Review Summary: "Who could have imagined two Catholic schoolgirls in a knife fight would sound this beautiful?"
Alexisonfire began booking shows with other little known acts at a time when event flyers often had descriptions in brackets underneath the band names. This was done in an effort to drum up interest among potential listeners who had never heard their music before, leading to such gems as "Whisky-tinged metalcore from upstate NY" and "Gasoline-soaked Texas hardcore." Evidencing a desire among the band to always forge their own path, unconcerned by the opinions of their peers and predecessors alike, vocalist George Pettit had just the solution to the practice that they found clichéd and banal: "Say 'Two Catholic schoolgirls in a knife fight.'" "Which, I don't know what that sounds like... I don't think anybody really does. But you can imagine. And that's sorta kind of what I think we sounded like to be honest. A bunch of... shrieking," reflects guitarist/vocalist Dallas Green.
As most of the band was still attending high school when
Alexisonfire was written, the young quintet understandably had very little money to apply towards the creation of their debut. Consequently, the process saw them recording at nine or ten studios all around Toronto, primarily chasing free studio time offered by friends. Guitars, e.g., were often tracked from 3 a.m. to 4 a.m. or in other small increments during obscure hours of the night. Simply put, this was a group of kids doing whatever was within their means to get a first record out on the streets. The resultant finished product certainly is less polished than was to be expected from the band's more high-profile contemporaries, yet not so rough as to reach a level where it genuinely detracts from the overall listening experience. Nevertheless, it proved the loudest and most enduring criticism of a record that went on to launch Alexis' decade-long career as Canada's premier heavy musical act.
In stark contrast to the amateurish approach toward recording the album, Alexisonfire's collective songwriting abilities were anything but. Opener ".44 Caliber Love Letter" begins with a two-minute-long instrumental composition featuring dueling lead guitar work and an intricate tapping riff that makes it abundantly clear from the onset that the band's skilled guitarists can establish a scenic mood. Within twenty seconds thereafter the listener is already hearing three distinct vocalists using screamed, sung, and shouted styles. Before long a spoken voice is added to the mix and you have all elements simultaneously warring for sonic space, yet diligently complimenting one another in a way that doesn't make the abundance of pieces seem overwhelming. This is especially true upon repeat listens; an absolute must for this album, as the songs are all very dense and prone to moving forward at all times.
Choruses are nonexistent, hooks to sink your teeth into all but absent, and riffs come and go one after the other. That is not to suggest that these parts are not infinitely memorable and noteworthy, they wholeheartedly are, it's just that they will only be with the listener for a brief moment before being discarded in favor of yet another novel vocal or guitar arrangement. Therefore, it is likely common to listen through a full song for the first time and know that you enjoyed it greatly, but not be able to specifically recall individual moments in your mind. Accessibility seemed to be of little to no concern for the band, seemingly prioritizing focusing on the longevity of the album and crafting something that would not only withstand additional listens, but actually continue to grow and expand with each time it's revisited.
Unlike most other bands in the genre Alexis has no regard for traditional song structures, and the familiar sing/scream style is utilized in inventive ways so as to distinguish them from the herd. Rather than screamed verses and sung choruses or any variant of a formula to the division in vocal duties, it is almost completely unpredictable which vocals will be used at any given time, with both frequently interweaving or even occurring in unison. The quality of the vocal delivery itself is always of the highest caliber, with a superb amount of variety displayed by both Pettit and Green. Pettit's screams are performed by someone who clearly had no vocal training or hesitation about the prospect of destroying his larynx in the future, and the resulting onslaught is never monotone nor mundane. His energy and passion are never in doubt and everything he does, from wailing frenetically to dabbling in low growls on "The Kennedy Curse," is brimming with life. Green, meanwhile, has a knack for writing pleasing clean vocal lines and the natural gift to perform them precisely as envisioned. His parts on the album range from near yelling in volume to barely a whisper, his tone near unmatched in the genre and his delivery incredibly smooth.
The most unique feature of
Alexisonfire, however, is Wade MacNeil and Green's twin guitar attack that proves equally adept at crafting brisk, heavy sections and the contrasting subdued, calming, even comforting passages that are present throughout many of the album's songs as intros, outros, and randomly timed interludes. The latter moments are particularly impressive, such as the stunning intro to album closer "Pulmonary Archery" or the serene, tranquil, almost sedated extended instrumental that opens "Polaroids Of Polar Bears." These segments, of which there are many, truly ground the chaos that surrounds them and bring a vivid sense of atmosphere that most bands scarcely, if ever, achieve. Even the ending of "Adelleda", with the instruments individually fading out and slowly giving way to piano, manages to avoid sounding sappy and instead comes across as genuinely moving. The interludes are also where the bass manages to shine, with Chris Steele providing an uplifting sense of warmth to songs like "A Dagger Through The Heart Of St. Angels" that feels equal parts nostalgic and soothing. In a sea of music where bass players usually range from invisible to a mere afterthought, it is most welcome to hear prominent basslines and be made to take notice of Steele's presence ample times throughout the record. Drummer Jesse Ingelevics is formidable in his own right, showcasing his ability with varied and inventive playing at all times. One need not look further than the blistering drum fills on "Jubella" as confirmation of his skill behind the kit, and as the final piece of the puzzle he keeps everything tight and holds it all together.
Clocking in at 42 minutes, this record is entirely devoid of filler. There is not a weaker song on here and the level of consistency from start to finish is rare to find. While Green and company may have been bewildered to learn that their brand of "shrieking" about led to mass legions of fans flocking to their shows, listeners should experience no such puzzlement.
Alexisonfire is an achievement; one that has not only stood the test of time, but stands stronger today than it did nearly a decade-and-a-half ago.
Who could have imagined two Catholic schoolgirls in a knife fight would sound this beautiful?
