Skip to main content

ALBUM REVIEW: "Only Death Is Real" by Stray From The Path

   Stray From The Path have never been the embodiment of mature and measured political commentary, but even by the band's well established standards Only Death Is Real is particularly hard to take seriously - lyrically, that is. Granted, they are one of the most assured and confident voices in hardcore today, but with lines like "everything has a price, but the price is wrong, bitch" getting repeated nine times in a song and a sample of Trump's "they're not sending their best" speech it is sometimes hard not to roll your eyes at some of the messages. There's a pretty funny critique of lead single "Goodnight Alt Right" on YouTube (which is kind of just as cringy as the song itself) which you can see here, and that kind of says all there is to say about the lyrical content of this album. Having said this, one classic band I can draw similarities to, Rage Against the Machine, were sometimes criticised for the same thing (go and read about BBC's accidental broadcast of the uncensored version of "Killing In The Name"). Musically, though, Only Death Is Real is a hell of a lot of fun, if not entirely a game changer for the genre. There are hardcore riffs and breakdowns aplenty, and at 29 minutes it never outstays its welcome. As we have come to expect from the band, there is a strong emphasis on groove, and this was and still is the strongest element of the Stray's music. Drew York's vocals are still incredibly powerful and pissed-sounding, but some vocal features provide some welcome variety from his sometimes one-note delivery. In fact, one-note describes this album pretty concisely - which isn't necessarily a problem, depending on what that one note is. I had fun the first time through, but some might not enjoy Stray's music enough for that to distract from the lyrics, which could be enough to turn you off from their music completely. Basically, it's another Stray From The Path record. 

   Favourite Songs: Loudest In The Room, Strange Fiction and The House Always Wins

   Least Favourite Songs: Goodnight Alt-Right and Let's Make A Deal

   Rating: C

Comments

Popular posts from this blog

1 YEAR LATER: "22, A Million" by Bon Iver

   Bon Iver's third studio album turns 1 in about a week (where did that year go?), so I thought it would be interesting to talk a bit about how my impressions of the album have changed - or how they haven't - over the last 12 months. When this album was released I was more excited than I think I ever have been to hear a new album. For Emma, Forever Ago is one of my all time favourites, and I love his self-titled second album too, so I had huge expectations for this album, but was also wary that expectations might ruin my experience of the music. This was particularly the case for 22, A Million , because it is unlike anything else Justin Vernon has released. There have been hints at this more processed, electronic direction previously, like the song "Woods" on the Blood Bank EP and occasional flourishes on Bon Iver , but 22, A Million is a drastic departure from the Bon Iver sound we had grown accustomed to at this point in time. Or at least, that's what I thought...

ALBUM REVIEW: "Mesmer" by Northlane

   On Friday Northlane released their fourth studio album Mesmer without any warning, and it's pretty awesome. Fans that were keeping up had been getting hints for a while, with cryptic announcements and a seriously cool chatbot, but Mesmer was a complete surprise for everyone, and one that has brought with it a more cohesive and complete sound for the band.    2015's  Node was a great way to open up the second chapter in the band's trajectory and featured a fantastic performance from new singer Marcus Bridge, but definitely felt like a transition album for a band that had forged such a signature sound and was in the middle of great change. Mesmer immediately feels a lot more comfortable than Node  for a bunch of reasons, which is to be expected now the band has been touring with Bridge almost non-stop for more than two years. While the production on Node didn't quite fit the sound they were going for and seemed a little flat across the board, David Bend...