Support new music: choose from our favourite new albums this month.
Normally, we don't herald technical ability as the be-all-and-end-all of music. The mere fact that in music shops around the world, there are a million douchebags playing riffs from twenty years ago, still talking about "their band" would lend this credence.
Over the years, The Fall of Troy have time and again maintained a balance between technical ability and attention to melody, never better exemplified than on their stunning single "F.C.P.R.E.M.I.X". The concoction of layered guitar effects, kinetic riffs, complex mathematical structures and diverse vocals - ranging from ethereal sustains to guttural screams - gave the trio a huge palette from which to draw.
None of which explains why In the Unlikely Event... is so ridiculously dull.
You could feasibly argue that the harsher elements of the band's sound have been toned down, but it'd come down to the wire on a scream-for-scream comparison chart. Yet throughout the album, there are precious few surprises, very little excitement and a severe drought in the realm of memorable passages. This could be the dictionary definition of 'going through the motions'.
There are attempts at straying outside of the band's comfort zone. Finale "Nature Vs. Nurture" fills its mid-section with a spoken-word section of gradually increasing intensity, it's nothing that Nada Surf didn't do a zillion years ago, but it is still a nice change of pace. Such variation is short-lived, since the song quickly tails off into a slow-solo with backing "whoa-ohs". Even when it un-spools in the final seconds, it's a move which has been telegraphed since the dawn of time.
The most profound moments of thought we had throughout the duration of In the Unlikely Event were usually along the lines of, (1) Hey, he's singing like a female opera singer there, (2) This kinda sounds like the Twilight Zone, or (3) Where did I put my copies of Manipulator and Doppelganger? with the detour of option 3 usually leading to (4) Phew, they weren't always this prosaic.
Toned down, lacking imagination and repeating the same formulas over and over again. Like a high-school romance, you've realised that all the passion is gone and the object of your affection derives actual pleasure from watching The Hills and Jeremy Kyle, you still love the person that they were, but they are no longer the same entity.
There's a thin black line which lurks on the boundary of math-rock. On one hand, you want to push the boundaries of musical structure, on the other hand, you do not want to remind your listeners explicitly of the feeling they used to have during actual maths lessons.
Veering blindly from slightly-irritating noodling, to cliché hardcore riffs and alternating between a-melodic clean vocals and repetitive screams with little motivation behind them this is leaning strongly towards the latter of the two options, except imagine that it was that maths lesson where you learned about quadratic equations. They all seem to end the same way and are completely pointless unless you're planning to shoot yourself in the face from a very remote distance.
4 / 10
I totally agree dude. Manipulator was a great album and it just doesn't compare. I hate to say it but I think this is their St. Anger. I hope this isn't the direction they are following. I'd give it a 5/10
While I completely disagree with your review, I would just like to say that your prose is haughty, hateful, and irritating. You should not be a writer.
you should cut out the latter half of the review. it addresses the album you're reviewing only remotely and comes off as masturbatory. in that latter half the writing is especially hackneyed, ironic considering how it's your main point against the album being reviewed
lets see:
[X] - non sequitur pop culture reference/comparison (aha the hills yes i remember that too!)
[X] - statement of the obvious genre analysis (i had no idea that pop sensibilities and math rock were at odds!!)
[ ] - "Sounds like ___________ meets Meat Loaf"
these are fun tricks to try to get chuckles...but nothing that critics/reviewers havent been rehashing for 30 years. the conversational style you used for "profound moments" was a bit surprising, considering i thought the reviewers on this site were mostly adults
either way, the 3rd and 4th paragraphs approached the cusp of sincere analysis, the rest was fluff. you should consider yourself lucky to have this gig
I Agree with the review, this CD just made me want to go listen to manipulator. The singing is sooo weak, uninspired and hurried along. I think most bands go through this creative drought and though they still have talent, the music just doesn't inspire. I did like " A Classic Case Of Transference", it held me on to the end, as opposed to the other songs. But then again that songs verses remind of one of their old Ghostship Album songs.
I knew i'd be seeing some harsh reviews as the album took a while to grow on me, before i started loving it.
It is hardly repeating formulas, there is obviously a change in dynamics, If they repeated any of what they have been doing over the years (which is what what you seem to want..?) they would get criticized just as much.. Based on the diversity and standard of their catalogue, I think people were expecting some sort of in-studio human sacrifice. I think it is a largely different direction, maybe not all of it is at a ball breaking speed, filled with screams - they have said they have 'a lot less to scream about' which is fair enough if doing the alternative would be contrived. As soon as i started listening to it there was the intense feeling of it being completely different to anything they've done before. The guitar work, vocals, vocal production, drumming, the song writing, it's a completely different angle and it works.
'(1) Hey, he's singing like a female opera singer there' - that's not him singing.
Also: stop trying to be witty, it fails.
Wow, i completely agree with Jordan; whoever wrote this review = fail. How can you compare this to Manipulator? no, matter of fact how can you compare any of their albums to one another? They each have their own unique sound, who are you to criticize for differentiability? That's exactly what happened to Enter Shikari. "Oh it's different! SHUN!" Screw that, if you can't appreciate change and want to listen to the same sounding music every album then go listen to Nickelback like everyone else on the planet. If every album was the same then every artist would be dull, so you can't even base an albums greatness off of previous works; it's pointless.
and by the by how can you even write a review when you ride FCPR as "stunning" i bet that was the first song you ever heard from them, mainstream fail..
Personaly, not an incredible cd but its not awful, and haha at the love for FCPREMIX. The vocals have always been the worst part of TFOF, which isnt bad as they're probably the best at every other single aspect of music.
as i sit here noticing that refused and the bloodbrothers are the top four current plays on last fm i'm starting to realize what a drab collection of followers the underground music scene has collected. you say that this new album hardly stands up to the previous two? i say don't quit your day job. you might be writing half witted reviews for this second rate website but this particular review proves that you are much better at cutting large, extra cheese pizzas. you have the outlook of a mainstream rolling stone reviewer...let me guess...oar had the best album of the decade right? come on man. listen with passion and embrace that of the author, don't just judge your reviews on their ability to audibly jack you off. music is personal not communal. you're lucky to have it.
you're obviously not a musician....
Bookmark this page: