Wednesday, March 26, 2014

A B-Day RBR - In This Moment - Blood

We all have friends (I hope, or else I just made someone really depressed). Some of them are borderline acquaintances, some are long time buddies you met on a sloppy drunken night and never fell out of contact. Then, there are those friends that have been with you longer than you have memories. Those friends that you have pictures of you as infants, and in those pictures, your eyes manage to be giving that same look to one another that you did as teenagers right before you decided to drunkenly throw that couch into the bonfire; that telepathic smirk of shared mischief.

Friendship is smacking each others asses in public.

Well, my friend, Nick, is that final friend. We've been jamming together since we were in diapers, and even though we now live hours apart from each other, we still share a tight bond and friendship. It's as if we are truly blood. And although that may be a cheesy attempt to tie in the album title, it doesn't make it any less true.

By the cover, I can obviously tell this albums about friendship... Aaaaaand naked porcelain women?

So when my good friend told me I should do Blood by In This Moment for my blog, naturally I... Put it off until I realized it was the week of his birthday. And so, as a birthday gift of sorts, I'm presenting this RBR. Not only that, but Nick suggested I drink Sweet Revenge. It is a "Wild Strawberry 'Sour Mash'" and apparently, delicious (I'm on drink number 3), so to find out if the album matches up to the drink, on to the review!

Album:
In This Moment - Blood

Alcohol:
Sweet Revenge

Synth chimes open us up on "Rise With Me". Some tribal drums come in to add a subtle build. More sythns grow in. Female vocals are heard distantly. There is a pretty cool aesthetic set up here. I'm waiting for a kick in, but I think this is just an intro, and I'm cool with that.

"Guitar and synth lead us into the title track. There is a distinct groove in the shout vocals. And as everything kicks in, there is a neat stop and go thing. I like it, but it is staying a little past its welcome. settling back into the vocal groove with guitars adding aggression nicely. Drop out thing... And back into that once cool chorus thing. Yeah, I'm lost on these choruses. It's cool if they were to do it, like, half as long. Going into a really cool flowing solo over a stuttery rhythm riff. And theres that stupid chorus again... This song is like half good. Let's hope they didn't intend the title track to be the stand out.

Synth sweeps into a barrage of punches that is the opening to "Adrenalize". Driving riffs opens up into a really cool verse. Opens up is the wrong term. The driving riff continues, but the the vocals add a lovely flowing layer. The chorus is likewise a duality of aggressive guitars and less aggressive vocals. Not done as well as the verses, but cool in it's own right. Second verse continues much liekt he first, but I still like it. And the second chorus is much the same, but maybe sounding a little more aggressive. And the riff comes back into a build. Cool slide. And screaming bridge thats not too bad. Call and answer bridge now, not bad. And the final chorus is cool. It opens up into a bounce almost. Nice.

Picking up off the bounce is "Whore". The music is reminiscent of that 8 Mile Eminem song, but the vocals are cool flowing over it. And as it moves into the chorus, oh not the chorus, but cool part. The ACTUAL chorus is cool. VERY accible... In good and bad ways. Going back through the refrain. This is a very poppy metal tune. It's catchy and listenable, but not necessarily standout-ish. Drop out to synth and voice... Guitar building... And another chorus? Yep. As I said, not bad, just predictable and blah.

"Your Gonna' Listen" has a really cool driving guitar intro with the vocals coming in soft-ish and slow... And kicks in nicely. A very Otep-eque feel here. I REALLY like that guitar line in the chorus? I'm gonna call it a chorus. I can dig this tune. It takes a lot of the things I liked in the previous tracks and does them better. Bridge that is essentially an alternate chorus is nice, and cool little solo. Drops out into a rotary sounding guitar/synth thing. Swelling... Chorus. Not a bad pay off. It definitely feels a little more intense here. I can dig.

"It is Written" provides a nice sample transition.

But the anticipation is killed a little moving into a piano open to "Burn". Not to take away from the piano set up into that kick in. That was cool. And dropping back down to piano for tha verse. And crazy dynamic rise into the chorus. And the chorus actually shows off the blend of screams and singing that this vocalist has. The second time through, I'm a little less impressed as nothing really changes, but the song is still good. Really cool rhythmic things happening in the bridge part, and going into a breakdown of sorts. Kinda cool albeit simple. Dropping back to piano. Im calling .. Never mind straight to the kick in. I'm okay with that. They definitely build up to their final choruses giving them a little more umph. Respect.

"Scarlet" opens out of feedback with synths. Guitar builds us in slowly. Voices comes in soft and purdy. Nice movement in the vocal melody. Faux kick in. I can dig. Promising thus far.  Nice movement into edgier vocals. And kick in really opens up and there is a beautiful sing screaming going on. Dynamics are really nice on this. And cool solo. I dig this. Less punch my mouth and more aggressive flow. They are definitely getting better as the album goes on. (Maybe it's the booze?)

"Aries" provides another cool sample interlude.

"From The Ashes" has a nice flourish intro before bringing us back to a punchy metal feel. and I can dig that transition, and I actually REALLY like the vocals here... Ooo. Picking up pacing. and drop off... Kick in, but in that flourish fashion again. I can dig that. Maybe my favorite track to this point. And back to the musically punchy yet vocally flowing verse. And getting fast again. I really like this chorus though. The vocals and--whoa! That transition into punchy bridge was cool. Kinda leaves me hanging into a vocal/guitar guid, but the payoff is coo and better than I expected. Back to punhy to copse.

"Beast Within" opens subtly, and grows in the same matter. screams lead us to another faux kick in, but after a moment the chorus comes in all the same. And it's okay... Yeah... Just... Okay... I much perfer the lower key groove of the verses. Meh, on the chorus... But ohh, th move into the bridge and the bridge itself is cool. Drop out... aaaand build back into this blah chorus... Meh. Drops out into the finish.

"Comanche" opens withDrums and muted bass. I am definitely drawing in, and continuing with guitar and grown vocals... And into a blindingly fast chorus? Verse? I don't know but it was cool. Second verse pushing a little more aggressive. And opening up... These that fast part again. Well done. here. Oh, I like that movement of the guitar in the bridge. Killer. The Ooo's add more depth to the third verse and it builds again... into... Yeah... That sexy chorus... So angry, but so good. Cool tune.

Guitar/sythn bring us into "The Blood Legion" haunting vocals set up anticipation. Drop out thing... And keys bring us back in softly. The haunting vocals resume. Very pretty vocal movement... And into rises into a cool little groove. I can dig. Drop to vocal and guitar... Waiting sythn sweep... and kicking of the subtle variety. Nice. into a chorus again given a little more umph. Nice. Really like the chorus oos dropping into... a sample?

"11:11" starts the closing of this disc with more choral oohs. Really pretty here. Almost soulful vocals growing now. I'm good with this. More depth and more soul. nice. A lot of cool things, but I'm rely getting anticipatory of a kick in... Like, At this point, Im blown away wight he soul so if it doesn't happen, I'm okay, but I'd like one last punch to the face... God. Her voice is hauntingly beautiful when she want's it to be. That's it. And I have some chills.

Final Thoughts:
Okay, this album wasn't my usual cup of tea, then again sweet revenge isn't my usually cup of alcohol and it still got me drunk. There were moments I really enjoyed on this album. Enough to buy it? A resounding no; however, it was enough to desire listening to again. Sometimes you'll have that. Leave it to a good friend to find a band outside of your genres of interest that still sparks enjoyment. Thanks, Nick. Happy Birthday.

