This album exhibits many of the popular traits found in recent metal bands, such as punk beats and the combination of clean yelling and screams (see Woe, Is Me’s “Vengeance”), while also somewhat containing a more mature version of the Attack Attack! found on their self-titled album, and leaving the overly auto-tuned lifestyle behind. This Means War is an incredibly heavier than anything they have done in the past; if Someday Came Suddenly is what you are looking for, this is not it. “Bro, Ashley’s Here” and rap-inspired intros are a thing of the past, and say goodbye to “crabcore” Attack Attack! and hello to 2012 Attack Attack!.

Everything is good in moderation. Everything, being the code word here for punk beats, which are, in my opinion, only decent for a couple songs per album. Once you pass the four-song mark, back to back, it’s time to move on and learn a new pattern- unless the goal of the album is to gift listeners with a headache and high blood pressure.

At or around track four, “The Reality,” you will start to wonder, “have they almost completely done away with the synth?” in which case, the answer is: most certainly not. That ever-so-familiar sound creeps back into their songs starting with the breakdown two and a half minutes in, and from then on is not a stranger to the album, with their signature sound being most present in “The Motivation.” Another unfamiliar happening for the band is vocals completely void of auto-tune – and Caleb Shomo has talent! Though some of the songs have vocals that I consider corny in the slightest way possible (listen to “The Abduction”), overall the pros outweigh the cons, and if clean vocals do not interest you, they are a rarity on the album anyway.

So to clarify the answers of the initial questions, This Means War is most comparable to their self-titled album, but not completely comparable to any of their previous work; the synth included in the album is just enough to satisfy any former Attack Attack! fan, and not enough to peeve any non-fans (speaking of fans, I still consider myself one); and lastly, the world will never know why it takes so long to download albums.

When I spin an album for the first time, I almost expect that kind of “perfection”, and when I reluctantly hit play on English metal band Archetype’s first track “Tinnitus” from their EP, simply titled, well, E.P., this was definitely the case. What blasted through my wonderful Macbook Pro speakers, however, was muddy, distorted, poorly produced brilliance, and I couldn’t be happier about this fact. Archetype represents the theory that production simply isn’t everything, and at some point, you have to rely on good, old-fashioned talent to make a moving, cohesive piece of music, which is exactly what E.P. manages to be.

“Tinnitus” the explosive opener, displays the band at their finest, mixing sounds of The Chariot and Glassjaw together, while successfully creating their own authentic sound that is both powerfully insane and intricately melodic. “Desolate” follows this same pattern, but features a fantastic vocal delivery from Bean Mckinlay, who’s able to expertly shine on both clean and unclean vocals. The musicianship on “Bada Bing” is staggering; the drumming from Nathan Garratt, fueled by the all-over-the-place guitars from Tommy Snowden and Ali Stacey is a marvel in itself.

E.P. is definitely over before you know it, but it simply demands replay after wonderful replay. The production (I obviously enjoyed the rawness of it) may throw some people off, but it’d be a shame for any metal or hardcore punk fan to turn away from this album because of that alone. After all, this is only the first building block being set in place, and the band has already found a method that just clicks together so well. Archetype may be young and new, but with a few tweaks and a decent producer (I’m aware you need this to succeed and reach a larger crowd, unfortunately) they could really blow up here in the States. Even if this is not their eventual goal, I’m a better music listener for having found Archetype. While they may not be perfect, it’s the imperfections that bring out their greatest quality: unfiltered, unlimited, good old-fashioned talent.

This record hardly gives way to slow down, because each track escalates further and further, cramming technicality and meatiness into breakdown after breakdown. If you’re familiar with bands of this nature (Oh, Sleeper/Betraying the Martyrs/Our Last Night), then you know what to expect. Now, because this genre is so black and white at times, this type of music is either done well or done badly. You can breathe a sigh of relief LMTF came out on the better side with this freshman full-length.

Starting with some surprisingly well-chosen orchestrated strings/programming, the album explodes with opener “The Worst In Me.” From the get-go, you know what you’re in for. When the chaos ensues, the assault it was intended to create rises to mountainous proportions. It is full of bass, technically exasperating drumming courtesy of Lance Greenfield, and Chris Roetter’s shredding calls for help mixed with near pitch-perfect cleans. The melody in this song sets the tone for the record; it’s dark, vicious, and reeking of empathy and aggression. “GNF” continues the trend, with a monster of a “fuck you” track. I was pleasantly surprised upon hearing Danny Leal from Upon a Burning Body come out of the woodwork with an intense “I don’t give a fuck/about the way you’re feeling!” Guest vocals are always nice, especially when they are done correctly.

