally-drenched chorus. 

The album closes with “At Peace”, a bouncy, grooving track that unleashes a final aural assault of skin-shredding breakdowns and charged lyricism. Energetic riffs and pulsating percussion gradually build and explode into a mixture of fast-paced riffs and melodic arias and overlays as Phillips pours his heart out in his delivery of clean vocals. Again, Under Paris presents a split dichotomy of melodic and heavier elements as the melodic instrumentals spastically take on a much more fierce and aggressive form through interludes of sizzling breakdowns and grizzly growls and split-scream harmonies from Alexander. The seamless addition and integration of guest vocals from The Color Morale’s Garret Rapp adds a perfect layer of lyrical and vocal intensity and emotionalism that perfectly balances out the undertones of melodic and heavy instrumentation before delving back into a final tirade of relentless, jarring breakdowns that will leave you begging for more. 

Overall, Under Paris has created an album that could easily be mistaken for a storybook or a timeline.  Each track signifies a noticeable change or transition from one state to another, and aptly documents these changes. More importantly, the instrumentation perfectly fits each and every change of pace and of mindset, all the while never allowing their passion or energy to cease or quiver. If Emerson's declaration is correct- if man is truly great in his transitions rather than his goals- then Under Paris’ Transitions is reaching towards perfection.

9/10

For Fans Of: It Dies Today, Scarlett O’Hara, Like Moths to Flames 

Katt Hass

Review: Enthrall the Weak -"Heavy Hearts" [Single]

The great Chinese philosopher Confucius once said, “Wherever you go, go with all your heart.” The idea behind his message is simple: put all of your energy into something –your passion, your skill, and your will – and the product of such efforts will take on success in the direction that you make it take.   Embodying this philosophy is none other than Ohio’s Enthrall the Weak. Their latest single, “Heavy Hearts”, takes on a consistently heavy directionality with an aggressively passionate and energetic approach.

Viscous riffs and licks and equally enraged drum fills kick off this track before exploding into an aggressive frenzy of brutal, emotive instrumental and vocal tonality.  Grooving, fast, irate riffs from guitarists Amato and Gray pulsate, swell, and burst with the sudden and fatal intensity of an aneurysm. Drummer Jimmy Amato’s aptly crafted drum fills, cymbal play, and excellent, borderline-insane footwork in his delivery of relentless percussion adds a perfect layer of instrumental passion and tonality. Vocalist David Darlak utilizes a brilliant combination of shouted lyrics and gritty, singeing mid and high screams to deliver a vocal performance that burns with a raw, sizzling intensity of a chemical burn. Multiple interludes abound in the form of savage riffage and short, blistering breakdowns. What truly makes this track special- aside from the ferocious, fast-paced, looming breakdown led by a grooving bass drop from bassist Trace Miller- is the equal parts of collaborative musicianship executed by all members to form an overall perfectly-crafted tonality of persistent and precise brutality.

Enthrall the Weak has crafted an excellent example of the powerful blend of pristine skill, unwavering energy, and passionate, heartfelt musicianship. No singular musical element overpowers the rest as each musician’s skill is masterly interwoven within one another’s to form a perfect  harmony of persistent heaviness. Enthrall the Weak has created more than a track- they’ve managed to take a poetic feeling of emotional weight and combine it with drive and stellar instrumentation to give such a melancholic phenomenon an audible dimension of depth. “Heavy Hearts” is a powerful, refreshing, and passionate track that best exemplifies what it means to go somewhere with all of your heart.

10/10

For Fans Of: Know Lyfe, When Skies Go Black, At No End

Katt Hass

Review: My Ransomed Soul - Trilateral

All human minds require constant sensory stimulation and continual testing of reflexes. It’s part of how we learn- we compile data from all of these previous experiences and –from said data- make predictions and decisions within a matter of seconds. In turn, we develop routine, an understanding of order, and the ability to understand, question and improve our societal structures. But our minds function much like an economy- we require our own sort of mental stimulus package. As much as we are creatures of habit, we still need a variation of (or a deviation in) stimuli to keep ourselves active, alert, and sharp. Without any new stimulation, we grow bored, lethargic, and complacent with our dependencies on structured routines. We begin to operate like machines- working the same cycle repetitively until exhaustion overtakes us. We forget or lose our wit, our ability to feel, and our ability to think and make informed decisions as independent entities. Thankfully, My Ransomed Soul is emerging as the refreshing new stimulus our ears so desperately need. Their third release, Trilateral, is sure to elicit a new-found wave of response with every crashing breakdown, groovy riff, and passionate, politically-charged verse.