-Badhorse

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Tuesday, March 18, 2014

Homework on a High School (Aged) Band - The Strypes - Snapshot

I am going to open this by giving you my current setting: I've just bought my girlfriend the Final Fantasy X/X-2 HD Remaster, so I don't have the use of my TV and sound bar. Therefore, I am holding up in the corner buried in my laptop, and it is giving me flashbacks to studying in high school /college. I'd say the only difference is the booze, but who am I kidding? I started young.

I mention this because tonights album is being done as a sort of homework for a band that I was recently turned on to. I say homework because I'm being taken to a show they are playing here in a week, and I'm only somewhat aware of, like, two tunes. Also, the band is comprised of members in their teens who should either fresh out of, or should still be in, high school. Ugh... I should've done more than drink as a teen.

So young. So innocent. So... Irish?

Oh yeah, I forgot to mention they are from Ireland. Which is cool with St. Patty's Day being yesterday, right? Maybe. In any event, I'm excited to hear a group of kids that impressed Elton John while having beverages they can't legally consume here in the U.S. (And they call this the home of the free! Psshhh!) Speaking of those sorts of beverages, I'm trying the new Sam Adam's Rebel IPA. Never had it before, so it will be subjected to review as well.

Well, I have nothing more to spew and drank a left over beer to prime myself, so with a six pack and album ready, on to the review!

Album:

Alcohol:

Snapshot opens with "Mystery Man", coming in with feedback and guitar sounds before exploding into an excellent blues rock riff. Settling in would be the wrong word, but more accelerating into the verse, and so much energy and drive with definite blues tones all over. The song finally slows into the second verse, but only for a short time. Harmonica solo. Killer. Holy. Shit.

Killer tune ends and another takes off. Killer blues riffing opens "Blue Collar Jane". Such a swingtastic tune. So refined in sound, yet high energy, and fun and all over the place. The vocals give the slightest hint of youth, but not due to performance, but rather tone. Fade out ending, though. Poor form.

"Im a Hog for you Baby" opens with a killer guitar flourish before dropping into a nice heavy-yet-fast-paced groove.Launching into a nice solo after the chorus. The lyrics here are slightly ridiculous, but fun. Everything I've heard has been fun so far. I love punk blues feel. Nice chugging harmonica solo. This tune actually borders on honky tonk, and I'm totally cool with that. Really fun track.

"What The People Don't See" opens with a honky tnk feel again, but as it continues, the disc finds it's first more "Modern" feel. Albeit in a retro-modern sort of way. The blues is definitely present, but there is an over arcing garage rock feel. Not a bad thing in the slightest, and this is certainly more entertaining than most garage rock. Love it.

Harmonica explodes into "She's So Fine". Keeping that high energy blues going, and I'm overjoyed at how much excellent groove they retain while pressing the tempo so much. Ahhh! Even the messiness is bluesy. Because bluesiness is messy. Beautiful.

Alright, still quick, but definitely a little more settled is "I Can Tell", and it definitely sounds like the vocalist hit puberty right after the last track. Which is possible, but I'm guessing he just has a nicely versatile voice. And the overall sound is like if the 60s did all of the coke. I mean that in the best way possible. Killer track.

"Angel Eyes" breaks down the pacing a lot. Giving us our first real slow point. Executed beautifully. Slow jamming, and keeping perfect blues form. Vocals continue to surprise me throughout this disc. That guitar tone is incredible as well. God, something this amazing, I'm not even going to assume they made a pact with the devil, no they kicked him in the testicles, and handed over their demands. I wonder if God would approve of that more than making a deal? Either way, I am falling for angel eyes, and by that I mean The Strypes.

And bringing the energy right back is "Perfect Storm". And here we return to the garage rock feel. Definitely hearing some Jet comparisons here, but given everything to this point, these guys are blowing Jet out of the water (The sky?). This track may not be my favorite, but for those not acclimated to the blues, it may be a good starting point. Very accessible.

The famous Bo Diddley cover "You can't judge a book by looking at The Cover". Killer. Can't say much more. Soo much energy while keeping true to everything blues. I'm wowed, floored, and above all else, excited for next week!