Third track “No Hope” is just as rigid as the previous two songs, trading blow for blow with the furious breakdowns that layer its formula. Unfortunately, like a few of the songs on the record, it just doesn’t stand out. “You Won’t Be Missed” contains one of the stronger clean vocal choruses, almost worthy of Roetter’s old band Emarosa. “Faithless Living” is one of the strongest songs altogether, constructed with passionate vocals throughout, and a tastefully done breakdown near the end. If you’re a fan of their Sweet Talker EP, you’ll be excited to know that “Real Talk” and “Your Existence” made it on here as well. How did they fare? Well, they’re about the same, except with tightened arrangements and more promising vocal work.

Heading towards the second half of the album, there is no stopping this train once it has gotten this far. “Trophy Child” boasts some of the heaviest moments altogether, but that is debatable because all metalheads have different tastes when it comes to what they consider “heavy.” It all culminates into a tumultuous two-and-a-half minutes of urgency. “My Own Grave” is a song of panic and angst; the vibe that holds its harness is astoundingly dark. This record does have deeper intentions than it first exudes, but you have to let it grow on you for it do so. “Something to Live For” and “Praise Feeder” go out with a blitzkrieg of sound and decay, but there is something oddly reassuring about reaching the closing passages of the album. You know what that is? The fact that there is no slow burner/acoustic track to divide the speed and mood. That is something we’ve come to expect from most metalcore bands, and that result is strangely gratifying.

For a band so young, they’ve taken the craft of relentless chaos to the standard the industry has been calling for so desperately over the past few years. So what should the next step for this five-piece from Ohio be musically? Variety, sparseness, and the art of surprise. This album is solid and they’ve got the chops, but if they want to have a chance at being more than subtle mediocrity, they will have to take the next step.

The album carries an almost solemn tone from the beginning of destroyer “The Life.” It is so ferocious from the start that the blistering pace it sets is almost too scary for its own good. Vocalist Andy Atkins has further perfected his guttural growl, reaching inward to conflict all of his demons, coming out wretched but hopeful. The natural growth in their ability to create the eeriest of melodies wrapped in walls of sound, such as in “Music City,” is unnerving.

Third track “Heart of A Child,” like the tracks that precede it, is very intense. I find myself intrigued by their clever use of thick/sludgy strumming, and the bulldozer of depth that erupts from it. The sound is never shallow or thin, and that shows the ingenuity behind the production. “Miss Fortune” takes the knob down several clicks, showcasing bright tones and somber vocals before heading into yet another exploder called “My Song.” Lyrically, it’s easy to see that these tracks range in topic and content. “Music City” is clearly about passion, while “My Song” and “Room For The Dead” share the theme of standing up for oneself.

Changing direction, “Skin & Bones” and “Hands & Feet” are the game-changers rallying against what you’d expect here, considering they’re acoustic numbers. Both are done extremely well, and the instrumentation demonstrated in both is as gorgeous as it is haunting. Both carry that prevalent somber tone mentioned earlier, but now that they’ve done this, they can no longer be pigeonholed. A good example of what I mean is the band My Epic. They have clearly shown with their last two records Yet and Broken Voice that you can be heavy but minimalistic when introducing acoustic elements, and they pulled it off flawlessly. This will indefinitely open up new doors for the band, and where they could take it from here is intriguing.

The last three songs on the record take the remaining fury and collapse into a metaphoric jack-in-the-box. The abrasive grit that prevails, the clamoring desperation shredding from Atkins’ vocals, works. It just works. “Living The Dream” takes apart any chance of slowing down with this crush-fest of a track. “The Death” is just as powerful, but falls more into the field of the slow burner. The clean vocals that carry this song’s creepy melody are chilling, especially when Atkins is screaming ‘The world is on fire!’ Part three of the remaining trilogy, “The Setting Sun,” is that melodic work of art that you’ve been waiting for. It closes the record with some of the most gorgeous harmonies, and again it’s something you wouldn’t expect from a band like this.

