I wrote a review for this album two months ago, but after gaining new insight I took advantage of the fact Robby hadn�t posted it yet and rewrote it. So instead of the 400 word version you get the 600. Suckers.
Norma Jean�s O� God the Aftermath is what you would expect of modern metalcore. Just a touch less heavy than death metal, Norma Jean never stops pummeling you with coherent yet incoherent brutality.
Much could be said for the song titles. For example: �Murderotica (An Avalanche in D Minor),� and �Coffinspire (Multitudes, Multitudes in the Valley of Decision).� This is how every song is named: a portmanteau of two unrelated words with a parenthetical subtitle. How is this significant? I have nooo idea. It does, however, allude to the structured style of each of the songs.
Unlike bands like Avenged Sevenfold or Atreyu, Norma Jean doesn�t show off much. The twin guitar attack isn�t fashioned in that lead-vs.-rhythm thing. There aren�t any glam rock solos, but the riffs are incredible (see track 8: "Absentimental"). The guitarists frequently do this windowing effect, where one guitar handles the really low chords/notes and another hits chimed high chords in between the low chords. It�s a really nice and unique effect.
Another thing worth mentioning is song structure. There�s plenty of repetition, and before the line gets old, it unfolds into another equally brutal riff, and often times returns to the original line, with or without variation (see track 3: "Bayonnetwork").
All of what I�ve said about the album so far is aided by the large amount of studio work done for this recording. The guitars were recorded to the point where absolutely every note played carries heaviness and intensity. At times the guitarists are hitting only the low string only, but it sounds like a full chord. This gives the guitars full monopoly over how the songs run. Bass guitar is audible sometimes. The drummer seems to have an easier job. In many songs you�ll notice there isn�t much bass-pedaling, and he�s not playing any sophisticated rhythms. That�s because he doesn�t need to. The guitars handled everything (for opposite, see: As I Lay Dying)
A lot of other reviewers have noticed how much like Botch this album is. Which actually pissed some people off. And others were mildly disappointed by it because they regard Bless the Martyr and Kiss the Child as a better album. However, most people agree that the band�s new singer, as in the guy on this album, was wonderful. Josh Scogin, as in the old singer, had a more dimensional scream (see: The Chariot, as in the band he�s in now), but Cory Brandan, as in the new guy, has a great melodic side. His singing style is nothing you�ve seen yet. Nothing emo or whiny about it. It�s like his mic is hooked up to distortion pedals or something.
But yeah, if you�re an old Norma Jean fan looking for a follow-up to Bless the Martyr, I don�t know if you�d be more satisfied getting The Chariot�s debut CD or O� God the Aftermath. Honestly I love them both equally. So get both. I did and I�m a happy camper.
If you�re someone who considers Thursday hard rock, this album will knock you out like vodka would a ten year old. Any Poison the Well or Botch fans out there would like this CD. Except I know one that didn�t... whatever. All I know is I like this band so much I�m going to make them a theme for my deadjournal background. Woot.
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C.L. '05 |
