|UserSoundoffs 37Album Ratings 232Objectivity 72%Last Active 03-10-13 12:37 amJoined 06-16-10Forum Posts 6Review Comments 86
|Epic Intros, Part 1|
What I like to call "epic intros";
1-2 minute intro directly segueing into the next song (no breaks):
Must be the first two songs on an album
Second song must not segue into the third song on the album (few
sound effects are allowed, if any).
A0001/Understanding in a Car Crash
Soft melodies & voices seep into the speakers, guitar chord feedback heightens
the emotion, and guitars and drums "crash" into a classic Thursday song. (Intro
sounds used again for closing the album).
Mylo Xyloto/Hurts Like Heaven
Recurring motif of the concept album starts here, slowly rising in volume and
instrumentation, in drops a hip hop beat crossed with alt guitars and Chris
|3||Lamb of God|
The Passing/In Your Words
Acoustic guitar sounds like it could come from 2000 years ago or distant
dimension yet still earthy, ramps up into a driving riff, clangs for a moment as it
hinges on huge amounts of feedback, Randy Blythe's voice sounds like a demon
slowly rising from hell, and ssssshAAAWW - cymbal crash leads us into
headbanging riff and Randy's triumphant scream tells us that the band are
more pissed off at religion than ever, especially in the time between writing
Hot Grills and High Tops/Stick Stickly
Hip-hop beat copped from Lil Jon's playbook alongside party-rock synths, until a
truly WTF?!-genre twist with guitar breakdown and Austin Carlile's banshee
screams. Play this one to impress and temporarily fool your friends.
Le Prologue/The Sick, Sick, 6.8 Billion
Pounding drums, shouted punk vocals ordering you to "stand up!", slide electric
guitar lines, religious analytic lyrics, boom-boom-boom-boom, lead riff starts up
with versatile vocal performance.
Uber-Time/Olidale (Leave Me Alone)
Radio broadcast about humans landing on the moon and what it means for our
existence as drums start up a practice run, the guitars tune up, and suddenly
we're in a post-apocalyptic landscape, huge amounts of guitar echo, as Jonathan
Davis is riddled with angst about modern day-to-day life.
Days of War/Change or Die
Militaristic drum and guitar line, reality shatters and the band just lets loose
with a "Let's GOOOOOOOOOOOOO!!"
2.0/What's Left of Me
Devastating breakdowns and bass booms, with Jared Warth reminding you that
the band is "not dead", it builds and builds and builds to the climax, and then
winds downnnnn "DON'T LET YOU'RE EYES GO SHUT ON ME!" Great use of
Sinister electronics slither around the soundscape, chiming keyboard and string
arrangment, acoustic then electric guitar gives a sense of longing and isolation,
the rest of the band comes in with a crash, badass bass line followed by
|10||Escape the Fate|
Choose Your Fate/Massacre
Bass boom, sound effects, eerie choir vocals lets you know something heavy's
about to go down, shouts of "Choose your fate!" over chugging guitar, a brief
acoustic pause with piano and guitar, then in crawls crushing riff and an "OH!"
death growl to proclaim the heaviness has begun. They rip off not only Bring Me
the Horizon's "Chelsea Smile", but also Korn's "Falling Away from Me" (same
key, same bass boom, same whiny guitar)... so why is this still so listenable?
Keyboard effects from last two albums continue the saga of ES, Rou comes in
with metaphorical sociopolitical lyrics, pensive reflection of childhood,
hopefulness for "your future" builds until the whole band enters, drums ride the
hi-hat, power chords, Max Martin-like space buildup, then the "meltdown"; epic
chugging breakdowns combined with similar rhythmic dubstep. Nice variety.