The metalcore genre is a lot like the DART bus in downtown Dallas – crowded. Thankfully, when a band such as A Plea For Purging steps out of their comfort zone to create sonically the best record of their career thus far, you can’t help but feel a bit of relief. The irony in the record’s title also speaks volumes, because if this was their magnum opus, then they will go down with one of the better records of the year under their belt. Bravo guys, bravo.

The track mirrors sounds from all of their previous releases, while simultaneously managing to create an entirely new atmosphere for the band to explore. For a band that’s been through numerous member changes, it’s extraordinary to me that they can still release consistent music that isn’t stale or clichéd.

The song begins with a piano that would fit anywhere on Symphonies before erupting into a full instrumental assault. The vocals are a little overwhelming at times, but Scott Barnes has developed such an incredible voice, you can forgive a little thing like that. The musicianship, as always, is top notch; Ramin Niroomand continues to develop and clearly show his already excellent range as a writer, implementing both chaotic guitars and melodic, sensual pianos into the mix.

Once again, In Fear And Faith give us reason to be excited (or at least me; I have been called an IFAF fan boy once or twice). “It All Comes Out (On The Way Down)” is exactly where they should be at this point in their musical careers. The years and years of developing and evolving to stay afloat and relevant seem to have finally culminated, boosting the band not only into a state where they’re one of the best heavy bands on their label, but one of the best bands around.

You can listen to “It All Comes Out (On The Way Down)” here and/or buy it here.

This song puts the passion and emotion in metal. The lyrics, speaking of riots, hate, and injustice occurring throughout Britain, is a very heavy topic, and Architects takes it on full force with outspoken lines like “The city streets that you show no love are bruised and broken, because of you.” Probably the reason why they took on such a topic is that an independent records warehouse in North London, holding stocks from Pias Group, burned to ashes back in August, causing a huge loss of money and stock.

“Devil’s Island” has a more calming, sentimental intro, before breaking out into full throttle. It’s a fantastically molded storm to say the least, as the pummeling guitar, bass, and drums combine for the perfect callous metal combination. After the intro, the onslaught of vocals is perfection, as Sam Carter bursts into a fluid amount of high, hardcore screams, including some of my favorite lines (“Take it back/take it back/take it back!”), putting most of the brutal angst into the song. The song quickly takes a backseat to Carter’s cleans, fading with a beautiful strings finale.

Architects has taken on an important issue in Britain today and made a song that questions humanity; it may have a lasting effect on listeners that bands like Rise Against have been able to do, though they sound nothing alike. “Devil’s Island” is one of the more dense and satisfying tracks that this band has to offer. The only negative thing about this recording is that the band is planning on putting it on a re-release of their latest record, slated for release in early 2012. I find this to be very odd because The Here And Now just came out in early 2011. But with those thoughts aside, “Devil’s Island” is yet another fantastic track by one of my favorite British metal bands.

MEB Staffer Austin Gordon recently caught up with Shane Blay of metalcore heavyweight Oh, Sleeper. He discusses their upcoming tour, details about their newest record, ghetto Wal-Mart cookouts, and more.

MEB: When does the tour start with Greeley Estates and Ten After Two?

Shane: It starts this coming Thursday, the 27th in Little Rock. I can’t wait, Greeley Estates are some of our best friends, we always have the stupidest times with those guys. I’ve never met the other bands, but I’m really excited about them.

I noticed that the tour is sponsored or supported by To Write Love on Her Arms. What is your opinion on the various music-related charities throughout the community like them and Music Saves Lives? How much of an impact do you think they make?

I think they make a huge impact. To Write Love On Her Arms got enormous, really fast. It’s cool to see it. They’re everywhere, I see them everywhere. We go to Australia, they’re there. They help us out because they believe in us, and we wear their stuff because we love the message and everything. I think it really does make a difference because our screamer guy Micah, he got really inspired by them. He started his own clothing line called “Steadfast Modesty” that tries to raise awareness about human trafficking, particularly sex trafficking and stuff. It totally touches people, it touched me. I’ve sat down with Chad Moses who works for them, and it’s always pretty inspiring.

How have the fans responded to the new songs from Children of Fire?

