Review Summary: Elements of this review have been redacted due to a potential breach of national security1 of 3 thought this review was well written
Elements of this review have been redacted due to a potential breach of national security:
The terrorist cell Attack Attack, formed in 2005, has returned to activity after a recent bombing (their self-titled project, code Attack Attack from 2010) succeeded in assaulting the senses of any of those unfortunate enough to have listened to it (with its horrendous mixture between T-Pain rap music and breakdowncentric metal). This second attack, though moderately less dangerous than operation Someday Came Suddenly from 2008, proved to see a level of sophistication which altered their attack from an all-out sonic orgy of rape to a more subtle sleeper cell attack. The cell’s improved design work led to a plan which, ultimately, ended up being almost enjoyable to some.
We catch up the group 2 years later to discover a band with tactical skills improved almost to the point of actually forcing. . . enjoyment. . . upon listeners. After member turnover (as is to be expected with any group notorious for musical suicide bombing), the nearly rejuvenated cell turns out an operation which is much more average than their previously diabolical attempts. An improvement from evil to average may not seem like a big deal to some, but consider just for a moment how much of a change this is for Attack Attack.
What will be readily apparent to a listener is the disappearance of the deadly DJ-rap-techno-rave bull*** which made their first two albums so fatal. Opting instead for a heavier, more abrupt, more stream-lined “metalcore” sound on all of the songs, the standout phase of this attack is the improved vocals on the album. Increased funding of the terrorist cell has contributed to the disappearance of the dreaded autotune outlawed by most modern governments (in favor of the much more subtle but equally deadly clean vocals of Caleb Shomo). Also missing are the low vocals which were so devastating on their previous record, Shomo instead sticks to a higher-pitched talk-scream which sounds stronger overall than the lows (and hopefully would translate in live shows) but also draws more attention to the less than great lyrics.
Guitar, bass, drums, and keys all seem to be making noise in the background. But they’re doing so little to contribute to the overall sound of the album that they hardly require mentioning. The guitar never moves outside the box of average chugs and chords. The bass is nigh inaudible. The drumming is serviceable for keeping time but ultimately unmemorable and fails to differentiate from other bands. The keys are also decreased greatly; however, this ultimately ends up being a plus.
Final statement: Attack Attack has improved their sonic assault to the point that the sound is much less dangerous to one’s brain and becomes just average enough to warrant a few less than hesitant listens. WARNING: DISCARD THIS ALBUM AFTER A FEW LISTENS OR IT WILL SELF DESTRUCT