Opening the album is “Rise”, a brief, menacing intro built upon pulsating layers of swiftly rising industrial effects that instantly bleed into the next brooding track, “Mockingbird.” Commanding riffs, raw mid screams, and pulsating percussion immediately hit your ears with the crashing force of falling trees. Guitarists Frey and Fernandez intelligently mash together a driving display of heavy chugging with spastic bursts of slightly-discordant arias and melodic overlays.  Backing this frontal assault is drummer Fredy Menjivar’s relentless percussion, which showcases his footwork and excellent cymbal play that is masterfully intertwined with the intensity of the rest of the instrumentation. Vocalist Brendon Frey wields a powerful display of angry, raw mid screams and dynamic split-scream harmonies. Jarring breakdowns rudely burst through the heavy riffage, with every chug perfectly orchestrated to rile you up and set your blood boiling. It’s more than a moment of stellar instrumentation- it’s a much needed wake-up call.  What’s more, My Ransomed Soul utilizes a sampled recording of a George H. W. Bush quote – and it actually fits the charged instrumentation and lyrical content perfectly.    

It’s near impossible to name a singular stand-out track on this album, as each one stands on its own as its own commentary. However, the explosive track “Monarch” is absolutely deserving of an honorable mention. An angry, accusatory lick immediately explodes into forceful, bitter grooving riffs matched by equally spiteful raw screams from Frey and an unrelenting tirade of percussion from Menjivar. My Ransomed Soul truly flexes their collective technical prowess and precision in every grinding, sliding breakdown, each seething with waves of vindictiveness and discontent that transcends through your ears to your mind and your soul. The overall bitter tonality from every jarring, anticipatory chug is both enraging and eye-opening as your ears are mercilessly slammed with an instrumental and musical intensity that is guaranteed to knock your teeth out of your skull.

Another honorable mention is “Trilateral”, a short, yet reflective track. A melodic, simple, plucked melody rings out overtop a sampled interview between former Secretary of State Henry Kissinger and Charlie Rose over the topic of the fragile state of Syria.  Undertones of powerful, introspective guitar and bass riffs simmer below the sampled recording, before lashing out into a gentle, melodic medley of layered guitars and mild percussive elements. Some may not find this interesting, but it is goddamn special. My Ransomed Soul has done something that most other bands are incapable of doing or have failed to achieve: producing a track that is equally as heavy as a breakdown, sans breakdowns and sans ferocious riffs. My Ransomed Soul has provided us proof that commentary, or more simply put words formed into sentences are as powerful as aggressive riffs.  This track not only provides our ears with an emotive commentary which we are to analyze- it also perfectly blends with the rest of the theme/flow of the album. It’s a stimulus. It’ll make you listen. It’ll make you think.

The album closes with “Revive”, a deeply emotive, reflective track bound by an impassioned, melodic tonality. Fast-paced, pitch-bent riffs and licks groove alongside desperate emotionally drenched melodic riffs and overlays and crashing percussion, crafting a conflicting, yet vibrant intensity. Frey unleashes a more serious, despairing, heartfelt force in his raw vocal delivery with each passionate verse. Groovy riffage is layered into tumultuous melodic, gentle overlays and undertones which mirror Frey’s vocal delivery and craft an overall emotionally-drenched, passionate, and invigorating tonality that will pull at your heartstrings.

Overall, My Ransomed Soul has created one of the most engaging albums of this year. Trilateral is the most politically charged album I have heard since Green Day’s 2004 release, American Idiot. The amount of musicianship and technical and creative prowess that My Ransomed Soul has utilized to shape their views into an entire album with a near-seamless flow and unrelenting amount energy is absolutely astounding.  Trilateral is a conversation piece, a commentary, and a wake-up call. It’s the stimulation our ears, our minds, and our generation desperately needs.  Your choice is how you wish to respond to its call. 

