Thoughts on the Upcoming Motionless in White

   

           Motionless in White and I have a strange relationship. I find most of their music catchy and fun, but I'll be damned if they aren't one of the silliest bands out there right now. That being said, I need to clarify that I have nothing against the band's aesthetic style. It's a band's choice to dress how they want, and Motionless in White deserve no hate because of how they show up to venues. There. Most of the ire the band faces is directed at that, and even bands as different as Lionheart have stepped up to support MIW:
         "...relax. Please don't use our FB wall as a place to shit talk another band just because of how they look. If they wanna wear makeup and dress like they do, then that's THEIR choice. A far as I'm concerned, they're a hard working touring band out there trying to do the same thing we are. MIW isn't my first choice for personal listening, but then again that's the beauty of music; there's literally something for everyone" (Source: http://www.altpress.com/news/entry/lionheart_respond_to_fan_criticism_for_playing_with_motionless_in_white).
          My issue with the band mostly comes from their stage presence and sense of importance. What about the band attracts so many fans is completely beyond me, and their obsession with the gothic cements it - a song about Edward Scissorhands? Actually?
          I saw the band during this summer's Warped Tour, and their introductory track involved hackneyed haunted-house noises (door creaks. THERE WAS NOT A DOOR IN SIGHT.) and wolf howls. It was one bedsheet ghost away from being Ernest Saves Halloween. That's to say nothing of their chug-friendly, relatively unimaginative compositional skills.
          To top it off, lead singer Chris Cerulli (though he goes by Chris 'Motionless' on stage) has a slight messiah complex that comes out in the wincingly offensive video for 'Immaculate Misconception'. Fans of the band are referred to as 'creatures' by the band...and I have yet to see anyone actually call themselves that with regards to being a Motionless in White fan. It seems to me to be largely a case of Worsnop-itis - incredibly high levels of perceived fame that do nothing but bring derision from anyone outside their fanbase. Metal blog Metalsucks has given them the flattering moniker of "Shitstain on the Ass of the Universe" and my friend shook his head and told me that he's 'never met a guy who likes them' when I told him I enjoyed their music. 
          That being said, I actually find MIW an extremely fun band to listen to. Lyrically, they're one of the most gifted bands to show themselves recently - focusing on something that affects every fan of alternative music at some point - being a reject. As the epitome of 'alternate' themselves, the band offers a unique kind of solace to those who feel spurned or hurt by being different. Nevertheless, their message often never even reaches the ears of would-be fans, who are immediately repelled by their striking visual style.
          In any case, it was largely this same Warped run that propelled the band to relative popularity, as their last album Creatures was released two years ago and garnered minimal attention. Now, one summer later, MIW is due to release their second full-length Infamous in November, and have so far released two singles - 'Devil's Night' and 'If It's Dead, We Kill It'.
           Let's take a look at each song and its respective lyric video, starting with 'Devil's Night' - Infamous' introductory track. As luck would have it, I was listening to Slipknot's 'Psychosocial' before I decided to put on 'Devil's Night', and when the song changed, I had to make sure iTunes hadn't decided to repeat. The introduction, aside from 'Devil's Night''s heavier synth, was almost identical to Slipknot. But that's not where the comparison ended.
            The structure of the entire song was, rhythmically, a more synth-heavy 'Psychosocial'. But without the solo, and some one liners as brilliant as 'That's what you deserve! You fucking fake-ass hypocrite!'. Okay then. Maybe MIW are experimenting with their sound?
             I sincerely hope so. The breakdown of 'Devil's Night' sounds like there's a fucking turntable involved. There's hints of an interesting riff, but it's inexplicably hidden behind the omnipresent chug-chug-chug. Lyrically, it's still a Motionless in White song - this time under the guise of a 'you'll never stop us' message.  Yeah. Okay.
              The video itself is nothing special. The camera travels down a long road while the lyrics flash on screen. During the breakdown, pictures of each band member flash for a few seconds.
               Now let's move on to the second single - 'If It's Dead, We Kill It'.  Same synth-heavy intro, except the song features Brandan Schieppati from Bleeding Through. Unsurprisingly enough, 'If It's Dead' sounds like Bleeding Through. That being said, it's a much better song - lyrically and instrumentally.
                'Devil's Night' didn't know how to tone down the synth, while 'If It's Dead' is more conservative, and plays with song structure far more. There's still a plethora of breakdowns, and studio effects abound, but the drumwork, for one is a step up - if it's sidelined behind the rhythm section. Lyrically, the song is about disregarding standards of beauty, and self acceptance - feeling fulfilled not necessarily by how you look. A good message, better than 'Devil's Night''s stupid premise of 'take us seriously! Look how badass we are'!
                 The video, on the other hand...is probably the goofiest thing I've ever seen. And it's not funny, it just made me cringe. Hard. The video is a mixture of clips of the band playing live and classic horror films - Nosferatu, The Invisible Man, Phantom of the Opera, those kind. Remember what I said about the band trying to be scary and kinda going overboard? Case in point. Good song, stupid video.
                  In conclusion, going off of what's been shown to us, Infamous is due to be a mashup of styles, none of which sound quite like Creatures. Exciting? It probably will be for a few days, until we realize the artists MIW is imitating did it better and return to them. The band's forte is still their lyrics - there's still a ways to go with the instrumentals. And they really need to reevaluate their stage presence. There might be one or two tweenage girls who think it's badass, but in a music scene where Black Veil Brides and Snow White's Poison Bite look similar to you, makeup is something you might want to ease up on.
           