Oh, it’s been nuts. I mean, I’m biased because I just wrote it (laughs). It seems like everyone thinks this is the best record, and the most advanced we’ve ever gone. Micah’s doing a lot more with his vocals, and I’m singing a lot more. I tried to write some of the craziest stuff I could, and then I tried to write some of the most beautiful stuff I could. It’s got all of the abstract stuff I’ve always wanted in a record, and I think it just had to mature out. The fans in my eyes are like freaking out. We’ve played three shows since the new record, and every single word of the new songs was being roared back at us all three shows. So I’m really excited about this tour because then I’ll have a much better perspective about how many people really care about this record.

Are there any songs that you guys want to play live but haven’t played yet?

Yeah, we play like half of the record live. I’m biased because it’s just me, but I think it’d be cool to play “Means to Believe” live, one of the acoustic songs; it would be a cool break. I think it’d be cool to show that side of us too. Right now the only few songs we’re not playing are “Claws of a God,” “Chewing the Stitch,” “Dealers of Fame,” and the other acoustic one.

Are there any songs you guys are most proud of? Like one of those kind of songs that ten years ago you never could have imagined being involved in creating it?

Yeah, I think that there are a couple of songs like that for me. Just on my end, “Hush Yael” is a big thing for me. Me and Micah covered the lyrics and stuff, and he had this idea. He told me the story; I had never read the story, I hadn’t ever heard of it, a lot of people hadn’t either. He was looking for true stories around the world of the worst things that we as people do to each other, without remorse. And I took it on to write this song that was just so, hopeless. I think that it’s one of those songs that captured that whole feel, and I think a lot of people feel that too.

Another song like that is “The Family Ruin.” Micah had this idea and he wanted to have this conversation between this girl’s conscience, and her actions. I sang the actions part, and he sang her conscience, or her God talking to her. It’s one of those songs that sounds like it does in the lyrics, you know what I mean?

“Dealers of Fame” is pretty similar in that respect too isn’t it? Isn’t it about a murder I believe?

It’s about these Ukrainian dudes that I believe got on Youtube and taped themselves beating people to death with a hammer just to get famous. They were young, they were just kids. The thing is, I wrote that song completely before we even had the lyric idea for it. With “Hush Yael” and “The Family Ruin,” it was right there. It was on the spot.

Describe in detail the kind of madness that came as a result of Micah’s vocal sessions during the recording of “Hush Yael.” That song is so intense and powerful, but so angry at the same time.

Yeah, that one was pretty rough. Whenever we do vocal takes, it’s usually just me and him (Micah) in the studio. He usually is in the room for all of my takes, and I’m in the room for all of his takes. We critique each other. Like, I’m not a very emotional dude, but there have been a couple moments in our career when I’ll just start tearing up, because my best friend is in there just freaking out. You know? Not so much in “Hush Yael,” because we both knew the story and we were calm, and just wanted people to know about it. But “The Family Ruin” is another one, he was in there. You know how the song has three really long rants in it? He did all of his parts in one take. I was in the control room, just like “holy crap….” He wrote the lyrics for “Means to Believe,” and a lot of his lyrics in that song were calling out what I had written. And it was the first time I had heard his ideas. He hadn’t told me or any of us his lyrics for that song; he had just written them the night before. He came in and I was the first man, and I was just like “holy crap” and got all teary-eyed. We did the same thing on “Reveries of Flight” from the last record. I went in there and sang my stuff, and he had never heard it. And then he went in the same day and tracked his parts. It was just like that, we both teared up (laughs).

I think with the experimental parts you guys write into your music, it’s tempting to try absolutely everything you can think of when working on a new song. When does a song feel finished to you? Is there ever that defining moment where you’re like “Yeah, it’s finished”?

Well typically, our songs are just written not like a typical song. Usually, I’ll just have it already done. I have a little studio at my house, and I’ll have it pre-pro’d (pre-production) out. Then I’ll show the guys, and then Micah will start working on whatever he wants to do with it. If I have a singing part, he’ll tell me where he thinks it should go, and I’ll tell him I think a singing part should go here or whatever. But when it’s finished, we kinda just let it ride until the studio. A lot of the vocal ideas don’t even get written until the studio. My singing stuff doesn’t happen until after we’re recording. I mean, you kinda know when a song is done. For me, I make most of our songs pretty pop-structured. So, I’ll have an idea already. Like, some sort of verse, some sort of chorus, then verse-chorus again, and then something will happen, and then like an outro or climax or something. In writing, I’m always thinking about how it’s supposed to end.

