Second Opinion Review: Misery Signals—Controller

Artist: Misery Signals Album: Controller  Label: Ferret Music Released: 7/22/2008

BSTscore: 84

Let me get this out of the way before you potentially jump to a conclusion. Controller is a good album by a great band. I enjoyed the work as a whole, and it's a solid upgrade over Mirrors. Instrumentally, it's the Misery Signals we all know and love—technical guitar work, tight percussion, and complex song structures that meander back and forth between aggression and melody.

However, Misery Signals is like a high-performance engine running on all but one cylinder.

Vocally, this album falls short. While I put up with Karl Schubach's monotone growls on Mirrors, I've grown tired of them on Controller. The vocals rarely wander past the midrange, which causes some of the denser songs to be quite difficult to sit through, such as "Labyrinthian." The vocals have a tendency to mesh together into a bland blanket of sound—covering the good stuff. Also, the attempts at singing are inconsistent in quality and oftentimes clash with the flow. There were many times I wondered how Jesse Zaraska, Misery Signal's previous singer, would have fared with the material.

Granted, the vocals aren't atrocious. They aren't even bad. But, they are average at best and adversely affect the music. Schubach has his one trick scream down to a science, but that's far from enough to match the stellar instruments. It's truly unfortunate.

Nevertheless, the class of this album comprises the yin and yang "Weight of the World" and "Coma." "Weight of the World" is a furious three minute salvo, featuring nice injections of melody near the end. "Coma" ramps up the melodic quotient with intricate strings and a diverse framework. Other notables include "Parallels," "Set in Motion," and "Ebb and Flow."

What can I say? I knew what to expect with Controller. It's a good album, and I still enjoy Misery Signals. I guess my tolerance has waned a bit with the band's primary weakness. This release should be in 90 territory, but I have to listen to my heart—and my ears.

Musicianship: 95
Vocals: 70
Creativity: 85
Impact: 85

Favorite Song: “Weight of the World”

Listen to Misery Signals

You can also read Rob's take on the album.

Misery Signals—"Weight of the World"

Couldn't Help Myself

This may be the stupidest thing I've ever seen. Or the greatest.

BSTscore: 95

Click here for an encore, or here.

On a more important note, vote Obama.

Review: Unearth - The March

Artist: Unearth
Album: The March
Label: Metal Blade
Released: 10/14/2008

BSTscore: 98

The March is the 4^th full length from Boston’s Unearth. Yet again, the band delivers a haymaker to the metalcore world. The first riff of “My Will Be Done” (the opening track) is a blissful reminder of everything that makes Unearth so great. Blistering tempos, punishing beats, amazing guitar harmonies, and crisp vocals are delivered flawlessly. What lies ahead are ten tracks that only further the band’s stake as one of the best bands in metal today.

Despite constant assurances against it (including from front man Trevor Phipps in our interview a few years ago), my biggest fear with Unearth has always been that the band would stray away from their bread and butter or begin to repeat riffs or breakdowns. I can assure you; this is still not the case (and has pretty much eased my fears). The only change is that there isn’t as much thrash metal with this release. Regardless, The March is undeniably an Unearth album, and the songs remain unique and identifiable.

The obvious strength of the band’s music is the dueling guitars of Buz McGrath and Ken Susi. Their ability to layer riff after riff into solos is matched by few and still leaves me shaking my head. See “Hail the Shrine”, “Crow Killer” and “Cutman” for examples on this album. I’m further impressed by the seamless transition to new drummer Derek Kerswill. The beats are powerful and thundering from start to finish. The creative breakdowns and fills are executed to perfection. Call it cliché, but The March is definitely heavy and metal.

Equally as strong and impressive on The March is vocalist Trevor Phipps. His clear, crisp delivery is easily the best in the metalcore genre and makes the band easily identifiable. The power of his voice is something that gets your blood boiling and makes you scream along. Again, check out “Hail the Shrine” and “We Are Not Anonymous”. Lyrically, the songs show passion and depth, as well as anger (as always). Favorites for me include “Grave of Opportunity” and “Letting Go”.

Every time I review an Unearth album, I feel like I’m just repeating myself, and there’s good reason for that: There’s not another band out there that can consistently produce music like this. I could ramble on and on about how great this album is, but I think you should find out for yourself. You won’t be disappointed.