                
          

Blessthefall release '40 Days' music video - and it's hilarious

       After almost a year after the release of their third studio album Awakening, Arizona metalcore quintet Blessthefall have released a video for "40 Days"...and it's pretty damn funny. Set against the pretense of a mysterious "swamp gas leak", frontman Beau Bokan and his new wife Lights Poxleitner are killed and buried, much to guitarist Eric Lambert's chagrin (he tearfully bemoans the surplus of merch and the need to find a new singer).
        Nevertheless, Bokan mysteriously rises from the grave! What follows is four minutes of silliness as he tries to find a date (via 'Awakeningdates.com'), chugs Rockstar (in a hilariously obvious plug), and eventually gives in to his zombie urges (it involves glowing pizza).
        It's a very funny ride from start to finish. Blessthefall have always had an inherent sense of humor on stage, and this is one of the first times it's been translated to a music video (a previous video for 'Hey Baby, Here's That Song You Wanted' was a seven-minute Hangover-esque odyssey involving pancakes, cheating, and unexpected weddings). That, and the choice to combine a love song bemoaning separation with a music video like this heightens the absurd. To put it quite simply: I was giggling the entire time.
         Blessthefall are currently on tour in Europe with We Came as Romans, Obey the Brave, At the Skylines, and the Browning. And I am so pissed they're not in Canada. You can watch the music video here:

In the unlikely event the band sees this: my congratulations to the happy couple!

Texas in July - the sophomore slump is not a death sentence

        

