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Trenches – The Tide Will Swallow Us All

November 2, 2008 By Manuel Enrique Garcia 4 Comments

Artist: Trenches
Album: The Tide Will Swallow Us All
Label: Solid State
Purchase: Smart Punk
Release Date: September 16, 2008

Overall: 9.5
Music: 9.5
Lyrics: 8.0
Production: 8.5

The sky is grey and hangs above the streets like an Orwellian nightmare, a filter that surrounds the masses to make sure blue skies aren’t seen for another day. Coldness inhabits the darkness, taking its skin like a costume or disguise. When a chilled breeze flows by, you feel as if the gloom has tangled itself around you, leaving you with only fears and doubts and hideous thoughts masquerading as compliments. Memories of sunny days and falling leaves play over and over in your mind, reminding you that this too shall pass.

Trenches were used as protection, as a defense against the enemy during war. Soldiers would sweat in foreign countries while digging away, knowing that each lift of the earth was an inch closer to being relatively safe. During battle, soldiers hid in the trenches, allowing the earth to serve as a shield, as protection against bullets and items launched from the opposition line. These holes and connected system of ditches held each individual’s thoughts and prays, hoping that the battle will be over and in due time, they would be home again with their families. Ditches, containers of bodies built by bare hands to demolish the enemies from a distance, but to also protect them from soaring metals.

Whether or not the name of the band is meant to allude to such images, that’s something only the members can truly answer. Regardless, many listeners can view the music of Trenches debut record, “The Tide Will Swallow Us Whole”, as a metaphorical element to their lives, serving to “protect” them from their struggles, stresses, and daily hardships. It’s easy to compare a military strategy to something put out by a five-piece band: music in general has always served as an escape, a place where one could hide between notes and sounds.

The ten tracks on the record span various genres, from the brutal to the experimental to the eerily inspiring. The first time listening to the record, you are taken on loops and dives, twists and turns where the unexpected grips you by the wrists. The first track (“Calling”) starts out with an eerie sound fading in, getting louder, and then the vocals from Jimmy Ryan, formerly of Haste The Day. The music slows down immensely while the screams still pour out like lions running towards their prey, ready to sink their teeth in. The rest of the track flips between a faster pace, and a slow, more relaxed one where the instruments can be heard clearly. There is a hint of singing that will eventually be heard throughout the record in small portions, but each section of singing relatively different than the other. The first track is a perfect opener, giving the listener a taste of what’s going to be explored throughout the next nine tracks; impressive musicianship, brutal vocals, unique singing sections, dark themes without rooting back to the over-used basic of chugging guitars and breakdowns.

The experimental aspect of “The Tide Will Swallow Us Whole” is outstanding, giving a unique twist to heavier music. A large part of the songs are portions of instrumentals, which proves that hype surrounding Trenches shouldn’t just be focused on Jimmy Ryan, but the rest of the members who are talented in their given spotlights. “Bittersweet” includes a piano near the end of the song that leads to emotional yells and screams. The build up from piano to the yells leaves the listener with a sense of reaching the climax of a given event, whether positively or negatively viewed.

The ten songs have a tendency to evoke dark imagery, but not in the sense of glorify negative aspects, but in the sense of bringing awareness and messages of hope through honest lyrics and creative musicianship. Overall, Trenches makes an impressive and underrated debut with “The Tide Will Swallow Us Whole.” Ten songs of something refreshing not plagued with stereotypical sounds and vibrations. One of the best records of the year, Trenches should easily become a common name in backlit media devices around the world.