9.5/10

For Fans Of: Like Moths to Flames, Prime Meridian, For Today

Katt Hass

Review: Skeyes- Empty Mirrors EP

National Geographic once estimated that over 100,000 wildfires ravage the U.S. annually, burning approximately 4 to 5 million acres of land. Moving at an average speed of 14 mph, these fires quickly overtake and consume everything in their wake. In an effort to combat this destructive phenomenon, official forces are trained to manage, control, and extinguish these large blazes while reaching environmental precautions and safety procedures to common folk. However, no amount of safety precautions and specialized training can prepare you for the fiery inferno that is Skeyes. Their debut release, Empty Mirrors EP, harnesses the raging power of nature’s most beautifully rugged force in a torrent of sustained melodies and ferocious breakdowns. 

Kicking off this fiery album is “Ethereal”, a track that is marked by an exquisite display of melodic ambiance and emotionally heavy riffs.  A quick drum fill gives way to explosive riffs and a flare of melodic overlays that, in turn, ignite a relentless delivery of heavy breakdowns from guitarists Cease and Macaluso.  Vocalists Dale Brosious and Jesse Cease masterfully intertwine raw clean vocals with vicious low growls to add a layer of intensity that burns more violently than a brush fire. The seemingly endless hail of scorching riffage suddenly halts for an ambient interlude in which gentle rising effects churn and billow behind lightly sustained piano notes, clean chords, and gritty clean vocals from guest vocalist Garret Rapp. The mixture of grit and melodic ambiance creates layered waves of raging intensity that billows and folds like smoke over trees, suspending your ears between the beauty and violent rage of a spiraling forest fire before delving into a final crushing assault of roaring breakdowns. 

Next is “Myriad”, an explosive track that is laden with spastic solos and incessantly heavy riffage.  Skeyes wastes no time, immediately slamming your ears with fiery walls of lightning-fast melodic arias over choppy, heavy riffs backed by driving percussion.  Spastic energetic solos explode and crackle like pine trees ablaze overtop searing breakdowns and heavy chugging. Raw cleans are met with a clashing force of split scream harmonies and ferocious growls from Brosious and Cease. Guitarists Cease and Macaluso juxtapose waves of pulverizing breakdowns and rugged, chaotic riffs against complementary haunting melodic overlays to create a chilling effect that will have your skin breaking into goose bumps as your aural forest is burned to the ground. 

This brief but vibrant album ends with “Ars Amatoria”, a track that is packed with bursts of melodic riffs in one last reflective rage against the dying light.  Gently strummed notes from Macaluso and Cease meet sweeping layers of light melodic arias before delving into pounding percussive elements and smoldering riffs that burn with a final bright emotional intensity of a dying flame. Clean, soothing vocals follow parallel to the instrumentals, soon becoming gritty and then gradually descending into one final display of emotionally charged low screams.  The resulting musical finale will leave you breathless, emotionally drained, and begging for more. 

Though each track carries its own in terms of intensity and consistent delivery, “Ethereal” and “Myriad” stand-out the most in this album. Both tracks are so deeply drenched in emotion and energy in each verse, chug, and sustained note that they burn with the fueled intensity and drive of a kerosene-induced fire. 

Overall, Skeyes has crafted one of the most explosive and emotionally charged albums of this year. The vast amount of musicianship and energy that is poured into each meticulously crafted riff and verse burns so vibrantly and audibly that the resulting flames almost take on a tangible form. You will lose yourself in the charring beauty that lies within Skeyes' burning rage. Empty Mirrors is an unstoppable force that will consume you in its raging blaze of fiery licks and energetic breakdowns. Evacuation is futile; there is nowhere to run. Nothing can save you from being consumed by the inferno that is Skeyes’ Empty Mirrors.

