Review Summary: A solid metalcore release among a sea of cookie cutter acts. Check it out if you're curious to see what else can be done with the genre. It even has non-whiny clean vocals!
1 of 1 thought this review was well written
Though not a new genre by any means, metalcore has so far enjoyed a short five years of steadily growing popularity. In that time, dozens of bands aching to grab a piece of the metalcore action have come and gone. Many of these bands have copied the chugga-chug guitars and heavy crash cymbal breakdown formula set in place by genre originators such as Zao and Deadguy. However, few of the second wave of metalcore bands have been truly innovative. Boston’s Unearth, for example, has been bridging the gap between New England and Gothenburg, melding the melodic death metal of legendary progenitors At the Gates with the pit friendly breakdowns of the established bands of the scene since the start of the new millennium. Diecast, however, have taken the increasingly tiresome formula to new and uncharted territories with enough similarity to make even the most jaded fan of metalcore raise an eyebrow in interest. Internal Revolution, their fourth long-player and second album on infamous metal label Century Media Records, expands Diecast’s sound and sonic experimentation even further.
Not so much metalcore as melodic hard rock with heavy metalcore tendencies, the sound of Internal Revolution is truly required listening for the jaded metal fan who thinks that no more originality can be injected into this seemingly dying genre. While the opening notes of the title track that kicks the album off may not thoroughly convince the listener that anything new is happening, it only takes another minute or so until vocalist Paul Stoddard’s unoriginal raspy scream morphs into a smoothly emotive croon. Other bands in the scene have made the use of so called “good cop/bad cop” vocals a cliché in their sound, injecting them when they think a track could use some melody, but Stoddard’s clean vocals truly stand out as a separate entity throughout the course of the record. While the lyrics themselves may be varying unoriginal lamentations of love, loss, and, as the album’s title suggests, internal revolution, the way they are barked, screamed, and, most importantly, sung by one vocalist is something that needs to be heard.
Quality vocals alone do not make a stand out metalcore disc, especially in a subgenre that focuses more on the interactions between the instruments than the frontman’s description of inner anguish. The players in the band build a melodic and occasionally brutal foundation for Stoddard’s soaring and screeching vocals. Guitars intertwine to create harmonies that split apart and recombine, while the drums provide a steady stream of blasting double bass and crashing cymbals to drive the tracks to headbanging climaxes and the occasional shout along breakdown. The band deserves special commendation for their restrained use of the aforementioned breakdown. Where most contemporary metalcore bands chug along ad-nauseam, Diecast never overdoes the element of the sound that has become the cushion so many bands in the scene often use.
Internal Revolution is a solid and welcome addition to the hundreds of metalcore albums crowding the shelves in music outlets across the nation. Guitars shred and squeal, drums batter, and vocals vary nicely. The only complaint is that bass is, unfortunately, close to inaudible on, save for one cool sludgy breakdown near the end of “S.O.S.” Since this is often the case for most bands in the genre these days, it is somewhat excusable. Also, the final track, “The Coldest Rain,” serves as a cool, yet predictable and melodramatic string and piano driven end piece. The track is a metalcore power ballad of sorts, and as clichéd as it is, I enjoyed the song more and more with every listen. A recommended album for fans of the genre who think nothing more can be done within its confines.
I agree to a point. Diecast's riffs are somewhat generic, but I honestly think the vocals really stand out on this release. I am not by any definition a huge fan of metalcore, I mostly chose this CD from the list my magazine gave me so I could see where the genre may be going. I do, however, feel that Diecast may be able to stand out, if even for Stoddard's vocals alone. I think their next release could see Diecast's full separation from metalcore, and a transition into maybe a more melodic hard rock sound. They've already been played on the radio and have made a few videos. I see them getting a decent amount of exposure in the future. Of course, that doesn't really strengthen my argument for or against the previous statement of Diecast being generic...
Diecast is the shit and it wont take long for everybody to realize it. They are the most normal guys you will ever find in a band. They came to town last month and i was broke so i emailed them and kissed their ass telling them how much i love them and i was broke so all i had to do was ask and they hooked me up with vip and backstage. Kirk the lead guitar call me at my house and we talked for an hour like normal friends i got like every one of them to give me five autographs each and they pointed me out and said my name while they were on like a dozen times. They made me feel awesome and i will never forget them
as for the sound Paul is so clean you know he used to sing opra
Kirks riffs kick ass and the percussion is fast and hardcore too
The coolest part of their music is they have morals and meaning like listen to definition of a hero and you will seeThis Message Edited On 04.24.07
meh, this is an alright review. you could have talked about the songs a little more and described which songs have good riffs, recycled riffs, where the vocals stood out the most, etc. you did a good job with describing the band and describing how they play their instruments, but not so much the songs in general. as for this album, it's pretty generic and the vocals are definitely the highlight of it. still, i can see them growing into one of the more known metalcore acts.
i liked the album somewhat, but i gotta agree wtih you alot.
when i listened to it, i was pretty disappointed. the opening track sounded like an attempt to copy killswitch, which is a band that i dislike. afterwards, i also hated hourglass, since i think the melody was just an attempt at being melodic. but in the end, i still enjoyed the album.