           Yeesh. Sorry for the break. Midterm season is upon us, and I should be studying for my microbiology exam right now. This seems more fun, though.
           Too often, after the success of a debut album, bands tend to relax on the effort front. Creativity is sidelined to make deadlines, and uniqueness is eschewed for what works well. The so-called 'sophomore slump' is a trap so many artists fall into, in their haste to establish a discography as fast as possible. And even more sadly, some artists never quite recover from it, doomed to fade into obscurity when they can't quite get back on their feet.
         That being said, enter Texas in July. The Pennsylvania Christian metalcore quintet known for their technical mastery and the August Burns Red-like drumwork of virtuoso Adam Gray. Three years ago, the band made its plucky - and by plucky, I mean heavy - debut with 2009's I Am. While the band maintained modern metalcore's unfortunate penchant for breakdowns, it was their unique take on riff-writing, combined with a rapid rhythm guitar section, that ultimately made the album so wonderful.
          Two years later, the band's second release One Reality was released to lukewarm reception. All traces of originality had vanished; the album was a slower, simplified, and ultimately forgettable release. One Reality failed to hold my attention for more than a few listens. The chugs on 'Magnolia' made for a great live show, but when listening to the record by myself, I'd invariably skip over anything on the album.
           Which brings us to the present - a little over a year after the release of One Reality, the third Texas in July record is here. And boy, oh boy, is it a comeback.
            Texas in July's previous albums always suffered a bit from Explosions in the Sky-itis (songs tended to be indistinguishable), and One Reality had some particularly cringe-inducing lyrics. Nevertheless, the emotional, visceral soul of metalcore persisted in every song, and with this album, it's even more apparent.
             Previous records have included an acoustic break - 'I am Yours' on I Am and 'May' on One Reality. The self-titled album's weapon of choice is a two-minute instrumental entitled 'Repressed Memories'. Grandiose and melancholic, and unafraid to show a little distortion, it's one of the most unforgettable songs on the album, before flawlessly entering the explosive (no pun intended) 'C4'.
              Technically speaking, this is a return to form. Adam Gray's explosive drumming is, as usual, present, but blisteringly fast riffs we haven't heard since I Am also make a return. The band plays with melody, setting Alex Good's harsh uncleans in the background to focus on the instrumentals - a move very few metalcore bands make nowadays. Clean (guitar) breaks are more prevalent than on One Reality, which is welcome to me. 'Crux Lust' and 'Paranoia' even have a drum solo.
               Perhaps the most interestingly is the choice of guest artists - Dave Stephens of We Came as Romans joins Good on the aforementioned 'C4', but August Burns Red's very own percussive mastermind Matt Greiner shows us his talent on closing track 'Cloudy Minds'. Why include a drummer as a guest artist? Because it's Matt goddamn Greiner that's why. His drumwork is almost as telling as his voice. In any case, it's another unique idea that scrambles up the album and sets it ahead of the pack. That's to say nothing of the fact that there isn't a synth.
               Now comes the part of the review where I talk about the record's shortcomings. But, to be completely honest, I can't think of many. While the lyrics are decently written this time, Texas in July's focus remains on its instrumentals. Good's vocal range isn't too extreme, but the record is a display of his bandmates' instrumental prowess. For a metalcore act, this is as refreshing as it is unusual. The problem with the record doesn't fall on any of the individual members, it's that the difficult task of distinguishing each song hasn't been completely taken care of. It's easier to do so on this album than on previous records, but Texas in July still have a ways to go.
               Nevertheless, this is a great album. Released as it was on the same day as The Acacia Strain's Death is the Only Mortal and August Burns Red's Sleddin' Hill, this record was perhaps fated to be sidelined slightly. In any case, it's a fun, energetic listen that's going to stay on my playlist for quite some time. This self-titled album is testament to the fact that bands aren't doomed by a mediocre record.
                Unfortunately, the only records in the foreseeable future are Woe Is Me's impending catastrophe Genesi[s], and Motionless in White's trance-y Infamous. That's saying nothing of Issues' EP Black Diamonds. Reviews (read: rants) of Woe is Me and Issues are next up, and full-on reviews might happen if I choose to torture myself.