9.2/10

For Fans Of: Erra, Northlane, Mureau

Katt Hass

Review: Cry Excess - Ambition Is the Shit

Footballer William Eardley IV once said, “Ambition is the path to success. Persistence is the vehicle you arrive in.” Operating this vehicle is none other than Cry Excess with their debut album Ambition Is the Shit. The 5-piece metalcore band from Turin, Italy, is guaranteed to destroy your eardrums with a persistent blend of chugging, gritty riffs, harsh growls and blasting percussion in one of the darkest and heaviest albums to date.

The album opens with “Ripshit (Hands Up For the Italians)”, a brutal, ear-blasting track that opens with a modest electronica-driven fade-in intro before slamming your ears with gritty vocals, harsh growls, and dark undertones from heavy riffs. What’s different and most interesting about this track is the split between screams and a rap-style of delivery from vocalist Jaxon V. It’s a dark, brooding track that marks the underlying rage the band is putting forth- and it leaves you wanting more.   

Next is “The Public Enemy”, a rage-filled track that packs one hell-of-a punch with a sinister intro leading into heavy riffs, sliding breakdowns, relentless percussion, and a brilliant vocal display of cleans and screams.

The album’s title track, “Ambition Is the Shit” is marked by high screams, melodic synth solos, relentless percussion, fast riffs, and heavy breakdowns that are packed with an amount of force that’s capable of sending you flying across the room.  It’s the track that has it all in terms of persistent brutality, instrumental, and vocal variety- including a breakdown that is driven by a synthesizer with heavy chugging as a complementing undertone. 

Now, I don’t like electronic music in metalcore whatsoever, but Cry Excess has managed to utilize electronic elements to add a layer of depth to each track, including breakbeat-driven breakdowns in pulsating tracks such as “You Hate Because You Can’t Compete”, and “Hustler”. And it works to their advantage. But it’s not limited to just creating a break-beat sort of style. The electronic elements often take place of what would be melodic solos from the guitarists - and it doesn’t sound campy at all.

Vocalists Jaxon V. and  Brian N. show an absolutely brilliant display of vocal variety and range, incorporating multiple elements and a whole other genre (rap) within their heavy delivery. Tracks such as “What Keeps Us Alive” and “Rebel, Forever” display split scream harmonies, gritty cleans, and deep growls. “Ripshit” and “Ambition Is the Shit” best display their use of rap within heavy riffs and brutal breakdowns.

It’s hard to pick out any stand-out tracks, as most of the songs on this album are well-crafted and can stand for their own. One stand-out track is “Hustler”, as it gives a false notion of respite from the heavy chugging by giving us heavy lyricism and aptly crafted electronica before delving into an aggressive breakdown.

Another notable track is “Unto Death”, which features one of the best displays of instrumental musicality. Relentless and driving percussion from drummer Brian N. is paired with masterful riffage from guitarists Mark Agostini and Andrew V.  Light, melodic riffs lead into heavy, dark breakdowns before swinging full-circle to include melodic overlays and light arias within the heavy, fast-paced riffs.

Overall, Cry Excess has created a truly unique album that is packed with an ear-shredding, bone-rattling quality that will shake the very foundation upon which you stand. You can hear the amount of energy that the band has put into Ambition Is the Shit. The limitless energy and rage is so clearly audible that it is almost visual. Ambition Is the Shit is so well-crafted and relentless in every breakdown, verse, hit and kick, that it’s hard to believe that this is actually a debut album. You can’t help but mosh, groove, and headbang to every track. If ambition is the path to success, and persistence its vehicle, then Cry Excess's Ambition Is the Shit is a masterpiece. You’d be foolish to not listen to this album.

9.2/10

For Fans Of: Memory Of A Melody, I-Exist

Review: As We Walk - "Second Skin" (Single)

Out of Austin, TX comes 6-piece metalcore band As We Walk, with a new single, new singer, and lyric video that will knock your socks off with pick slides, heavy breakdowns, and a perfect blend of screams and cleans.

As We Walk brings forth an onslaught of brutality as they throw everything they have at the listener in “Second Skin”.

Starting the song is a melodic fade-in that quickly turns to violently heavy riffs and harsh growls.

Vocalist Alexa Kabazie brilliantly executes clean vocals that are well within her range and are neither nasally nor shrill. Her vocals are perfectly interwoven with vocalist David Moore’s diverse screams, delivering low growls and solid mid-range screams with perfection. The result is a perfect dynamic between brutal screams and melodic cleans.

