2 of 2 thought this review was well written
Spitfire are an off again on again (currently on again) metalcore trio that formed in the late ‘90’s. After about 5 months of searching I finally found their debut effort The Dead Next Door
and I’m certainly glad I spent the time to find it. Comprised of just three members at the time of release, the band put forth an effort that rivals Botch in terms of anger and originality. They dish out heavy tuned eerie riffs matched with dynamic drumming and a singer who is aptly pissed at the world and makes an effort to show it.
Much like We Are the Romans
the album kicks out with a strange riff, I get a ‘Welcome to the Freak Show’ vibe from it, with Please Don’t Got Out Tonight
. The drums hammer in on some beautiful off-kilter timing and within seconds the rage is unleashed. This song, while hardly a dose of whats to come, paints an excellent portrait of the band; it even features a rare hook that’s so raw it works to the songs production value. Its songs like these that metalcore enthusiasts miss the most; dropping a need to show they’re heavy with a billion breakdowns they instead opt for creativity instead. Runner up The Two Forty Eight Lie
wastes no time in keeping the ball rolling with an ear splitting intro saturated between Chris Raines’ somewhat impressive blast beats and Jon Spencer’s aggressive growls.
What’s most intriguing when listening to this album are the transitions included within each song. Marasmus
contains a monumental shift in riffing to edge in its breakdown, but that can’t even hold a candle to the beautiful solo that’s incorporated around the one minute mark later on. During this intricate flux there’s a vicious blast of noise eschewed by all members that’s rather startling upon first listen. Good Cop, Bad Cop
feels grind influenced and introduces the listener to the impressive high pitched scream Jon possesses. It’s an exhausting five minute endeavor that dabbles around several different –core genres that’d surely a waste of time to name all. Lastly, the best song on the album The Burgundy Room
not only conveys the most brutal vocal performance but also the most punishing riff. The production value is at its peak here, as the words are hardly audible, yet that adds to the mystique of it all, with stifling screams and a pummeling drum line it would certainly wreck the claustrophobia feeling that’s employed by giving each instrument its breathing room.
Easily one of the best metalcore records to never be found, Spitfire
prove yet again the genre is dying without creativity. With an absolute stunning closer, DJ Jazzy Steve
, this album is one breathtaking listen from start to finish. Recommended for anyone who’s still stuck in the 90’s.