The Acacia Strain's New Album is Brutally Refreshing

      Ladies. Gentlemen. Cats. Individuals or organisms that I've forgotten to mention.
      It's been a crazy month since I last posted on here. After two weeks of general tomfoolery consisting of furnishing and moving into my new apartment in Montreal, school kicked back up again and, with it, a sudden realization of just how much work there is to do. Being the stressed, overworked, exhausted college student that I am, I haven't had much time to listen to music or get caught up on what's been going on in the heavier genres.
       In any case, fall is here, and with it some brand new music from some old, maybe less popular faces now that the post-Warped craze has died completely and school is back in session for all the Kellin Quinn fangirls. Texas in July's new album is set to drop in about a week, Motionless in White and Woe Is Me have albums due out in November, but today I'm going to focus on possibly the heaviest, ugliest, most bone-crunchingly ridiculous new release: the Acacia Strain's Death is the Only Mortal.
         Chicopee, Massachusetts natives, the Acacia Strain have maintained a small but incredibly devoted cult following since their release of ...And Life is Very Long in 2002. Despite their affection for breakdowns, and frontman Vincent Bennett's iconic mid-range roars, the band is quite possibly the purest form of metalcore. With an emphasis on rhythmic simplicity and an unquenchable, nearly cathartic anger that permeates every song they play, and their unflinching misanthropy and utter disregard for the norms of the music industry. In an interview, Bennett called out the idea that the band was deathcore "deathcore is the new nu-metal. [...] It sucks. And if anyone calls us 'deathcore' then I might do something very bad to them(Source: http://www.metalsucks.net/2008/12/30/exclusive-interview-with-the-acacia-strains-vincent-benett/).
          Thus, it was a complete shock that, after nearly twelve years with Lamb of God label Prosthetic, The Acacia Strain abruptly shifted record labels to the scene-happy, chug-friendly, homogeneous mess known as Rise Records for their release of Death is the Only Mortal. Fans were shocked and, expectedly, furious, fearing one of the angriest bands out there would be lost forever. Nevertheless, the band proved that signing onto a new label (even one as infamous and reviled among their fans as Rise) wasn't proof of a drop in quality.
           Earlier criticisms of Death's predecessor Wormwood noted the continuous loss of originality as the band matured, from their debut album ...And Life is Very Long through the release of three more records. Wormwood's lyrics bordered on so angry they were silly, and while the band has a marked sense of humor, they seemed to be trying too hard in Wormwood, which was ultimately deemed a step down from 2007's Continent (which, as an aside, featured several Arrested Development references as song titles). In any case, Wormwood was my entry to the band, and the mysterious atmospheric effects, crunchy guitar riffs, and Bennett's unique voice all awed me. That's not to say it was a bump-free ride - three-minute breakdown 'Unabomber' can never hold my interest.
             Death is the Only Mortal takes Wormwood's sound and, to put it simply, improves on it. Beginning, as Wormwood did, with an eerie, modulated voice in the first track, 'Doomblade', the band combines their bone-crushing rhythm section frequently with  high guitar whines that drip with tension and make for a nearly frightening experience. The entire album leaves you feeling out of breath and claustrophobic. In some ways, the addition of technicality as a backdrop heightens this urgency - something that was remarkably absent in Wormwood and Continent; both albums relied on Bennett's furious lyrics to compensate for their simplicity.
             Synthetic effects are at a minimum - the band continuously strives to create as organic a sound as possible, and their ability to do so is phenomenal and awe-inspiring. Djent elements add to the overall nearly 'crunchy' guitar portion, itself an Acacia Strain staple, while the entire record's overall slower tempo is almost doom-like in its monumental way. A beautiful piano portion on 'House of Abandon' gives me chills every time. Just as well, Bennett's mixture of high screams, low growls, and his characteristic mid-range growl keep you on your toes and make for an auditory delight.
               Lyrically, the Acacia Strain stray from the path by taking a stab at misanthropy from a philosophical point of view in addition to the typical 'fuck everything, punch somebody' approach so prevalent in previous records. 'Victims of the Cave' preaches apathy, and the grand futility of existence, while 'Go to Sleep' (itself a reference to the infamous Jeff the Killer creepypasta, which I'm too pussy to link to) is a classic fountain of fury, and unsurprisingly the record's strongest play. Lyrics as a whole are an improvement on Wormwood, which dropped more F-bombs than an angry Guido, with the sole exception of a wince-worthy one-liner on 'the Mouth of the River': "Give em an inch, they take a mile. All you were was a big butt and a smile." with all the colorful ways the band has expressed their anger, the use of 'big butt' is just laughable.
               Additionally, riff structure has undergone a bit more creativity. A brief interlude in 'Brain Death' sounds like it wouldn't be out of place on a softer album, but the refusal to stick to an established song structure is still a good one - it keeps the listener entranced as Bennett roars out his hatred of mankind.

                But the question people want answered remains: has the Acacia Strain changed since their signing with Rise. Unsurprisingly not. This sounds as it should: a sequel to Wormwood with the bad parts improved upon and, while not completely fixed (it still gets a little repetitive), it's still a great release. Support the band and pick this record up. You won't regret it.

                I'm going to try and update Idiot in Remission as often as I can. I'll aim for Monday and Wednesday afternoons, but if I'm too bogged down it might get a little pushed back. Thanks for reading!