Have you ever been in a fight that you really had no business involving yourself with? You’re just standing there, taking shot after shot – a furious beating, bleeding nonsensically. All the while, you are thinking to yourself, “Why the hell am I here? This sucks! And it hurts, really freaking bad.” Now, let’s get a visual here: most of the time, the punisher comes in the form of a large, mammoth-looking fellow towering over you, probably enraged because you made some comment about his below average breath in front of his above average girlfriend. Well, unfortunately for us listeners, we are currently being bludgeoned by five scene kids instead, who make up the infamous (LOL) trance-core group known as Abandon All Ships. Embarrassing, right?
Luckily for you, me and anyone else reading this, the visual was just a way of painting a much more conceptual picture. Listen to Infamous, the sophomore release by Abandon All Ships and you will start to realize some of the same symptoms had you been attacked by a large man. So, no, I have never been in a fight. Not with a grizzly, or a group of outrageously skinny males. While my testament in the prior paragraph cannot be backed up by actual fact, I can only imagine. Capiche?
From its onset, the album delivers an astounding sense of genre confusion. Pieces of hip-hop (rapper A-Game features, poor guy), electronica, deathcore and screamo all smashed together in equal parts. Although I personally enjoyed portions of the debut full-length Geeving, I cannot seem to pinpoint an exact win on this follow-up. Outside of the guitarist and drummer leaving the band to join Woe, Is Me, nothing else changed. So why the increase in mind-numbingness?
One of the notable flaws (in comparison to 2010’s Geeving) is the less appealing role of clean vocalist Martin Broda. It seems he has become more infatuated with auto-tuning his voice in almost every way. Broda may as well use it in his everyday living situation. Perhaps then he could take his show to the road – the circus, I mean.
Because of Broda’s loss, unclean vocalist Angelo Aita becomes an increasingly annoying addition. His moaning, whiny yelp-thing he delivers is actually identical to the debut release. The fact that Broda does not relieve him on this record in any way, shape or form, forms this continuously failing spiral. They just keep layering chunks of garbage on top of each other in the hopes that it will eventually balance itself out.
While there will undoubtedly be fans of this album, I am not one of them. The fans that they acquired with Geeving, many will jump ship – that is a guarantee. As I mentioned, the debut had parts that really shined through (I’m gonna get shredded by the staff for that one), but anything positive that sparked from it was immediately drowned out by waves and waves of filth. Give it a few good listens and tell me I am wrong. But before you decide to inform me of my poor opinion ability, know this: One day, you will have a beastly man knocking on your door to deliver some necessary therapy. You have been forewarned.
For Those Who Like: Attack Attack!‘s Attack Attack! – Scarlett O’Hara‘s Lost in Existence – The Party Foul!‘s Halfway to Home