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.