deepthroat101's Full Review: The Melody and the Energetic Nature of Volume by E...
A quick survey of the contemporary rock music scene is likely to make most fans very nervous. Rock music is being increasingly besieged by: a) talentless flotsam (Hinder), b) ham-fisted flops (Wolf Mother), and c) perpetual whiners (Three Days Grace). Is this really where rock music is headed? If so, most listeners would be wise to take up an interest in classical music instead. However, it is in these dark times that we can turn to promising young bands such as Evans Blue to get this stumbling genre back on track.
Now, before anyone labels Evans Blue as the Second Coming, it should be noted that they certainly have their faults, which I'll discuss in a minute. In spite of this, it's hard to beat a platform that features a dramatic and engaging vocalist, catchy, well-written choruses, and a vast collection of sublime and manic guitar hooks. In the end, there are enough purebred rockers to satisfy any fan's appetite, and hopefully, make them forget about all the inept drivel currently clogging up radio waves across the nation.
What does Evans Blue bring to the table? How about:
Powerful vocals. Frontman Kevin Matisyn deserves a lot of credit for the album's success. He's in top form throughout, with an assortment of hair-raising whispers and guttural roars at his disposal. Nowhere is this more apparent than on the lead single, Cold (But I'm Still Here). With a solid foundation of pumping energy and torrid riffs, Matisyn is able to steal the show with his soaring voice in the chorus.
Rock songs done right. This isn't as easy as it sounds. Just ask Scott Stapp. Nevertheless, Evans Blue ratchet up the excitement with a host of intelligently constructed songs. Eclipsed is the album's strongest output, with alternating periods of frantic breakdowns and lush ambiance. Beg seethes frustration as Matisyn condemns his former flame. Potent buildups and timely percussion round out another stellar offering. The Promise and the Threat is also fetching, with plenty of potent riffs, topped off by a smooth, melodic finish. While not on the same level as the previous tracks, A Cross and a Girl Named Blessed cranks up the anger and boasts a snappy set of licks.
Successful cover song. Sarah McLachlan's Possession is covered by Evans Blue, and it ends up being one of the album's better moments. It's supported with what is easily Vlad Tanaskovic's catchiest hook, and the breathless pace ensures plenty of repeat listens are in order.
Why won't Evans Blue revolutionize rock music as we know it? Because of:
Dull subject matter. Most breakups aren't pretty. We get that. Hearing about it for forty-five minutes will have even the coolest listener praying that Evans Blue vents their anger at something, heck, at anything else, and pronto. The girlfriend cliches come fast and furious on tracks such as Stop and Say You Love Me, which is devoid of a potent melodic lead and saddled with uninspired lyrics. Similar lyrical clangers rear their ugly head in Over, an endlessly repetitive misfire that relies on an irritating chorus line that will test the limits of most listeners' patience.
Fumbling finish. While the album's closing tracks aren't necessarily bad, they won't produce any standing ovations either. Quote has a pleasant rhythm section but is handcuffed by those weary lyrics again (You have been so ugly your entire life/ so why change now?/Is this how you want to go down?). Similarly disappointing is The Tease, which, despite a driving buildup, staggers under the weight of the lyrical cliches and listless musicianship.
Ultimately, The Melody and the Energetic Nature of Volume is a strong album. The dreary theme of crumbling relationships, and a few clunkers at the end can both be forgiven, because most of the material is well-executed rock, filled with big, meaty riffs and commanding vocals. Evans Blue offers a thin ray of hope for rock music fans that the future of the genre is indeed alive and well.
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