Instrumentally, “Second Skin” is sure to induce major headbanging and moshing. Guitarists Smith and Martin are brutally consistent in their delivery of chugging and heavy breakdowns. Drummer Ian Collins wastes no time to make sure he fills in with every kick, hit, and crash that he can. The percussion is as relentless and brutal as the heavy riffs and breakdowns executed by Smith and Martin.

I’m not usually a fan of electronica in metalcore, as it frequently seems more displaced than helpful, but As We Walk’s Curtis Martin uses his lightly-crafted synth riffs rather sparingly, never overpowering or dampening the fast-paced, heavy tone that the band is putting forth. 

Overall, As We Walk kills it. Their heavy breakdowns, riffs, and relentless percussion will have your whole body freaking out as you sing and yell along to the music. But what makes this song truly outstanding is the unabating energy that the band puts forth, and the listener can definitely hear and feel it in each note. This is a band you should definitely keep your eyes and ears on. 

9/10

www.facebook.com/AsWeWalkOFFICIAL

https://www.youtube.com/watch?v=1lhq-Mr3hhY

You can download this song for free at http://alturl.com/fbm5s

For fans of:  Erra, As Cities Burn, I the Mighty

Katt Hass

Review: Like Monroe - Things We Think, But Never Speak

      It is estimated that the human mind conceives 35-48 thoughts per minute.  In these thoughts lies the essence of life- its heart. As sentient beings, we feel and express this essence of life. We don’t just experience it- we mull through it, we dissect it, and we analyze it in milliseconds.  As exciting as sentience is, we don’t always express what we think or what we feel. Sometimes we’re ashamed of our thoughts; sometimes we’re afraid of thinking about a certain topic; sometimes it is necessary to never speak of these things.  We end up carrying these thoughts and emotions inside of us and never talk about it. We shut them up like secrets in attics. Like Monroe, however, is here to pry the lock off of your cellar door. The explosive metalcore band unleashes their best kept secrets, including rehab, interpersonal conflict(s), and relapse. Like Monroe is unafraid to put their thoughts to verse, chorus, and heavy riffs in their debut release, Things We Think, But Never Speak.

               
The album is beautifully structured, alternating between fast and heavy metalcore elements and  lighter, post-hardcore-esque elements in riffage and vocals. Overall, the balance between both styles results in a beautifully crafted melodic sound. The best part? It’s all head bang worthy.  And it will pry open your locked cellars and dust your attics as the listener sings along to each anthem, pouring out every secret emotion and thought into each relatable verse.   

               
The album opens with ‘Roswell’, a stand-out, melodic track that packs a hard punch with heavy riffage and driving percussion.  The track breaks for a tasteful acoustic interlude before slamming the listener’s ears with a reprise of the chorus. 

               
‘Black Lungs’ is another stellar heavier track, featuring metalcore vocalist Garret Rapp (The Color Morale). Driving riffs and heavy screams mark this relatable track about interpersonal conflict.

               
‘Changing Lanes’ is an exemplary lighter track on this album. This track features an engaging vocal melody backed by somber, sparse electronic riffs.  The clean guitar riffs are executed perfectly as well as the implemented minimalist percussion, creating an overall light atmosphere in a lyrically and emotionally heavy song. 

               
Fans of heavier music will definitely cherry-pick this album, but I stand by it as a whole. Things We Think, But Never Speak is a brilliant display of musical technicality. It’s an emotive album that will ensnare the listener and open the floodgates of emotion. It’s an album that has the capacity to be an outlet for the masses. Things We Think, But Never Speak is the soundtrack of our secrets in our attics. You’d be foolish to not give this whole album a listen.

               
You can pick up Like Monroe’s Things We Think, But Never Speak on iTunes and at ShopBenchmark.com!

https://www.youtube.com/watch?v=IbjqtiiTSEs

https://soundcloud.com/eone-music/like-monroe-roswell

http://www.shopbenchmark.com/likemonroe

9.5/10

For fans of: Fault Lines, The Color Morale, Favorite Weapon