Musicianship: 100
Vocals: 100
Creativity: 95
Impact: 95

Favorite Song: “Letting Go”

Listen to Unearth

Spotlight - October 10, 2008

Unearth, Protest the Hero, The Acacia Strain, Whitechapel, Gwen Stacy

Gothic Theater, Denver, CO

The following is a recap of the show:

We arrived a little past the show start time, but I was a bit surprised that Gwen Stacy had already played. The show was listed as a 7:30 start and apparently it started early or the band only played for ten minutes. Either way, I can’t comment on what we missed, so I guess it’s on to what we did see.

The first band of the night (for us) was Whitechapel. Hailing from Knoxville, the sextet delivered their punishing brand of deathcore with energy, but did little for me. I am not much of a fan of the genre, so it’s hard for me to get into the band. The three guitarist approach certainly gives the band the ability to make things heavy and fast, but the lack of flow to the music is frustrating. It’s like speed bumps on a racetrack.

Next was the Acacia Strain. Vocalist Vincent Bennett is one of the more entertaining front men in metal. His energy is constant and he conveys the passion of the bands music on stage very well. Also impressing me was the band’s sound, despite the fact they tour with only one guitarist (and record with 3). Obviously, some of the depth of songs is sacrificed by this approach, but nevertheless, the band was solid. Their mix of older material and a few songs (“Skynet”, “Dr. Doom”) from their latest release, Continent, was well received.

Protest the Hero is one of those bands that people either love or hate. I, for one, love this band. The depth, technicality, and uniqueness of the band’s sound are something that the metal world needs. The fact that they don’t really care what other people think only helps the effectiveness of the band. Their set flowed well with offerings from Kezia and Fortress. Highlights included “No Stars over Bethlehem” and “Bloodmeat”. Every time I see this band, the more impressed I am with their musical abilities.

The headliner was Unearth. Supporting their recent album, The March, the band is as strong as ever. This was, hands down, the best set of the night. And I would venture to say, one of the best Unearth performances I’ve seen. Especially in the last 3 or 4 years. The band blistered through “Endless” and “This Lying World” before taking so much as a breath. The energy and power conveyed in their set is something that cannot be described, it has to be felt. There are countless reasons that I think this band is the best in the business, but shows like this only further my point. My only complaint was the overuse of the strobe lights, but that was offset by the guitarists taking turns with a beer bong. The band mixed in “My Will Be Done” and “Crow Killer” from the new record, as well as the staples “Giles”, “The Great Dividers”, and “My Desire” before ending with “Black Hearts Now Reign.” It was an excellent end to good show. I feel sorry for anyone who missed their set.

End of Summer

Hey Everyone,

As you probably noticed, the last month was hectic for us. Eddy was in Brazil for most of the month and I've been slammed at work. Hopefully things will slow down for us in October. We have at least 2 interviews lined up this month, so check back for those in the near future.

Until then, keep rockin'.

Review: For the Fallen Dreams - Changes

Artist: For the Fallen Dreams
Album: Changes
Label: Rise Records
Released: 1/8/2008

BSTscore: 90

Every once in a while, I stumble upon a band that I can’t stop listening to, regardless of the band’s strengths or weaknesses. Saginaw, Michigan’s For the Fallen Dreams is one of those bands. The band’s album, Changes, has been on repeat in the car, at home, and at work for a couple of weeks now. For some reason, it’s one of those albums that just clicks for me.

Musically, the band is something along the lines of a bastardized offspring of Misery Signals and Bury Your Dead. I can’t say they’ve stepped too far outside the box with their brand of metalcore, but the melody of the guitar work makes for some of the best sounding songs and breakdowns I've ever heard. For music this heavy, I can’t use words like beautiful, but it is close. On the flip side, the punishing rhythms will put you back in your place pretty quickly.

One of the glaring strengths, and yet weaknesses, of For the Fallen Dreams is vocalist Chad Ruhlig. It’s certainly not his fault, but his voice shares an uncanny resemblance to former Bury Your Dead vocalist Mat Bruso. First time listeners are bound to assume they are hearing Bury Your Dead. The angry, crisp vocals are a perfect fit for the music, but only further the comparisons. Chad’s lyrics are passionate and sing-along friendly, adding to their effectiveness.

