Review Summary: Surprisingly, this was an enjoyable and well-done release. Carlile proved that he didn't mess up everything he put his hands on.
After the laughing stock that was “Stick Stickly” and the disaster that
Came Suddenly, Austin Carlile had to redeem himself. Truly, he may have been the only member of his first band that realized the failure of the AA vehicle, and though they did eventually improve (on their third and final record, mind you), Austin wisely abandoned ship. Although an actual full-length from OM&M remained in practical limbo for a little while, Carlile finally put out a self-titled record with his new band. Not only is the album much better than anything AA ever released, but it’s actually quite enjoyable, though not fully innovative.
Of Mice & Men is overflowing with dark energy, especially prevalent in the over-used breakdowns. The band seems angry at the world the entire record, and refuses to go down quietly. Though Carlile later adapted some lower growls, the first OM&M album found him still depending on the high, TDWP-esque screams he had relied on with his previous band. Thankfully, the screams aren’t piercingly annoying, but actually desperate and passionate enough to be infectious and even enjoyable. For those wondering if this album was just the Austin Carlile show, it was and it wasn’t. Guitarists Shayley Bourget and Phil Manasala craft Southern-flavored riffs throughout, as well as the expected palm-muted chugs. As expected, there aren’t any guitar solos or true standout moments for the axemen, but they craft interesting enough riffs to avoid being just a backing band. Shayley actually provided the clean vocals for the group on this record, and his mid-range voice sounds natural and nice, avoiding the autotune that plagued
Someday Came Suddenly. The same goes for drummer Valentino Arteaga, because though he’s not amazing, his playing occasionally rises above other players of the genre, and isn’t just fully reliant on double-bass pedaling and cymbal-bashing. The bassist just fades into the background and quietly plays general rhythm, so that’s unfortunately a little boring.
“YDG” is a modern-day calling card of the band, and for good reason. Not only is it an album highlight, but it’s one of the band’s strongest tracks to date, from the convicting vocal performance to the jolting riff that runs throughout. “They Don’t Call It The South For Nothing” shines due to the excellent drum fills and straight-up chaotic riffing, while “Westbound & Down” rages with the fury of a Molotov cocktail. Austin truly delivers on this track, sounding ready to tear off his enemy’s head, and both guitarists deliver along with him. Finally, “The Ballad Of Tommy Clayton & The Rawdawg Millionaire” also shines for it’s breakneck pace set by Valentino and the vocal performance from Shayley, as well as some fun leads from Phil. Speaking of Mr. Bourget, “Second & Sebring” sees Austin taking second fiddle (for the most part) to Shayley’s heart-wrenching cleans. The vocal pairing of Austin and Shayley especially works on this track, as Carlile tears through the darker moments while Shayley shows the light at the end of the tunnel.
Other than the bassist, none of the members give an overly-typical performance. Both guitarists are capable, Carlile delivers some throat-searing screams, and the fills will keep you excited. However, this isn’t an original record. With groups like The Devil Wears Prada and We Came As Romans, even the piano part in “Second & Sebring” slightly falls flat, as do other parts of the album. There’s a slight bit of filler that you’ll probably forget right after hearing it as well, and though it may entertain for one or two listens, it’s ultimately forgettable.
Lyrically, Of Mice & Men touch on familiar ground for their genre. “The Ballad” touches on avoiding loose women, while “YDG” condemns a coward, as does “Westbound & Down”. However, “Second & Sebring” comes off as genuinely sad, as it describes Austin’s mourning over the loss of his mother at a young age. Though this may seem cliché, it’s actually a well-written song as well as being a tear-jerker.
Considering the horrid atrocity that Carlile had previously started, this album was quite impressive, and a step in the right direction. Not only did it avoid the mistakes found on SDCS, but it actually introduced some genuinely enjoyable moments, and an enjoyable metalcore/post-hardcore record. Though it’s dated by now, and though it may be labeled “genericore”, consider checking out this record.