Track Listing
1. Calling
2. Eyes Open
3. Sacrament
4. Trip The Landmine
5. Pathways
6. Bittersweet
7. Call It Correct
8. End
9. Ocean Currents
10. Cornered

Filed Under: Album, Reviews Tagged With: Solid-State, Trenches

Showbread – Age of Reptiles

September 17, 2006 By Bryce Jacobson 2 Comments

Showbread

Artist: Showbread
Album: Age of Reptiles
Label: Solid State
Purchase: Smart Punk
Release Date: August 1, 2006

Overall: 6.8
Music: 6.5
Lyrics: 7.0
Production: 7.5

Georgia based rock band Showbread released No Sir, Nihilism Is Not Pratical back in 2004 and listeners praised it as being a new bread of hardcore / screamo, better know as “Raw Rock” as the band stated at the time. With their sophomore album, Age of Reptiles, the band builds off their success of No Sir, Nihilism Is Not Pratical, but this time with less screaming (a lot less) and more passion for God.

When it comes time for the Age of Reptiles, that must mean reptiles like to dance a lot because this album lacks the screaming that the bands previous album built on and goes for straight up dance rock. Synths… Check. Catchy guitars… Check. All of the elements are there for catchy rock album, but is that what Showbread fans are wanting to hear? The album starts out with a set of catchy tracks such as “Pachycephalosaurus,” and “Oh! Emetophobia!” and builds on lyrics not only of reptiles but influences from God. This sounds like quite the mix to dance and rock out to at the same time doesn’t it. You have to take Showbread’s word for it when they say they didn’t want to recreate the same album as last time because they certainly didn’t do that. No Sir, Nihilism Is Not Pratical is one of those albums you’re happy to own because every time you listen to it you say to yourself, “this is something different, something I’m going to remember.” Now the Age of Reptiles isn’t exactly a sophomore slump, but what can a fan ask for in a once hardcore / screamo band that has changed their style? “Sing Me To Sleep” for example doesn’t seem to work for Showbread. The songs sing-along lyrics and catchy melody may get stuck in your head for a little bit but most fans will skip this track in favor of something a little more up-beat. “Centipede Sisters” is smothered with a great electronic intro and follows with a simple yet head bobbing guitar part. But overall I find myself missing songs like “A Llama Eats A Giraffe (And Vice Versa)” which had a lot more feeling to them then almost all of the tracks on this album.

Some fans will be disappointed, and others may like the direction the band took with this album. I for one will probably not be playing this album as much as No Sir, Nihilisim Is Not Pratical. It lacks the replay power that so many first albums have from bands such as Showbread.

Track Listing:
1. Naked Lunch
2. Pachycephalosaurus
3. Your Owls are Hooting
4. Oh! Emetophobia!
5. Sing Me To Sleep
6. George Romero Will Be At Our Wedding
7. The Jesus Lizard
8. Centipede Sisters
9. Dinosaur Bones
10. Age Of Reptiles

Filed Under: Album, Reviews Tagged With: Showbread, Solid-State

Underoath – Define The Great Line

July 14, 2006 By Manuel Enrique Garcia 4 Comments

Underoath

Artist: Underoath
Album: Define The Great Line
Label: Tooth & Nail / Solid State
Purchase: Smart Punk
Release Date: June 20, 2006

Overall: 10
Music: 10
Lyrics: 10
Production: 10

Bands are criticized by their musical captivity on their records, their live performance and stage presence, and their overall interaction with their fans (the most important group of people in the music industry). There are some bands that excel only two of the three with excellence, then there are others that only focus on perfecting one and leave the others blank. It is rare to find a band that is outstanding on recordings, intensely driven with stage presence, and sincerely devoted to their fans. When it comes down to thinking of such a band, there is only one that comes to mind that has captivated each essence with perfection.

Underoath was started when the members were in high school and they just wanted to start a band to pursue their love for music and faith. The music in the beginning was heavy, filled with guitar work and destructive vocals by ex vocalist, Dallas Taylor. The band throughout the years has evolved into one of the most respected rock band that is also changing the way we view music. Underoath has stated that they never make a record twice; they enter the record studio with an open mind and set themselves up with no limitations. Never has a statement been so true then with Underoathâ┚¬Ã¢”ž¢s last record release, Define the Great Line.