"I Don't Want To Know" another killer blues song on speed. Everything so fun and aggressive, and I don't think I've mention the dynamics suet, but they are done phenomenally as well. And that's saying something for a young band. Granted, I've moved on from my thought on devils and deals... I'm going with straight up possession. Obviously, the blues gods have entered the souls of these young RIshmen and are unleashing what will become the best case senario apocalypse ever.

"What A Shame" takes the tempo down just a scosch. Andother fun garage rock track. Maybe a low point for me. Not bad, but certainly not quite at the astronomically high bar set thus far on the disc. But that messy feedback solo? And the crazy speed part after? Redeeming. They obviously heard my thoughts. Cool.

"Hometown Girls" have such a cool intro, and launches into such a cool track. Might be one of my favs. Could be the growth out of the previous track, but it's killer either way. still loving... Shit... Eerything. The guitar tones, the cleanness. The messiness. The vocals. The solos. The fact that the bassist finger are still intact is simply impossible. I'm borderline pissed that this is so good. I know that sounds absurd, but so is how good this disc is~!

Drums kick us into "Heart of The City". And by kick, I mean pummel us into the best asswhooping we could ever hope to have. Shuch a groovy drive. By the way, the beer is incredible as well. I'm incredibly please wight his night all around! 

Sadly, we've reach the final track. Not so sadly, the opening has just grabbed me by my eardrums and made sweet, sweet love to them, followed by a good hard fucking. Holy shit. Killer close thus far. Capturing so much blues, but with so much aggressing and energy. Can it be a week from now? Nice quiet to loud call and repeat. And slowing... Bass... And... Solo! And holy fuck-my-ass! Growning and soloing and growing... And smacking my face! And... Stop. Drum... Kick in. Shit... Just... Shit.

Final Thoughts:
There is shit in my drawers, cream in my jeans, and a smile on my face. I think my ears just said their lives have reached completion. Yeah, I liked this one. If you don't, you're wrong. So wrong, in fact, you can never in your life be right again. The end.

-Badhorse

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Tuesday, March 11, 2014

What's in a Date? 311 - Stereolithic

I love the 90s. If you read this blog at all, this should come as no surprise; however, admittedly, I was born right at the beginning of this wonderful decade. This means I was young for so much of the things I look back on so fondly today, and in fact, there are several things I discovered only years after they were pertinent. As a result, there are large chunks of things I, perhaps, should know of that I just don't.

That long winded explanation of my past leads to this point: I really only know, like, 3(?) 311 tunes. It's a band I'm told I would enjoy or should check out a lot, but I've never really taken the time. Well, tonight, that changes... Sort of.

I won't be delving deep into the 311 archives, but rather checking out their latest offering, Stereolithic.

I am sensing some sort of numeric pattern with this band...

And as my ears will be treading on somewhat unfamiliar ground, so will my taste buds. I have a beer I've never tried before: Ruthless Rye IPA. I hope I like it (Already one in... I do!). So before I get too many beers down, on to the review!

Album:

Alcohol:

"Ebb and Flow" opens the disc with a fun and bouncy guitar line. Vocals are nice. A little drone-esque, but it's fitting. I dig the slow groove in when the change up comes. The chorus is alright, but better is the outro of the chorus. The vocals change up a little in the second verse. Really cool groovy break down. Super trippy. And the subtle kick in is nice. It's so heavy but... Not. 

Pick up with with same slow groove is "Five of Everything". Picks up a little with the vocals, and again such a cool heavy-but-not-really feel. The song is moving part to part and they are all pretty cool. Slight vocal change up again in the second verse. I still dig it. The bass lines are super fun as well, although, from what I know of the band, that has been a staple. Neat little rapish part. Cool fake out ending going into a really pretty guitar line and vocal interplay. End... Cool.

