Review Summary: Modern hxc prog meets...well, itself I suppose, on this masterful collection of Post-Hardcore perfection at it's sharpest.4 of 4 thought this review was well written
There are certain people who are the best at what they do. Even the common man of today's world can pass by a sounding off of the finest piece of music relating to that specific genre they've ever heard in their lifetime, and know almost exactly what that artist is doing in the studio to make it like it is. The Fall Of Troy are a jam band. Unlike most jam bands, they do not carry the longingly stoned feel of Allman Brother's and the Grateful Dead, instead reaching for a more modern goal of Hardcore incorperation to their clearly Progressive home influence. These are the boys who grew up listening to Rush
coincedentally at the same time. Punk Rock has evolved since it's explosive birth to a very trance-inducing genre that is even moreso explosive in a manner that clings to the audience and listeners like Metal - Hardcore
music. So what are bands to do, afterwards the Hardcore movement has accomplished much of what it set out to do? The screaming and filling grows old. There are obviously groups who simply do not realize that, and those who do. Of those who actually are aware of what they've got themselves into, the Fall Of Troy are some of the most prominent. Surprisingly three pieced, this set of speedy breathtakers move in and out of their holes of consciousness in the music to forge a path in between the UnderOATH and I Die Tonight For Your Sake to make truth out of an uncovered cause. The Fall Of Troy have turned prog-metal into a whole new term. We should use it today as in reference to this specific band, and hopefully all the others who claim and prove to have been heavily influenced.
Although on the brink of static destruction, guitarist and vocalist Thomas Erak eradicates the norm when it comes to his music. First of all, effects pedals are a must for hardcore, because you are certainly not truly hxc unless of course you sound un-alike from the rest, whilst pertaining to yet another set of principles that smiles down on the sadly un-progressive (for the most part, not the case in point obviously) genre of Post-Hardcore. Secondly, if you want to appeal to a wide audience, make your music sound open without the simple employment of effects. A musician's voice is his most natural instrument to him or her, whether you play another or not. Erak is clearly aware of this, as he incorperates vocal submissiveness to go along with his band's backing. As the song speeds up, he flys immediately into a breathtakingly piercing scream, and you can hear for yourself how tortured this happy man can make himself sound. When the situation calls for it, Thomas sings.
Melodic vocalists galore in this band, as Erak is not the only one who provides them. So talent is clearly a majority.
Candy is classic, isn't it? Short and sweet, right to the tounge, and a massive sub-culture it has created. People like candy. Satisfaction comes in small packages as you have seen throughout your lively experiences, and TFOT's music is no different. This album in particular I'm speaking for, as other Fall Of Troy work is nothing short of out of average reach, but of course even the best can befall itself at times, and filler is not a stranger. Engaging in a brief production, Erak and company decided on a more direct effect for their audience and this album is a close to perfect result of that. The shorter the better when it comes to attempting perfection. A twenty-track epic is bound to contain some unpleasent filler.
The Fall Of Troy made an example of themselves with this collection of songs. Fast beats and headbashing guitar riffs -- very, very technical band. Erak and friends make it so they cannot be heard by the average ear. Technicality in guitarist terms is a progressive thing. One must learn that art as they move. Erak has not completely salvaged his prize as of yet, but of course judging by his presence and playing one day it is possible. On this particular collection, he violently sprawls himself through the songs combining his clear lack of repetition and knack for mesh. His vocals, while maybe not even close to 'good' by anyone's standards, accomplish what the Fall Of Troy need to, and that is what becomes of his voice. The entirety of Ghostship Demos is a house to both powerful screams and weaker cleans, still holding up a firestorm against the rest of the competition simply because this ploy just clicks.
Instrumental has been talked about. Everywhere, for the Fall Of Troy. The song
is their strong point. Not a very album-oriented band at all, sans this release, TFOT make the best of what they think is the best. In their songs you see not much connection or flow at all, just a jumble of tracks as if it were 'Fall of Troy's Finest'. Proper and intuitive concentration is the source of this amazingly mathematical result. Songs
are the FOT's goal, and they accomplish this well. If there ever was an album that showcased this perception, a theme that carries unmatching songs, all the while supporting this characteristic they all share at one point or another this was it. The Fall Of Troy created a surprisingly unorganized masterpiece, which for the music I can't say as much as I'd like as the thinking that goes on both sides of the disc. You know the band thought this out well, and that kind of effort allows the audience to think on such epic proportions as the band, and create imagery of their own. A Ghostship, one that sails with no destination. The Ghostship Demos, a collection of songs with no ultimatum, just math.