Miss May I's Sudden Climb

 

       A band's rise to fame is an interesting thing to observe. It's a slippery slope that can take years to start, but when it does, there's no stopping. With no way of telling when it's going to start (or stop, for that matter), watching a previously-unknown band suddenly surge in popularity is thoroughly exciting, as we wait not only for how the band takes the news, but, what's more fun, what they do with their new-found fame.
    This summer, Warped has been particularly kind to several lesser known bands. Motionless in White, Memphis May Fire, and Pierce the Veil exploded onto the forefront thanks to their status as Warped's 'featured' bands. The latter two's release of a summer album almost certainly helped things, as it not only gave newcomers a new record to start on, but also meant that seeing them play at Warped was seeing them perform their new material for the first time - an attractive prospect.
     In any case, the Warped band that's taken the world by storm this summer remains Ohio metal outfit Miss May I. Coming off of the release of their new album, At Heart last June, the band had my immediate interest as one of the first summer releases not to feature Kellin Quinn. There, I said it. He's in too many things for so unremarkable a vocalist. My dislike of Quinn aside, Miss May I's popularity took an unexpectedly huge upturn after Warped - going from the band that constantly posted one of their two music videos to accruing praise, attention, and almost 800,000 'likes' on Facebook.
      Just as well, the band is set to headline both the AP tour this fall (alongside The Ghost Inside and Glass Cloud, among others), a UK tour in the winter, and a smaller Latin American tour in direct support of Asking Alexandria - all just two years after they opened for The Devil Wears Prada. That's to say nothing of the fact that one of their sponsors (Charvel Guitars) is currently putting out a signature model.
       All in all, it's a lot in a short amount of time for a band with only three albums to their name. That being said, for a band that formed in 2006, and in an age where artists barely wait a year before putting out their next album (Memphis May Fire, are you listening?) this is a very good thing. Two years is plenty of time for artists to experiment, refine, attempt, practice, and polish a new record. At Heart, which can easily be called the band's breakout album, is a shining example. After two years, and riding the mediocre press given their sophomore release Monument, At Heart was a refreshing change of pace that experimented with actual metal elements, pushing the band in a completely different direction.
         Nevertheless, the band's stubborn self-definition as 'metal' remains one of its glaring faults. It's one thing to call yourself a metal band, and another to actually be one. Vocalist Levi Benton certainly has the hair, and the distorted guitar and quick drum feel certainly are in line, but at its core, the band is still a metalcore act. Their affection for breakdowns and typical lyrics bemoaning abandonment keep them entrenched in the genre. At Heart rises farther out of the metalcore stereotype than its predecessors, but not enough for the band to call itself a metal band. In the grand scheme of things, genre classifications are completely irrelevant - people should listen to what they like - but Miss May I defines itself as a metal band - earlier in the summer many of their Facebook updates would end with 'STAY METAL'! - and thus puts itself up for judgement.
           That being said, it's time to look at exactly what made At Heart such a hit. The band's previous albums, 2010's Monument and their debut Apologies Are for the Weak, were both characterized by heavy hitting, energetic pieces, a focus on frontman Benton's unclean vocals, and with bassist Ryan Neff supporting with cleans. Though this lineup has (laudably) remained unchanged so far, At Heart was the band's first attempt at an experiment with this formula.
             The typical chug-chug heavy metalcore ballad remains at the forefront of the band's arsenal, that much is true, but At Heart contains a short, eerie instrumental introduction ('At Heart'), that ties in to the band's first single and knockout song, 'Hey Mister'. Though appallingly titled, the song is a shining example of the band's new direction - the guitarwork isn't a combination of bar chords with a few eighths thrown in there for rhythm - it's a full-on riff. The song works itself up, slowly but surely, beginning with the quiet piano of the introduction before exploding into an intense ride that doesn't let up. As far as a first track goes, these two deliver. The drumwork is frenetic and wild, and the variety on the guitar is stellar. What's best is that Neff's vocals have vastly improved - he serves as an emotional foil for Benton's furious, blistering screams. Together, the two set up a great contrast that's palpable, but nevertheless enjoyable. Minimal electronic effects also give the band a unique sound that gives Miss May I a much-needed identity.
               Thankfully, this keeps up for most of the album. Intensity was never a problem for Miss May I, but At Heart kicks the notch up to 11 to deliver something new. While the album does, eventually, suffer from the same problems as its predecessors - namely repetition. Even intensity gets boring after twenty-odd minutes - the band's decision to experiment extends beyond the introduction. An acoustic segment on 'Found Our Way' switches things up nicely, before exploding back into the Miss May I's standard metalcore-heavy sound.
                At Heart is a success. It's fun and listenable, even if many of its songs are forgettable. It must be stated, however, that the few songs that work are incredible. Overall, the band has improved, and shows that the band can improve and change its ways. In a time where the standard Rise Records band is a mindless chug-slog, Miss May I are on their way to being one of the record, indeed, the genre's, flagship artists.