Define the Great Line is Underoathâ┚¬Ã¢”ž¢s finest works and can easily be considered one of the greatest records ever to grace human beingsâ┚¬Ã¢”ž¢ ears. In a quick summary, the record is an eleven song compilation of their other records added with a new sound never heard before. The record has the guitar works and overall brutal sound from Cries of the Past and Act of Depression. The record has the instrumental aspects and keyboard usage of The Changing of Times. Lastly, the record has the catchy parts of the song that fans can sing back to the band from Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. Underoath has also managed to bring something new to the table with their ability to experiment and see music with no limitations.

This epic record begins with â┚¬Ã…”In Regards to Myselfâ┚¬?, which sets the listener to what is to come from Define the Great Line. The song begins with the sound of an old fashioned projector being turned on. The projector is interrupted by a catchy guitar part and is joined by the highly impressive screams of Spencer Chamberlain. Throughout the song the listener will begin noticing the heavy yet synchronized guitar work that is an improvement from Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. Spencer vocals have also improved and the listener is able to notice is wide rage from highs, deeps, and mids. As the song is only getting heavier, drummer and vocalist, Aaron Gillespie breaks free and sings in with a catchy chorus that is overtaken by Spencer, than once again sung by Aaron. The song continues with its heavy essence until it slows down and you hear the perfectly sounding singing of Gillespie. â┚¬Ã…”In Regards to Myselfâ┚¬? is a perfect way to open up the record. It sets the listener up for intensity of the record, the catchy singing of the record, and the honestly written lyrics. With such lines as â┚¬Ã…”What are you afraid of?â┚¬? and â┚¬Ã…”Pull yourself togetherâ┚¬?, it is obvious that Underoath is set with a message to showcase to the world.

â┚¬Ã…”A Moment Suspended in Timeâ┚¬? has less heavy guitar work and brings the listener back to the sound of Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. The singing and screaming is equally used throughout the track. The song has its slow parts that you can sing along to and it also has its energy boosting moments. Overall, itâ┚¬Ã¢”ž¢s a great song that showcases Underoathâ┚¬Ã¢”ž¢s talent and experimentation with the keyboard.

â┚¬Ã…”There Could Be Nothing After Thisâ┚¬? starts out with Spencer with a faint scream with a repetitive guitar rhythm behind him. The song is broken into full force after Spencer says â┚¬Ã…”You want to see me disappear, well so do I.â┚¬? Afterwards there is a catchy, dancing type beat with Spencer screaming in the background. The chorus is split between Gillespie and Chamberlain and catchy like any other Underoath chorus. The song stops 30 seconds before the actual song ends and a soft instrumental begins with the soft sounding, non-distortion guitar and piano keys. Overall, a great song that is slightly progressive from TOCS.

â┚¬Ã…”Ever So Invitingâ┚¬? begins with the hard hitting screams of Spencer Chamberlain with honest lyrics to go along with it. The beginning of this song is filled with catchy singing, keyboard, and more of an upbeat feeling to the essence of the song. The keyboard is strongly used in this song and gives the song an overall upbeat feeling that is not only catchy, but uplifting. This song clearly shows the improvement of vocals from Aaron Gillespie, which isnâ┚¬Ã¢”ž¢t really needed, being that his vocals are some of the best in the music industry already.

â┚¬Ã…”Salmarnirâ┚¬? is the first song Underoath released to the public from Define the Great Line, and an interesting song it was to release first. Itâ┚¬Ã¢”ž¢s slow, and mostly instrumental until you hear spoken word in Russian (at least it sounds Russian). This song is relaxing and serves as an intermission from Underoathâ┚¬Ã¢”ž¢s energy driven songs filled with every aspect that is the band. It gives off an uplifting essence and leaves the listener reflecting on their thoughts.

â┚¬Ã…”Returning Empty Handedâ┚¬? begins with a constant drum roll but is broken by Spencer Chamberlainâ┚¬Ã¢”ž¢s screams. It is easy to see that this song is going to be on the heavy side. The guitar work is outstanding and fast paced and something never seen in Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. Spencer showcases once again his amazing wide range vocal ability. The song is slowed down and singing sets up only to be pushed aside by screaming. This song is beautifully written and makes the listener realize how impressive this record is so far.