How would you guys say you’ve grown as musicians just from the time-span between Son of the Morning and Children of Fire?

Well, we got a new drummer, and he is just awesome. He’s a child, but he’s really good (laughs). As the guitar player, I wanted to write stuff that people couldn’t figure out very quickly. I didn’t want it to sound like anybody else. I think I accomplished what I wanted to do with this one. I didn’t write anything that is just impossible to play. I just wanted to do some stuff that’s pretty difficult, and hard to figure out. As a singer, and with Micah a screamer, we wanted to do everything we could with all of the range we had. Micah, he had never been able to do low screams like on this one. We both wanted to put all of our ranges in there on this one. I didn’t sing like a lot of metal bands do, like we wanted to do it live with a lot of emotion. It’s the same with Micah; he does most of his tracks in one take. It has a very raw feel to it. We’ve worked really hard to make our vocal trade-offs and our vocals period the best they can be.

Absolutely. Being in a touring band yields many challenges. What would you say are some of the toughest challenges you guys have had to overcome as a band?

I’m the only guy in the band without a girlfriend (laughs). Everybody’s all gone nine months out of the year, and it really sucks. Well, we really only hang out with each other when we’re home. We have a couple other friends that we hang out with here, but for the most part we’re the only friends we really hang out with. I guess it’s just being away from all of our families, and not being able to sleep, ever (laughs). This past record cycle, when we got our new bass player and drummer, things have been really chill. There was a time after SOTM where we were so fed up, and wanted to call it quits.

That can definitely happen, with all of the back-and-forth, from tour to tour, and the writing cycle in the studio. You can’t get away from it, but it’s a necessary evil almost, you know?

Yeah, I mean if I wasn’t doing this I’d be playing music somewhere else. It wouldn’t be much of a change. I’m running all of the time, so it’s not a struggle. This past month or so though, we’ve really found our stride. Things have really been non-dramatic, and pretty easy.

What’s a favorite band you enjoy touring with and what’s a funny story you have with them?

Well, we’ve toured with The Chariot quite a bit, and we’re pretty close with them. The Greeley Estates guys we’re about to take out, we’ve toured with them before and it was just out of control. It was fun. One time, both of our bands, us and a band called I Am Alpha And Omega, all got together in this Wal-Mart parking lot. And we were just like, “let’s make this a real party.” So we got our bass cabs out of the trailer, and hooked it up to the stereo in the RV, and just started blaring rap. So then all of these gangsters started showing up, like thugs. They wanted to party too. They wanted to hang out. We were like “Yeah we got bratwurst and stuff if you guys want a hot dog!” Then we found out that they had just robbed the Wal-Mart, and were trying to sell us shampoo bottles. It was just this insane night that never ended. It was just like hanging out with rappers (laughs). It was awesome.

Are there any music videos that are coming out soon?

Yeah, we shot a video for “Endseekers,” the first song off of COF. We shot it about two weeks ago. I think somehow something went wrong though, and some of the footage got deleted. So I don’t know what the drama is, but we should be having it out pretty soon. We’re also having a video game coming out for the iPhone. It’s awesome, but it’s still in development. We also just got word that The Devil Wears Prada has a video game coming out too (laughs). Crap. We were like “Aw man, they stole our idea!” (laughs) Whatever though. It’s still gonna be cool.

In your opinion, what are the best run venues from a production and band point of view?

Well, House of Blues is the best. I mean, if you’re playing you get treated like a king whether you’re opening or whatever, unless the headlining band are a bunch of dicks or something. Yeah, HOB is one of the best places to play in the world. There’s also this place called The Brewery in North Carolina, it is amazing. It’s a little crap-hole-in-the-wall place, but every time we play there the kids are so awesome and the sound is so good. We like playing Murray Hill Theatre in Jacksonville, Florida too. Let’s see, The Door in Dallas is one of the best places too. That place is awesome, the owner/manager is one of the coolest dudes ever, his name’s Joel.

What are your favorite albums of 2011 so far?

I don’t even know if I know any (laughs). I don’t listen to any heavy stuff really. I don’t know if 21 came out this year, by Adele (it actually did). It’s amazing. The new Coldplay album, I wanna get that really badly. The new Brad Paisley record came out this year, and it’s amazing. Me and James love country. We’re from Texas! (laughs) I know John Mayer‘s supposed to come out with a record this year too, so I can’t wait for that. I know it’s not this year, but last year Muse came out with one of my favorite records ever. And we definitely can’t forget about Thrice- their new record Major/Minor came out this year too, and I love them.