Pace picks up instantaneously as guitar opens "Showdown". The song settles into a nice little dub verse. Nice pick up back into a heavier chorus. Cool little interlude back into the dub verse. I actually really like the choral-esque vocals happening. Nice build again. Rap part again. Not bad, but feels a little afterthought. But the grow and kick back in wipe it from my memory.

A ringing tone ends the previous track and leads us into the crazy awesome guitar open to "Revelation of the Year". The guitar and bass interplay is awesome. And throwing in the plain-ish vocals is perfect for creating another layer without taking away from the awesomeness of the music. And this is the first natural feeling rap part. Transition out of it is clean too. I can dig it. That guitar is SOOO fun! It so cool how the vocals add on to the music rather than laying on top of burying it. Rap part again, liked it less this time around, but still seemed to fit. Nice little riff coming out of the second chorus. Really cool ending. 

Brownout sound takes us into the slower feeling "Sand Dollars". This song is very pretty and groovy. Ooo. I like that pre chorus a lot. And the chorus keeps the pretty sound. And the settle back into the groove is nice. Nice almost epic feel into the bridge part. Love it actually. Diging the solo as well. And that'll take us to the end.

And taking off out of that is "Boom Shanka" and the guitar line is beautiful. Again the vocals just adding a complimentary layer. This song is really cool as well. There is a groove, but its... I can't really describe it. Edgy, like, almost punk, but more groovy... I don't know. I like it. 

"Make It Rough" opens with a nice little riff before settling into a nice groove. Like, a really nice groove. Picking up again with that heavy-but-not sound. Ooo. I like that guitar solo thing. Really cool vocal flow in there. The vocals through the whole album have been spot on. They aren't flashy, but they aren't meant to be. They fit in with the music perfectly. I like.

"The Great Divide" opens with a cool little sample, and an neat guitar groove before settling into a really cool rap. Into a nice chorus. I dig this as a alt rap tune. Done really well. Don't know what more to say. The song isn't terribly intricate, but it's good. The guitars are cool, but it's really the flow of the raps and the general feel. This bridge is awesome too.. Building.... Opening up. More... Nice kick in of guitar keeping the voice pretty. And picking up pace into the end. Nice.

And slowing things down with the opening of "Friday Afternoon". I am continuing to be impressed by my auto correct on my new OS because shit... I am not typing as well as it would appear. That being said, this is nice... Slight groove triply.. Heavy-but=not again. Nice. And the drop out here is really cool. Keeping that slow groove going. Build.. And awesome guitar dive here. into a nice solo. Nice touch and go pacing in the rhythm section. End. Nice.

"Simple True" is a totally fuck fusion... Oh.. FUNK fusion song. Really cool feel. Love everything the guitar is doing, and the bass continues to be fun. Even when it picks up, the song still just has this groovy bob. Like this a lot. Neat little solo. I dig. Cool ending as the feedback swells and fades.

"First Dimension" punches out of that with an awesome riff. And the choral-esgue vocals come back in. Nice bouncy feel int he chorus>? I think?> And cool guitar and vocal interplay again coming out of that. Second vocals there. I really dig the change ups they have here. And that little guitar solo.. Oh, full solo. The rhythm section nd guitar interplay is aweomse. Nice "oooo" grow... And dorp. Cool simple.

Leads us into a bass synth swell on "Made in the Shade". And another sweet groove here that slows the pace. Really nice ups and downs on this disc. Holding the groove. And again, i ding. A lot of little fake outs litke it's going to kick in, but ends leaving us with a fart synth bass souch and a sample.

and a vocal sample starts "Existential Hero". The guitar comes in and the song sets itself ups to be another nice alt rap tune. Again simple, but well executed. It's so hard for me to really describe these sort of tunes. but... I like it. Nice little riffy interlude. Cool tune.

"The Call" bring up the pace on what is an almost pop punk tune with awesome groove. Really cool. There is this ouching drive with out loosing the drive. The pace switches back and forth really nicely. I like it. Drop out to voice and guitar. And immediate pick back up. Nice. 