Changes is an excellent album. From the anthems “Brother in Arms” and “Never Again” to the epic “Through the Looking Glass”, there isn’t a bad song on this release. I have to knock the band a little, as I can’t help but dwell on the similarities to other bands on the same genre, but it doesn’t change the quality of the music. The combination of brutal breakdowns and melodic harmonies is one that works for me and I look forward to more from For the Fallen Dreams.

Musicianship: 95
Vocals: 90
Creativity: 80
Impact: 95

Favorite Song: “Hopeless”

Listen to For the Fallen Dreams

Review: This is Hell - Misfortunes

Artist: This is Hell
Album: Misfortunes
Label: Trustkill
Released: 2/19/08

BSTscore: 79

One of the most difficult things for bands today is finding their own identity. Long Island’s This is Hell has made a terrific album with Misfortunes, but as with the band’s previous album, Sundowning, I found it difficult to find uniqueness to the band’s sound. The hardcore genre itself has become saturated through the years, and it has become harder and harder for bands to truly stand out from the crowd.

Upon my first listen of Misfortunes, I instantly started thinking back to bands This is Hell sounds like. The obvious one is Comeback Kid, as vocalist Travis Reilly’s voice is eerily similar to that of Scott Wade and Andrew Neufeld. There are also similarities to the Hope Conspiracy and 100 Demons, as well as many of the old-school style bands from the east coast. The biggest aspect of Misfortunes that instantly won me over was the lyrics. The album is strong, passionate, and begs you chant along as you listen.

Comparisons aside, this is very solid listen from start to finish. The band’s ability to take fast-paced songs and turn them into melodic sing-alongs is excellent. Hardcore music may not require the most talented musicians in the world, but This is Hell is a band that is tailor made for this sound. The driving guitars mixed with blistering rhythm work produce a catchy album that begs you to listen to over and over again. I know that I’ll be listening to this quite often.

Musicianship: 85
Vocals: 85
Creativity: 70
Impact: 75

Favorite Song: “Disciples”/”Last Days Campaign” (tie)

Listen to This is Hell

Review: Misery Signals - Controller

Artist: Misery Signals
Album: Controller
Label: Ferret
Released: 7/22/2008

BSTscore: 85

Controller is the 3^rd full length from Wisconsin’s Misery Signals. I’ll be straight forward and honest. Misery Signals is one of the more refreshing metalcore bands around and Controller carries the band’s sound to a more refined level.

Pulling from the strengths of their prior release, Mirrors, this album is loaded with heavy melodies and gripping breakdowns. Although vocalist Karl Schubach’s range might be limited, it’s his crisp delivery and identifiable voice that help give the band its unique sound. The clean singing is harmonious with the music and fits well. See “A Certain Death” or “Set in Motion” for good examples. While I'm not too sure about the lyrics on the songs, “Nothing” and “Parallels”, the majority of this album is excellent.

My favorite part of Controller is the flow. Not just song to song, but as a whole. You can listen to it straight through or on shuffle and everything fits together. Even the heavy and fast paced parts to the album are melodic in their own way. I find it very hard to argue with what the band is doing musically. The tempo and time changes go unnoticed to the untrained ear and will certainly help Controller gain listeners. As far as metalcore bands go, Misery Signals is a step ahead of most and they will continue to be in my rotation if they keep producing music like this.

Musicianship: 90
Vocals: 80
Creativity: 85
Impact: 85

Favorite Song: “A Certain Death”

Listen to Misery Signals

Interview: Protest the Hero

bst interviews Protest the Hero

by rob tatum

Recently, bst had the chance to interview Rody Walker, the vocalist from Protest the Hero, when the band hit Denver as part of this year's Warped Tour. We asked Rody about the band's latest album, the current tour, as well as some other things. The following is a recap of one of the most entertaining and honest interviews that we've ever done. If you are interested in learning more about and listening to Protest the Hero, visit the band's official website, and the band's Myspace page.

bst: Please state your name and instrument.

Rody: My name is Rody and I yell like a little girl into a microphone in Protest the Hero.

bst: Fortress was released earlier this year. How would you compare it to your previous releases?