What is the next step for Oh, Sleeper?

We’re gonna see where this record takes us. Now we’re off Solid State, this is our last record with them. So it’s pretty open-ended. I just wanna do these tours. We have a Norma Jean tour after our headliner, we’re supporting them, so we’ll see how we fare. After that I think we might go to Japan, and New Zealand again, and more international stuff. We want to go to South Africa, because apparently we’re really big there even though we’ve never been. Mike from Haste the Day went there and he was wearing an Oh, Sleeper shirt and he said like 30 people asked to buy it from him (laughs).

Any closing words for the fans?

Thank you for picking up the record. We hope everybody appreciates all of the hard work we put into it. We’ll see you all on tour!

Their style of metalcore sounds like a slightly less heavy version of Killswitch Engage, pre-The End Of Heartache. The all-out metal onslaught in the beginning of “Weathered Town” has a little punk influence with prominent bass guitar, and the singing vocals sound a lot like the clean vocals of KE. It keeps the same sort of song structure all the way through. Then it kind of starts lacking diversity with the next song “Live Today,” which has lyrics that are way too similar to “Weathered Town.”

“Weathered Town”: I’ve gotta get out of here, but the memories I will take with me / Everywhere I go, to everyone I know, these memories will stay with me.

“Live Today”: I’m gonna live today, live to make a change / There comes a time in every life when it’s time to move on.”

The song “Live Today” is also structured a lot like “Weathered Town,” though at a slower pace. The beginning is bass-heavy, super fast playing that is akin to punk rock, then transitions into metalcore verses and chorus. The verse and chorus are a lot slower and heavier than the last song, but for the most part you will hear similar structure.

The screaming vocals are a little monotonous and start getting on the nerves fast. Of course, when I first started getting into metalcore, this sort of music would have grabbed and held my attention. But after years of listening to thousands of –core albums, stuff will start blending in together. “Live Today” and “We Can Take Them All” sound EXACTLY the same, and I cannot emphasize that enough. Very lazy songwriting was done here.

After hearing this, I noticed that there are literally no standout tracks in the entire album. They either go with slightly slower metalcore riffs and drums, or fast, generic-sounding metalcore.

Yeah, so you can pretty easily get what this album is all about. It starts out as moving on and forgetting the past, to depression (“We Can Take Them All”), to a call to arms to stand up for what is right (“Humane”), and finally to repairing yourself after the ruins of what is left behind (“Restless”). Lyrically, it’s superior to the last album. Musically, it is better, but not by much. It still sounds like… metalcore, a very hard genre for bands to bring in other influences to make them stand out among other similar bands. A bonus track they include is a cover of Johnny Cash’s legendary cover of Nine Inch Nails’ song “Hurt.”

Starting with the 808 (that’s bass for you non-audio nerds) laden “Robots,” it progressively builds up with a “we are all robots/searching for a purpose/we are all robots/searching for a meaning” chant. It eventually kicks off with a breakdown. What you’ll notice immediately is the production quality. If you’re listening to this album through subwoofers, then you’ll get an earful of bass. I mean double-bass drums, bass drops, and bass lines from the bassist. That’s a lot of bass. Frankly, it’s a little unnerving getting so relentlessly barraged, but I digress; that’s what this genre is about right? From there the tyranny really gets started with “4:42 Reminds Me of You,” a scream-filled track that follows the same format as “Robots” did. This song will set the tone for the rest of the album. There is lots of synthy-ness sprinkled out over the vocals and instrumentation, kind of a like a cupcake you’d get from the bakery; except that cupcake is pretty bland and boring. There is lots of auto-tune throughout this album, so if that’s not your cup of tea you will be disappointed. Thankfully when “Life Sentencer” comes, it’s time for some fun. I enjoy this track a lot, because it has mathcore-style elements skating around in it. It is brutal from start to finish, has an insanely infectious hook, and the breakdown at the end is well done, especially the faux strings that float over it.

