WOW!- What else can I say. This band blew me away when I listened to them, I bought their EP and finally their LP.
Frankly awesome and for good reason are they one of the hottest new bands out of Britain. People have slagged them off for hero worship and their Iron Maiden influences, but how then are Trivium getting away with ripping off Metallica’s styling? Bullet for My Valentine have capitalized on a surge of popularity for proper metal and put out one of my favourite albums since Slipknot’s Vol. 3.
The crews great musicianship has seem them nominated for:
Best Album
Best Uk band
Best live band
For Metal Hammer’s Golden God awards.
Matt Tuck- Guitar, Vocals (scream and clean)
Jay- Bass, Scream vocals
Padge- Guitar
Moose- Drums
Intro 4/5
A brooding instrumental that put images of approaching storm clouds in my head. The tension rises with the guitar work and violin until the slow riff kicks in and cranks up the power. Building, building until….
Her Voice resides 5/5
A sledgehammer to the head with a vocal scream that rips through the carefully wrought atmosphere of the intro and brings in one of the best riffs of the album. The sparring guitars of Matt and Padge bring an urgency to the song that carries it along with Moose happily pot-bashing in the background. Jay’s bass is lost again this album but can be distinguished from the melee occasionally.
The Chorus is one of their best, leading into a screamo part that throws the listener about. The solo work is good but hardly mind blowing this track.
4 word (to choke upon) 5/5
The opening riff is the base for some solid drumming and guitar slides then kicks into a scream from Jay and a breakdown and some guitar squeals.
The chorus is a great shout out loud one that is really helped by the chugging riff and speed kick from Moose. The build up mid song leads into the best solo on the album and provides a nice bridge in a song with virtually no verse structure.
One of their good ‘uns but a little only in small doses as it doesn’t stand up to intent repeat listening.
Tears don’t fall 4/5
This song is the closest Bullet come to real sentimentality with vocal dexterity and song writing that provides an excellent chorus and passable verses that are just waiting to descend into the choral anarchy.
Solid guitars and drums (still no sign of that damn bass though). The galloping mid section is reminiscent of Iron Maiden and inspires serious amounts of chaos live and in the home. The solo sounds good but the song doesn’t suit the lightning fast fretwork as opposed to the thundering drums. Another stormy one.
Suffocating under words of sorrow (what can I do?) 4/5
A real gallop of an riff provides the backdrop to this excellent song that demands to be moshed to and provides a great call and respond chorus. The less whiddly solo is more suited to the song and doesn’t suffer as badly as the others in some respects.
Hit the Floor 5/5
A really malevolent vocal piece that is basically about a mugger and his victim. Padge’s guitar is great in this song, where it provides an really sleazy atmosphere that descends into more and more violent breakdowns and a churning storm of drum, twin guitar and bass (maybe)
All the things I hate (revolve around you) 4/5
A simple acoustic intro crashes into a crescendo of guitar before returning to the mellower verse. The bass is finally (properly )here and provides an nice backing thud to the proceedings. The chorus is a little overwrought but the interlude that builds into a verse is nice and breaks the song into a more complex affair than it’s previous form.
Room 409 5/5
A shuddering Bass drum brings in a violent cacophony of guitar and human voice. The screams intercut the clean Matt vocals and the vocal effect before the chorus is interesting.
The Chorus itself is a riotous affair that throws itself all over the place and provides a good bit of chest beating bravado. The solo finally works to bring in a wailing Matt Tuck. A breakdown with all the subtlety of a juggernaught leads into a fast paced outro.
The Poison 5/5
An opening riff/drum combo leads into a screamo section again interchanged with clean. The Chorus is fast paced and backed by good guitar.
This solo is by far the best and provides an excellent interlude and the chance for Moose to let loose on the double kick and for Padge to chug along nicely.
The rest of the song is pretty standard BFMV affair but is saved from mediocrity by a good closing riff.
10 years today 4/5
A moving song about the loss of a friend close to the band and their response to it. The simple riff is overshadowed by an annoying attack of the snare. However the bass is also audible (just) on some sections and the chorus is sentimental but at the same time fast paced and accessible.
A tempo change signals a scream section that builds to a climax and another chorus. Good vocals from Matt and Jay on this track.
Cries in Vain 3/5
A track that screams FILLER!! Because it was on the EP. In fact this was one of the standout tracks on the EP but shouldn’t have made it to the LP for purely original reasons.
Spit You Out 5/5
An intro section to die for and one that ups the tempo and aggression instantly. The opening scream section is good and fits well with the tone. The Chorus is great with the riff moving in and out of the spectrum.
Fast kick from Moose helps power the song along with Padge’s riff thundering along and providing a energetic majority till the breakdown which only serves to allow a barrage of more screams. A tempo change with a sample of live audio is just weird though.
The End 6/5
A real change of scene with the BFMV crew going acoustic and with a building of tension reminiscent of the intro to the album. Simple drums and ethereal guitar squall permeate the song until it build up for the stand out moment of the album as it grows and grows with Matt’s outraged vocals… until it drops, we’re left hanging and another acoustic verse kicks in and the build is repeated. Same again? Thankfully not as the good old Welshmen finally get a great head banging section into the outro to beat nearly all outros as another riffs kicks in and gallops along at top speed and delivers us to… THE END
Whew! Journey of greatness over till next album.