â┚¬Ã…”Casting Such a Thin Shadowâ┚¬? starts off instrumental, soft and relaxing for the beginning three minutes and forty seconds. The music builds up along with a faint scream from Spencer. This song has more of an epic feeling with the less intense fast paced music but with the brutal screams still echoing inside your ears.

â┚¬Ã…”Moving For The Sake of Movingâ┚¬? starts off faced paced from the beginning and starts off with a mixture of screaming and singing. The song possesses of all the elements of their last two records. The catchy singing, the keyboard beats, the sincere screaming, the beautifully written lyrics.

â┚¬Ã…”Writing on the Wallsâ┚¬? begins with singing from Aaron Gillespie backed up by keyboard beat. Itâ┚¬Ã¢”ž¢s easy to figure out why this was Underoathâ┚¬Ã¢”ž¢s first single. This song is the most from Define The Great Line that sounds like their odd stuff from Theyâ┚¬Ã¢”ž¢re Only Chasing Safety. Overall, a great track that balances every aspect that Underoath has to offer, which is a lot.

â┚¬Ã…”Everyone Looks So Good From Hereâ┚¬? is possibly one of the heaviest tracks on the record, filled with fast paced guitar work, pounding drum beats, keyboard beats, and a breakdown that is rarely seen in Underoath. Itâ┚¬Ã¢”ž¢s a short song, but one of the most brutal and guts wrenching.

â┚¬Ã…”To Whom It May Concernâ┚¬? is the last song on the record and it begins instrumental with everything from drums, guitars, and piano. Afterwards, there is chanting sounding singing that is uplifting and hopeful with lyrics such as â┚¬Ã…”So hold your head up high, and know, itâ┚¬Ã¢”ž¢s not the end of the roadâ┚¬?. This part of the song is motivating, inspiring, and enough to have chills running up your spine. The singing stops, the instrumental slows down, and the screaming and heavy aspect of Underoath breaks free. Itâ┚¬Ã¢”ž¢s not as fast paced as the other songs but the heaviness is still there and the intensity and still echoing your ear drums. The screaming is stopped with the last lines screamed â┚¬Ã…”Itâ┚¬Ã¢”ž¢s not the end of the road for youâ┚¬?. The instrumental part from the beginning enters and so does the chant singing more uplifting lyrics, such as â┚¬Ã…”At the end of the road, youâ┚¬Ã¢”ž¢ll find what you are looking forâ┚¬?. This is a perfect way to the end the record. It consists of everything Underoath has brought to the table with this record and it is also one of the most hopeful songs you will ever hear.

Define The Great Line is a record that isnâ┚¬Ã¢”ž¢t made up of eleven singles but made up of eleven songs that compliment each other and only when you listen to the record as a whole, will you begin to understand everything. This is such an epic record that after listening to it twenty times, you still want to listen to it another twenty times. This is one of those records that will never get old. The record is about life and the struggles we face but also how we manage to pull ourselves through the struggles and know that there is always hope for us. From the first track to the last, you are strapped in for a journey that will leave you a different person in the end. The vocals can be taken away from every song on this record and the record will still be outstanding.

Underoathâ┚¬Ã¢”ž¢s Define The Great Line is one of the most beautifully created and talent showcasing records ever released. This record is everything everyone made it out to be and so much more. If this record isnâ┚¬Ã¢”ž¢t already in your CD collection than I highly suggest you go out and by it. You will find yourself listening to it constantly and finding truth and hope in the lyrics. Congratulations Underoath, you have created the record of the century.

Track Listing:
1. In Regards to Myself
2. A Moment Suspended in Time
3. There Could Be Nothing After This
4. You’re Ever So Inviting
5. Salmarnir
6. Returning Empty Handed
7. Casting Such a Thin Shadow
8. Moving for the Sake of Motion
9. Writing on the Walls
10. Everyone Looks So Good From Here
11. To Whom It May Concern

Filed Under: Album, Reviews Tagged With: Solid-State, Tooth And Nail, Underoath

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