Опубликовано29.11.2018 в 22:40АвторTusar

AFTER THE BURIAL - Collapse (Official Music Video)

Despite being a -core band, they are one of the better-respected metal acts to hail from my neck of the woods. I confess readily that I'm not often one for djent, or almost anything -core that doesn't sound like Minor Threat.

But many appreciators of After the Burial agree that Rareform is the crown jewel of their discography. And if this is truly the centerpiece to which so much of their laud is indebted, I figured I had to give it a shot. At first blush, the music gives every indication that they deserve the praise. Djent isn't the easiest genre to make a name in; the nature of the style makes it difficult to compare bands intelligently without a degree in music.

But where many djent bands thrive on the chaos of their mathy, jagged style, After the Burial flows fluidly from bizarre, seemingly arrhythmic breakdowns to vast, sweeping climaxes. More importantly, they stray whether deliberately or otherwise from many of the genre's cliches. You'll hear no whammy bars on low B strings here, nor obnoxiously Hot Topic-esque clean vocals.

Breakdowns seldom drag on too long, and serve their function as bridges and interludes rather than main riffs herein is contained a lesson that many deathcore bands could learn. Once you start to analyze the record more closely, however, a number of problems begin to arise. The worst offenses on the album were, as I have come to understand, remedied on the reissue. Nevertheless, they are present and glaring on the original edition.

The first issue is the use of programmed drums.

19 Feb As it is the obvious elephant in the room, I'll waste no time in addressing the issue and how last year's consequential incident may influence the.

It's not that they sound bad - save for the lifeless snare, it's hard to tell that they're electronic both a compliment to the drum programmer and an insult to most metal sound engineers. There's simply a human element that no computer can simulate, and instead the album's instrumental sections can start to resemble a GuitarPro playback.

The second major issue is evident almost immediately. The band's lead singer has perhaps the most stereotypical metalcore scream that I've ever had the displeasure of hearing.

Even bands like Bullet For My Valentine feature more original vocal styles. Unfortunately, these screams are bad enough that they usually kill the mood of the song. It's jarring, really; imagine listening to Meshuggah, then suddenly switching to an Escape the Fate song in the same key and you might begin to get the idea. But since both of these were fixed for the reissue, there's no need to criticize the record too much for them.

Instead, one can focus on a number of other problems that crop up over the album's oddly short runtime. Though the guitar work is spectacularly professional, it feels cold. There's no feeling, even in the best-harmonized and most dramatic sections. The rhythm guitar actually did far more for me as a listener than the leads - the chords in the rhythm parts are far more inventive, and the low tuning makes some of the less straightforward chords sound like something from a Swedish melodeath band.

And though the guitars are performed exceptionally well, they're rather derivative. Many of the most dramatic leads sound more like advanced warm ups than actual melodies. The breakdowns are excessive, too.

Album description. Mudrock's dry production focuses almost all of Waking the Fallen on Avenged Sevenfold's greatest strength. That, of course, would be. Read more...

At their best, they are progressive and intense, but at their worst they resemble C-grade deathcore like Suicide Silence. As I mentioned earlier, they stay in their place well and the transitions into and out of them are smooth as silk.

But so many of them feel forced - it often sounds like the band felt pressured to fit a breakdown or four into every single song, and jammed them in wherever they'd fit. In metal, a square peg in a round hole can often be excusable - metal bands are pretty much supposed to put their listeners on edge. Here, the discomfort is replaced by distaste, and a justifiable question: This leads to the last major problem with Rareform.

The songs themselves flow quite nicely, but the album as a whole lacks cohesion.

As a Twin Cities native, I can't help but feel a bit of hometown pride for After the Burial. Despite being a -core band, they are one of the better-respected metal.

Not one track feels like it simply must lead to the next, and the listener is left with the feeling that any number of songs could potentially have been swapped out with any other on the album without much detriment to the flow. With this in mind, the short length of the album is bittersweet: But on the other, it isn't hard to imagine the band arbitrarily selecting eight songs for inclusion, with the tracklist and overall theme as an afterthought.

It's hard to really hate Rareform. After all, it's not a terrible record, and it manages to fit squarely into its genre without sounding too phoned-in. After the Burial is a bit of a one-trick pony, but they're good at what they do. This, of course, is a double-edged sword. As I listened through the 36 minutes of this album, I definitely enjoyed it. But the entire time, one thought kept running through my head:

Despite being a -core band, they are one of the better-respected metal acts to hail from my neck of the woods. I confess readily that I'm not often one for djent, or almost anything -core that doesn't sound like Minor Threat.

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{REPLACEMENT-(Зайцев.нет)-(}Of course, I'm referring to the highly publicized, tragic death of founding guitarist Justin Lowe. Fans of AtB waited patiently to see what would become of the band. Would they cease to be?

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Comments: 4

  1. 04.12.2018

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  2. 07.12.2018

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  3. 08.12.2018

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  4. 10.12.2018

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