"Tranquility" closes the disck opening with a nice guitar and some samples. Settling into a nice slow pace. Pretty feel. Transistion ing in and out of that ooo part nicely. I'm a little eh about what feels like an almost auto tune vocals. but... The song isn't bad. Just really hate the robotty sound. Maybe I'm imagining that with the booze? Doesn't matter, cool guitar solo. Takes us to the end... Mmmm. Feedback. Good way to end a disc.

Final Thoughts:
One 311 song I've heard before tonight, "All Mixed Up". Is and accurate description of  how I feel. I like a lot of this disc, but I have a few reservations. Some of the disc didn't gel, and I'm so much feels... The same? Kind of. There was a nice variety, but take this sampling over several albums, and I'm not feeling it as much. That being said, Stereolithic is a cool disc that I shall be shoving in my earholes again.

-Badhorse

Like what you've read? Then "Like" the blog for "real" on Facebook! Want to tell me how shitty my review was (it wasn't)? Pollute my Twitter! In a band with an album on the horizon, or know of an album you think I'd like/hate? Let's chat!

Thursday, March 6, 2014

Keeping Promises and Loosing Whiskey - RBR: Ra - Critical Mass

Two weeks in a row I'm throwing down a blog? Hells-to-the-yeah! However, all I have to drink is what's left of my Jim Beam Black. Don't worry, though, it's enough.

Today, I will be checking out a band I haven't heard since I saw them in my youth. A decent radio rock-ish band, Ra. Apparently, they released new music since I was in junior high... Who knew? Well, a good friend of mine, Chris Schara, for one.

This is actually a picture of Schara taken by another Schara. Schara Schuared?

Now, there are a few Ra tunes I recall and enjoy, but I'm not the biggest fan of that general radio rock sound. That being said, I do fully trust Schara's musical tastes. After all, he is the one who suggested I review Thrice's Major/Minor. Also, he is part of a music making machine that I enjoy, Vaudeville (I also look forward to reviewing the album they are currently working on).

So here I am, doing the proper critic thing and keeping an open (albeit inebriated) mind heading into Critical Mass.

This is a pretty badass cover.

And with drink in hand (Figuratively, of course. I don't want to spill on my laptop), on to the review!

Album:
Ra - Critical Mass

Alcohol:
Jim Beam Black

Critical Mass opens with "Brutiful". I'm not sure if that's an actual word, but the actual song has an interesting intro... Dropping out... Gritty guitar... And there is a kick in after the voice, but not what I expected. There is a definite heavy, yet low-key drive. And opening up... Cool voice effect. And into an almost power metal feel... And back into that driving grit. Sooo much bass tone. Had to turn down my sub. Following a formulaic refrain, but good tune. Really cool guitar work going into the bridge. Drops out... Nice growth... And kick into chorus. I do like this chorus. Rather static, but good. And into a driving outro, I think outro? Neat solo thing, I guess. It's cool, but again a little too heavy on that double kick drum and guitar chugging. Ew... Fade out.

Cadence and kick in open "Awake". Into a punchy transition to a slow-ish verse. And opening up into a generic chorus. Not bad, but not significant either... This track is painfully cookie cutter radio rock at this point. Even this bridge feels overly recycled. Into drop out. Slow build. Stop. Yep, called it. And another chorus. Should be in the final thirty seconds now? Called it again. Just enough time for two more choruses, and a finish. There it is.

"Supermegadubstep" has me intrigued on title alone. After a really cool intro, it settles into a fast paced rock tune. And I'm okay with this. Whoa. Little bouncy part. And opening up again. That was pretty cool. And cool second verse. Nice little dynamic change while keeping up the pace. And into that cool bouncy part. Better build this time. Nice. This track may just redeem the previous. Whoa. That bridge part. Really cool guitar work. Like... They are mimicking dub step but with out all of the stupid. Beautiful. Transition back into the chorus is a little harsh, but I will hardly complain, because that last part was killer.