Rody: Fortress was just a progression of what we were already doing. We are just diving deeper into the wonderful world of heavy metal. More shredding, more melody, less breakdowns.

bst: What was the inspiration behind the album?

Rody: The inspiration was just general brutality, people getting beheaded on the internet, guys cutting their penises off on the internet… have you guys seen that? It’s fucked up.

bst: What were your expectations for the album?

Rody: We didn’t have expectations. We go into everything without expectations because then we can’t be disappointed if people don’t like it. If people are praising it when it comes out, cool, but if they don’t like it, whatever.

bst: Is there anything you would do differently if you could go back in time?

Rody: Personally, I’d give myself some more time to do the vocals. I had two or three weeks to finish it and then we went out for the tour next day. I really needed more time, or more alcohol.

bst: In your words, what makes Protest the Hero different from other metal and hardcore acts? Lyrics? Song structures? Your sound is unique and a refreshing change.

Rody: I think it’s that we don’t have a fear to venture outside the genre of metal. Some people call us pussies for having melodic parts. We listen to a lot of different music, sure we listen to a lot of metal and grindcore, but we aren’t afraid to show our other influences.

bst: Your live show has always been one of the best, what do think separates you from other bands?

Rody: Right now, I think what separates us is that we don’t really care. A lot of bands are out there dancing and throwing themselves all over the place, and don’t want to do all that. I mean, who wants to hear a band trashing their instruments because they can’t play them? We are more about playing accurately.

bst: I’ve seen you get a negative reaction from ignorant attendees, and you’ve just fueled their fire. Any reason you take this approach?

Rody: I don’t know. It’s hard to say. We went on tour with Dragonforce about two years ago and we got a lot of hatred on that tour. A lot of kids with hair down to their nipples screaming unpleasant gratuities at us and I just don’t take people’s shit anymore. I could care less if some little jerkwad wants to throw a beer at me. Maybe it’s too much self-respect. Some people call it ego, I call it respect.

bst: Obviously Warped Tour has become a staple of the summer and it seems like every year it gets bigger and bigger. Every summer it seems that more and more summer tours and festivals are started. With higher ticket prices, shorter set times, and larger crowds, do you think this has some adverse effect on the music community? Do the shows have any intimacy from your perspective?

Rody: It’s always been a corporate bullshit festival. It’s not a music festival, it’s a shopping mall. It’s difficult to find music with integrity at these festivals. There are some gems, but a lot of these bands are just here to sell t-shirts.

bst: Through the years, the tour has offered a little bit of everything and created some diverse crowds with its eclectic lineups (genres and personal agenda). At times there is tension between the crowds, does this translate back stage? Any memorable moments you’d like to share (good or bad)?

Rody: I’ve almost gotten beat up a couple times by bands that didn’t like me and my big mouth. For me, it doesn’t really translate, if there are people you don’t like, you just don’t talk to them.

bst: It’s been nearly a decade since mp3’s (Napster) came out and changed the music industry. Dollars and cents aside, do you think the internet and mp3’s have benefited the music community? Or do you feel artists are being exploited?

Rody: I’m a pirate of the World Wide Web. I mean, I think in the long run, the internet will kill the music industry, but what is an industry based on an art form anyway?

bst: How do feel about someone who purchases your album online instead of buying the CD? Downloads it?

Rody: It doesn’t affect us. We don’t make money off record sells. We make money from kids coming to shows or buying t-shirts. I have kids come up to me and tell me they bought our record and say that we just got some money from that. No, the record label just got some money from that.

bst: What do you think is the best part of the music industry right now? What can be done to keep that going?

Rody: I think the best part is that it is dying.

bst: What do you see as the biggest problem with the music industry right now? What do you think can be done to fix it?

Rody: There are so many slime bag assholes running this shit and they don’t care about the music. Eventually all that poppy shit that they shove in your face, that has nothing to do with anything, will die off. At the end of the day, the only people left will be people who love music and are trying to create something innovative and new.

bst: What are your plans at the conclusion of this tour? More touring? R&R?

Rody: We are taking a month off and then going on tour with Unearth and the Acacia Strain. Then we’re going to Europe with Unearth after that.

bst: Anything else you would like to add?

