Review Summary: This is the motion.
On
Crashings, Falling Up pretty much proved one thing: they were a predictable alt-metal band with a nigh unbearable vocalist and occasionally proficient instrumental performances. Some of the guitar riffs were strong, some of the programming was cool, some of the drums were alright, even some of the vocals weren’t too bad. But they sure had a long way to go before moving into even the middle echelons of the Christian Rock scene and the rock scene as a whole.
Dawn Escapes was heralded as a totally different effort from its predecessor before its release, but different doesn’t necessarily mean improved. Or does it, at least in this case?
Let’s note one thing now: Jesse sounds worlds better, similar to the change in Spencer Sotelo from
Periphery to
Periphery II. There’s still a bit of a higher edge, but there’s also predominantly a darker tone that makes it bearable and even enjoyable. As for the guitarists, the guitarwork on
Crashings blended heavy Drop D riffs with some semi-technical leads. The former was actually fairly enjoyable, the latter grew annoying and repetitive quickly, because it wasn’t used tastefully. This time, there’s much more emphasis on the heavy riffs and power chords for rhythm and shimmering octaves and occasional licks for the lead. It’s an overall improvement for sure, though some moments do still suffer. Drum and bass-wise, it’s pretty much
Crashings all over again. The drums occasionally shine, the bass pretty much doesn’t exist. As for the programming, there’s much more of an organic feel. There are still the occasional “bloops and bleeps” as found in tracks like “Bittersweet”, but there’s also a fair bit of keyboard and string orchestra work. This sounds much less gimmicky and more so in place for the group.
Take fifth track “Contact”. No, it isn’t a rock song, but it’s an immersive, pensive electronica track that blends Jesse’s quiet vocals with acoustic guitar picking, a pulsating backdrop, and an atmospheric sheen, very similar to “As You Go” or “Hold Me Now” by RED. This is easily an album highlight and is stronger than more than half of
Crashings. Moreso on the rock side though, the three opening tracks are absolutely killer. “Searchlights” broods and seethes with a dangerous intensity before blossoming into a catchy, angsty, dark riff-driven number, while “Exhibition” is best termed as “piano rock” as it switches from a fleeting piano section and drums to ferocious riffs, and “Flights” has one of the only memorable bass fills all record, more shimmering octaves, and an even more urgent vocal performance. “Moonlit” takes the meld of riffing and licks to the next level, forming a killer main guitar part and fantastic chemistry between both guitarists. The call-answer dynamics that permeate the track are also a really nice touch. And this is where we examine one of the many points of contention from the predecessor: the screaming. It’s one of the only tracks that showcases screams, but are they any better? Well, there’s still that ridiculous masking effect to make it seem like they’re muffled and not there, but the scream itself is actually much improved and even passable. It’s also very fitting for the track, where it felt so forced on the last record. (think of the switch between
The Weak’s End and
The Question from Emery). “Lights of Reedsport” is a heavily experimental number that blends the programming with phaser guitar riffs and of course simple distortion. It’s like a rockier version of “Contact” and works well to spice up the end of the record. “Marathons” is an heavy, dark rocker than features a catchy lead guitar line, some nice “rapping” (he isn’t singing but he isn’t talking), crashing cymbals, and some cool dual guitarwork between the lead and the power chords, especially in the bridge. “Intro The Gravity” is another beautifully pensive number similar to “Contact” that closes the album quite well.
There’s such a progression in such a short time, but there’s still a little bit of filler that easily could’ve been trimmed, a problem that damned
Crashings. Lyrically, there’s an improvement for sure. It’s much more cryptic and thought-provoking this time around, though there is obviously some sort of spiritual undertone. However, instead of directly calling out God’s name, Falling Up takes an approach akin to RED or Breaking Benjamin by remaining ambiguous and thus ten times more relatable.
For a band to go from darn near abysmal to darn near a 4.0 in such a short time is quite impressive. At its best,
Dawn Escapes is a slightly more complex alt-metal outing in the vein of the aforementioned heavyweights, and at its worst, this is still one heck of a listen. Don’t try and escape these fangs, run straight into them.