I figured after that, these songs may not actually be that bad, but “Fantasy Vs. Reality” starts with the most annoying/repetitive intro they could have done. It is downright laughable, as is “Anthem of the Lonely.” Neither song has any redeeming quality worth listening to. If these songs hadn’t been included, the album wouldn’t be that bad. But don’t fret! There is more redemption to explore here. “The Devil On My Shoulder Knows How to Party” and “I Want My 25 Minutes of Fame” are fun songs to listen to. Like “Life Sentencer,” they have those mathcore elements that remind me of bands like Heavy Heavy Low Low and The Number Twelve Looks Like You. They are well done, and I truly believe that CM is at their best when going nuts in this sort of fashion. It’s ironic though that “I Want My 25 Minutes of Fame” has that title, because their music isn’t far off from any band trying to attain just that. Hopefully, they weren’t being hypocrites.

Another element they pull off well is the comedic approach they take to their lyrics. Examples are the “Cut out the bullshit!” group chant that’s in “I Want My 25 Minutes of Fame” or the “Maybe it wouldn’t seem so awkward?” line in “Pocket Aces.” Either way, I think we’re supposed to humor these guys a little bit. If they’re not being 100% serious, I can appreciate the sentiment. “Thirsty Thursday” is a short but likable song because the spoken sampled intro is funny, but the chaotic-ness right after it is intense. Lastly, closer “Pocket Aces” is one of those in-between ones like “Fightin’ Words.” Although there really isn’t anything that stands out, it isn’t completely bad. Either way, the Breathe Carolina-esque ending definitely did more harm than good. Next time save the fist-pumping beats for a remix (but I hope to god they don’t).

Casino Madrid is another band that hasn’t found their place here yet. There’s too many styles bouncing around the mix, and it’s enough to confuse the listener as to who they’re trying to be. Are they serious? Or just incorporating lots of tongue-in-cheek humor in their songs? They need to find a style and stick with it. In this genre of music, confusion as to one’s own style is enough to get pushed to the side. These guys have potential, but they have lots of work to do. Hopefully that second album will be the one that sets these guys apart.

As far as the music is concerned, the band has left no doubt in my mind that they could one day rise from the depths of the underground. From front to back, this record makes the case of a band that can break it down without getting old, while adding melody in delicately measured portions to spice up the chugfest. Opener “I, Tormentor” flexes between uzi-drumming and lick-laced chugging before kicking the tempo down for a mosh-inducing sludge-down that keeps you on your heels. This is a prime example of what to expect on the record – everything is put together well enough to keep your ears tuned in, but the interest is stopped from peaking the way it should. “Human Waste” and “Clear Head” show further exploration in the songwriting ways of the band; the former uses a slimy riff backed by maniacal double-bass to push its way through bursts of searing melodies as the latter finds success by using similar ways to drive the crunching guitars straight in and out of our heads.

Eighth track “Pale Skin” is the odd one of the bunch, focusing more on a slow burn of drawn out guitars and bursting punches of double-bass to create something abrasive, yet much less frantic in its end product. It is a bit deceiving in that it still comes across as heavy as opposed to embracing the qualities of a ballad as many heavier artists might in their reach for something different. This track gives a look into the flaws of I Declare War’s approach to their craft. While strong as a whole, the tracks give off little to pinpoint when looking for completely memorable moments. If you have to grasp at straws to remember anything specifically, it is difficult to call an album outstanding. Sure, bits like the grooved out chugs of “Final Hour” or the sludge and slam riffs of closer “Weak Minds” make for great bits in their respective tracks, but they are far and few between.

On the other side of things, much can be said about the production of the album – good and bad. Vocally, it teeters between indecipherable and just plain brash, giving little room to even attempt to figure out what is being said without the help of a lyrics sheet. Is it the fault of the vocalist or the man behind the boards? It would be easy to say either, but even in the more extreme music genres, there has to be some room for expressed emotion – and with a dismal sound such as this, there has to be something for people to latch on to. Still, the band has taken a new step forward by adding vocalist Jamie Hanks, who does shine some variety into the vocal stylings the band has been plagued by in older recordings – even if the band’s messages are getting tuned out by the mixture of throat-searing vocals and the need for extra abrasion in the final sound.

While this album lacks in standout qualities, it does an ample job in keeping you tuned to the aural assault of blasting drums and gritty guitars the band has to offer. It might not be the best there is to hear, but there’s something worth hearing on this record that might make I Declare War a bigger name in the near future.