Review Summary: We Are the Christians? Not quite - but the roots of a band predominantly known as one of the pioneers of the noisier, more chaotic hardcore scene. However, even though it is near a decade old, Norma Jean was only ever Norma Jean when Scogin was frontman.
Okay, so I didn't actually do this. But I almost rated this with a 5...
However, unrefined gems are not perfect. Thus, the clear conclusion is that Norma Jean's debut album may not be perfect - but it is a damn fine acquisition to a general hardcore/breakdown-riddled music fan (such as myself), if they own a copy of this. Let me summarize as quickly and with as much simplicity as I can.
A) Josh Scogin - Not many reviewers will start off a review raving about how good the lyrics/vocals are unless they are something quite exceptional. In this case, I'm perhaps a little biased toward this album (and Scogin) but I'll get to that later. Put simply, the man may be repetitive with his tone and his rhythmic phrases but his lyrics are like poetry in the majority of cases. The album opener is a a smack in the face...
and that brings me to B) How Raw the Production Is and The Delivery/Execution of the Material.
I like the sound the band had here. Every member of the band contributes equally to what is going on, with every member making a deserved effort (in Scogin's defense, an outstanding one at times). Another thing is every riff can easily sound bland and uninspired - but a lot of them sound really, really heavy. And dissonant, which when combined with some relatively simplistic but versatile, interesting drumming, goes well with the manic, anguished shouts/cries of torment that is present on the album throughout. Back to reason A however - Scogin writes very good, metaphorical lyrics. He is the genius of the one-liner and this album is littered with them, like hooks almost. Album single (and probably most famous breakdown/intro riff ever in all metal-core aside from maybe Converge or some mainstream crap, idk) Memphis Will Be Laid To Waste (probably the second best track on the album) is punishing in pretty much every respect. Josh's screams of "Now you're doing the waltz with your mur-de-rer" are somewhat murderous in actuality. So he does a good job. Previous track Face: Face boasts a cracking line in the form of "She simply will not die", repeated over a ridiculously hammering bombardment of jun-wee breakdown and pure, undiluted aggression. Which brings me onto my next pojnt...
C) for Christianity. Don't get me wrong - I have nothing against Christians etc. and nor do I against bands who proclaim to be Christian metal or whatever. But a lot of people say NJ are too preachy - fvck that, when Scogin was down with it, they were fat, admit it people. Creating Something Out of Nothing embodies Scogin's lyrical ingenuity in just one line - "like bringing a knife to a gunfight". It is what is interpreted by the listener that is probably the most important thing. Because I can tell you this, Bless the Martyr and Kiss the Child is pretty dark in lyrical content. The largely instrumental song (see long title) is perhaps the downer of the album. But if it wasn't there, it wouldn't be the same. The song builds wonderfully in terms of dynamics and instrumentation layering - it just drags on for too long. The Shotgun Message is a plethora of odd time signatures and dissonance - chaotic, raw, energy-driven and very, very primitive, I believe this is an example of a band that, yeah, perhaps they ripped Botch off (more-so on their sophomore effort) amongst other fellow pioneering acts - but the mathcore elements are present yet never overwhelming.
The final part in the album should be discussed in three separate mini-discussions if you will. Mostly because I think tracks 6-9 work conceptually and are about the main man JC (in a loosely/vaguely metaphorical sense). The lyrics, perhaps even though the subject matter is blatant, are just so well written. He - screams - with - passions, vigor, and pure almost hatred/snarl at times. Its that good (and The Chariot is a showcase to prove he is even better now). Not Jc but Scogin of course...
...which brings me to the penultimate track. It is punishing. You almost have to 'sweat it out' if any of you understand me. But it is an assault of clever, repetitive lyrics, three-quarters hectic breakdown riff-sessions and then, quite possibly one of the eeriest and most disturbing closing section ever featured on a Christian metal CD. Trust. I think it is what a lot of bands have copied and have tried to copy for the 9 years or so since this was released.
However, the closing track, Organized Beyond Recognition, can be recognized as a clear metal-core masterpiece, both by popular opinion and personal. The instrumentation is calculated, refined and very, very refreshing (especially the subtle use of dissonance and time changing). The rhythm section sounds good and there is enough variation in the song to keep me interested (as well as having an amazing ending and epic vocals) for AN ENTIRE SEVEN AND A HALF MINUTES. Considering the middle part of the album boasts Pretty Soon, I Don't Know What.., I'm pretty certain Norma Jean knew how to write good, long songs. They just botched it the first time.
Botched it. Get it? Ripoff album but pretty damn masterful in execution, Bless the Martyr and Kiss the Child is raw chaotic metal-core before The Chariot was born. And Long:Live The Chariot...
