Review Summary: ETF record #3 calms your conscience from the scare of This War Is Ours, but doesn’t dish out the record fans were expecting.
When you listen to Dying Is Your Latest Fashion
and then Escape the Fate
you really scratch your head. 5 years ago if you thought about the band Escape the Fate you think skinny jeans, long flat-ironed hair and popular post-hardcore music. Modern appreciators of that record say that the band will never live up to their former glory, and so long as they still feel obligated to play “Situations” at every live show: they’re probably right. But this self-titled release did solidify the presence of one Craig Mabbitt in the evolved 4-piece. This War Is Ours
was pretty much an atrocity, with a band in an awkward transitioning period made worse with an entirely different sounding vocalist to replace Ronnie Radke. Craig Mabbitt sounds much more comfortable in Self Titled, and really fixes whatever This War Is Ours
It its own awkward way, the album holds a sinister presence. The band seems to have yet chosen their musical direction, utilizing Money’s recognizable guitar talent almost for misuse in a weird rock/post-hardcore realm while it sits back on an ever-presently nice rhythm from Green’s bass and Ortiz’s drumming. The lead single being “Massacre” and other singles being “Issues” & “Gorgeous Nightmare” leave critics busy with comments and fans utterly confused from such blatant contrast. “Day of Wreckoning” is an attempt at a heavy song which comes off very nicely concerning the record itself, but if left alone in the field of music like The Devil Wears Prada and Of Mice & Men the song would be mauled, raped, and left dead on Mabbitt’s doorstep. At this point Escape the Fate should stick to songs like the catchy “Gorgeous Nightmare” as opposed to misplaced post-hardcore songs, but “City of Sin” is an effective show that the two styles can be mixed.
So between mixed efforts from a band near conclusion of their transition post-Radke we find that if anything, Escape the Fate has retained their ability to be extremely catchy on any face of the genre they choose. The two ballad-like tracks are questionable in purpose; Lost in Darkness being a plain stupid dabble into gothic rock, and World Around Me being a par ballad. If you as a fan prefer heavier fast past music, stay far away from here. But if you want something different that you can rock your head to, some songs on here might just be your thing. This album is building back the bridge that This War Is Ours
annihilated mercilessly, but the band has yet to cross it. Any success they garner from this is mainstream hype and will disappoint if the next record is anything else but Self Titled: Part 2