Rody: Star Trek rules.

bst: Thanks so much for talking with us and answering the questions.

Interview: Every Time I Die

bst interviews Every Time I Die

by rob tatum

Recently, bst had the chance to interview Keith Buckley, the vocalist from Every Time I Die, when the band hit Denver as part of this year's Warped Tour. We asked Keith about the band's latest album, the current tour, as well as some other things. The following is a recap of the interview. If you are interested in learning more about and listening to Every Time I Die, visit the band's official website, and the band's Myspace page.

bst: Please state your name and instrument.

Keith: My name is Keith and I play the voice instrument.

bst: The Big Dirty was released toward the end of last year. How would you compare it to your other releases? I.e. what was the inspiration behind the album? What did you do differently? What were your expectations for the album?

Keith: We wanted it to be a lot more aggressive than previous releases. You know. Punk as fuck. More of a live feel.

bst: On that note, are there any plans for the next album? Is there anything different you will do this time around?

Keith: We have no plans as of yet. We take it day by day. Once Warped Tour is done we’ll start thinking about the writing.

bst: Obviously Warped Tour has become a staple of the summer and it seems like every year it gets bigger and bigger. Every summer it seems that more and more summer tours and festivals are started (SOTU). With higher ticket prices, shorter set times, and larger crowds, do you think this has some adverse effect on the music community? Do the shows have any intimacy from your perspective?

Keith: I still think they are extremely intimate. We might be further away from the crowd physically but we play as if we were in a tiny club. We don’t dumb the set down. We don’t change who we are. I think most bands on this tour have that same attitude.

bst: Through the years, the tour has offered a little bit of everything and created some diverse crowds with its eclectic lineups. Clearly for up and coming bands (regardless of genre or personal agenda), the exposure is beneficial, but for established acts, what motivates you to play Warped? At times there is tension between the crowds, does this translate back stage? Any memorable moments you’d like to share (good or bad)?

Keith: There actually hasn’t been much tension yet. When you’re on the Warped Tour it’s like you’re attending a party thrown by the cool kids. Our sets are much shorter but we pack that much more energy into them.

bst: Your live show has always been one of the best, what do think separates you from other bands?

Keith: The fact that we don’t take ourselves too seriously. If my mascara runs, ill just learn to deal with it.

bst: It’s been nearly a decade since mp3’s (Napster) came out and changed the music industry. Dollars and cents aside, do you think the internet and mp3’s have benefited the music community? Or do you feel artists are being exploited? How do feel about someone who purchases your album online instead of buying the CD? Downloads it?

Keith: Yes, I certainly think artists are being exploited but I also think that’s the price you pay when you don’t have to work as hard for your millions. Kind of like being a celebrity. You want the good life; don’t complain about invasions of privacy. You want to sell out arenas on your first tour ever, don’t get mad when kids are stealing from you.

bst: Speaking of changing the music industry, your song “The New Black” was featured in Guitar Hero 2. Describe your thoughts on this. Is it harder to play live or on the game? Have you had the opportunity to include any songs in upcoming games?

Keith: I’ve actually never played our song but being in a video game is my childhood dream come true. All I do is play video games. They are my commercial. You want to sell me something, put it on a billboard in GTA (Grand Theft Auto). It’s more prominent than anything.

bst: What do you think is the best part of the music industry right now? What can be done to keep that going?

Keith: I think the best part is the live shows. That’s something that can never be downloaded. Keep the entertainment value up and you don’t have to worry about iTunes putting you out of business.

bst: What do you see as the biggest problem with the music industry right now? What do you think can be done to fix it?

Keith: I see the biggest problem being too many bands think they’re owed too much. Tour in a van. Get robbed. Get in an accident. Then tell me you’re upset you don’t have Gillette razors in your dressing room.

bst: What are your plans at the conclusion of this tour? More touring? R&R?

Keith: For sure, more tour. That’s all we do. Ever.

bst: You guys have gone through more bass players than albums released? Is this just a bad coincidence? Do you think Josh is going to break this trend?

Keith: Josh will break this trend god willing. Everyone gets along with him splendidly

bst: Anything else you would like to add?

Keith: Numbers.

bst: Thanks so much for talking with us and answering the questions.