Review Summary: Not as intense as a bear attack, but not as weak as previous Attack! Attack!
In their relatively short career, Attack! Attack! really only succeeded at a few things. First off, they created one of the most maligned music videos in the modern “core” scene. Secondly, they crafted “crabcore”. However, Attack Attack! managed to do one thing right with their final record, entitled
This Means War. Helmed by previous keyboard player Caleb Shomo after the departure of Austin Carlile (and whoever the vocalist was on the self-titled),
War annihilated the cheesy auto-tune and overdone synth parts from the group’s previous records, and actually seemed like the band was taking their job seriously. It wasn’t brilliant, but it was much better than
Someday Came Suddenlyand the self-titled. Then, shortly after the album’s release, AA broke up, after their strongest release yet. Shomo went on to form the post-hardcore outfit Beartooth, and although at times Disgusting just sounds like continuing where TMW left off, it brings some new ideas and experiments to the table, and proves to be better than anything AA ever released.
Remember the anger that enflamed
This Means War with a new energy? That’s in full force on
Disgusting,as the record burns with scalding aggression and scorching conviction. Caleb leads his sonic army full-speed ahead, using high screams and yelps as his primary weapon. He’s definitely not the greatest screamer, and it often sounds like he’s straining, especially in the higher range. However, his clean vocals are enjoyable and pleasant, and thankfully aren’t annoyingly high-pitched. Both guitarists just deliver what is expected, and end up just backing up Caleb. The same goes for the drummer and the bassist, and everything they perform has been heard before. It’s a pity, as there’s potential in the instrumentalists, especially in the few interesting riffs, leads, and breakdowns that the guitarists craft And no, for the most part, electronics aren’t a staple of Beartooth’s sound, so no unnecessary synth breakdowns (ahem…. Stick motherfreaking Stickly).
“The Lines” is a bruising, heavy opener that is dominated by punchy, downtuned riffs and pulsing drums. Caleb’s screams actually are bearable, and the chorus is extremely anthemic and catchy. Though the song does sounds similar to something off
This Means War,the absence of electronics and a slightly heavier tone do well to separate “The Lines” from an Attack! Attack! copycat. Though its delivery is somewhat melodramatic, “Beaten In Lips” is a punk-influenced rocker that hits fast then retreats quickly, a successful one-two punch involving gruff screams and palm-muted chugs. “Relapsing” has the most interesting riffs all record, as well as an emotionally gripping vocal performance, and “One More” has the best bass line all album, as well as a great tone overall. “Dead” rages at the tempo of hardcore punk, and is the only heavy song on the record that doesn’t simply fit into the metalcore mold. It even involves some punk-flavored guitar, a nice change from the majority of the playing on the album. “In Between” is starry-eyed as all get-out, but it’s so bouncy and infectious, you probably won’t mind as much.
Though Shomo is capable of being an engaging frontman, the fact that this album is, for the most part, the Caleb Shomo show is slightly frustrating. The instrumentalists really don’t deliver to the talent that Caleb occasionally displays, so don’t expect much from that department. Also, the amount of filler is stunning, and is a double negative as that filler sounds exactly like TWA-era Attack Attack! and like the rest of the songs on the album (check “Keep Your American Dream” and “Ignorance Is Bliss”).
Lyrically, this is ripped straight from the “I’m a tough guy with a sensitive side” handbook. Though Caleb rages on a song like “The Lines” or “Beaten In Lips”, the soft tones of a song like “In Between” and cries of “I’ve gotta be better than this” do too much to counteract the angst Shomo tries so hard to convey, and it’s frankly jarring to go from hellish depression to heavenly elation. None of the lyrics are inherently bad, but simply overdone and contrived. However, “Death” actually succeeds in the lyrical department, as it’s themes of refusing to cave to temptation are strong and convicting enough to actually come off as genuine.
Though
Disgusting is
slightlystronger than the previous AA outing, Beartooth has much to learn. For one, the group no longer needs to be the Caleb Shomo show. Also, the group needs to learn which tracks are keepers and which aren’t, because filler is the band’s biggest weakness. Not a total failure, and if the group avoids a relapse on their next record, Beartooth could be going places.