"It's All Over Now" opens with strings and drums, guitar builds in and opens up. Simple but good riff. Dropping into a more subtle verse. Neat little pre-chorus. The chorus is cool, but just a little weird. Like, I don't know if its a mixing thing, or timing maybe? It just felt off; which is unfortunate because everything else in this song is pretty cool. Yeah, it's not getting better the second time around, so I'm not thinking it's the booze. Something is just... Off...  Cool string break down here. Getting a little long... Oh, that's the end.

"Anything U Want" ignores proper grammar, and not in the same excusable drunken way I do. And the song it self has awkward feeling rap parts, and reads like it just doesn't know what it want's to do. And quite frankly, I don't know what to make of it. Not good, but... No, just not good. As it goes on, I dislike it more. Bad song. Straight up. Nothing redeeming this. Fade out ending? Fitting.

A weird sample opens "Won't Be Home Tonight". Nice guitars... Aaaaand, there's the radio rock... Oh, neat little transition riff. Nice low-key verse.... Build... And just a driving chorus. Kinda meh... This song keeps tricking me into thinking it's going to get cool. It's always just on the brink with a build or a stop, and it just... Doesn't.

"Running Blind" opens with voice, guitar, and strings. And jumps into a bouncy thing that I'm pretty sure is a rip off of the open to "Do You Call My Name". Good to see they keep using it in the verse. Another painfully cookie cutter radio rock tune here. Nothing is jumping out at me. Maybe I'm not drunk enough? Yeah, that's probably the problem... *Drinks*

Didn't help. "A Hollow Glow" opens with a low-key guitar, and brings in a nice little lead melody. This was cool, but they are slowly making it boring... Fade out? Really? That wasn't even a song, and you are fading it out? Lame.

Weird intro to "Ecstacy " And this is a pretty cool and groovy tune. Nice little kick into a punchy chorus. Not great, but a definite welcome change to the lame that has become the standard of this disc thus far. Again, taking something cool, and really just repeating until I don't care anymore... Nice growth into the bridge though. I could do without the voice though... It's just... Odd... Drop out... Waiting for the. Yep, naked voice into kick in... Not bad, but not good. That ought to be the tagline for this one.

Guitar opens "Tragic Empire" and it is a cool riff. Drop into a cool feeling verse-ish thing. Digging this on actually. Nice open into a dynamic drop. And jumping into a fast chorus. Pretty cool thus far. Dropping down again. Not bad, but nothing on this disc is pulling apart from anything else. Supermega dub step is the only really cool track thus far...

Neat tribal-ish beat opens"The voice inside my head" and cool guitar sond. Drop out... And subtle comeback legit. And it looses me with the chorus... Feels forced? OR just over done? Not good... That's how it feels. Giving up on this one... We will see if the fortunes change on the next (Betting they wont!0

"Through The Valley" opens with driving guitars. Cool opening that settles into a really cool driving verse. Nice pre chorus. And slowing into the chorus... Nice actually And back into that driving verse. pre chorus again... Yeah... Rehashing again... And it gets less cool. I think I'm actually almost nodding off.. Dropping into a bridge... Build... And settle... predicting a drop and kick in at the end of this... Yeah, definitely drop ... No build into a solo. Ahh... Solo builds into pre chorus sans vocals. Which would be cool if the pay off wasn't this lame ass chorus again... Blech.

"Crawling Into The Sky" is the last chance to wow me more than track two, and it opens with guitar before kicking in with drums. and  some ="whoa ohs". slow driving verse. Cool things happening, but not impressing overall. This song could be cool, but I'm too jaded and drunk from everything that preceded. Meh.

Final Thoughts:
The album has its points, but overall I was more impressed by the way my new OS (Upgraded muthafuckas!) was able to make sense of my typing. In closing... Meh. Just... Meh.

-Badhorse