Review Summary: A symphony of deterring sounds and shrieking noise that binds together to form a memorable and even peaceful adventure.
The Blood Brothers consist of members Jordan Blilie (vocals), Johnny Whitney (vocals), Mark Gajadhar (drums), Cody Votalato (guitar) and Morgan Henderson (Bass). The band hails from Seattle, where they released their debut album "This Adultery is Ripe."
With their follow up of 2002 entitled "March on Electric Children" an unwary listener tosses the CD in and is hit instantly by a piercing scream straight from the mouth of underdog Jordan Blilie.
Just to ensure that the band has no intentions of letting loose their vice-like grip on the listener, Johnny Whitney picks up a second set of vocals in a (successful, mind you) attempt to round of the edges while adhering closely to the wailing guitars, frantic drums, and bass that bounces along to a "there's no eclectic music going on, don't worry so much" attitude.
Just as soon as the first verse from track 1 entitled "Birth Skin/Death Leather" lets loose a complicated and eccentric collage of chords from Cody Votalato, the hard-edged insanity bubbles down to a simmering and steadily-climbing, bracing moment while Johnny unveils his brand new vocal range to the world. This album - unlike the debut - shows off the (now fully developed on such albums like Crimes and Young Machetes) limits of which this quintet is willing to go in order to avoid being thrown into a typical punk-hardcore record genre.
The rifts are unconventional, and track 2 entitled "Meet me at the Waterfront After the Social" shows that not only is this band complex and developed on stage, but they have a strange melody about themselves that may not rear its beauteous head until a second round through the album.
Track three is where the conceptual process screams itself to the world. The album is centered around a fictional character and a series of others such as "Mr. Electric Ocean" and the "Skin Army Girls" both of which represent commercialism, materialism, and other such issues that plague today's youth.
Track 4 "New York Slave" is where Jordan gets his chance to not only scream, but do some refined singing that wasn't apparent on the debut. Just when it can't get any better, it does, and "Kiss of Octopus" and "Siamese Gun" allow melody and hideously captivating breakdowns to exist harmoniously within each track.
The album continues until the final track, "American Vultures" does a complete double-take on convention while a piano and some nauseating yet intriguing vocals dance around until the listener - albeit reluctant at first listen - realizes the methods behind the madness.
Throughout, the Blood Brothers show that they not only have intelligence strewn throughout all aspects of their work, but that they are fully aware of what makes hardcore listeners tick. The album is a staple in a scene that has begun to perish behind a curtain of industrialized divas and pop-bands.
I give this album five stars for the sole reason that there is no notable flaw within it. Although, in today's era, the Blood Brothers have grown beyond simplistic thrashing, this album is a reflection of what they once were, and what they are capable of on the opposite side of the spectrum. A definate must for a genuine fan, and a definate must for a new listener.