Gilbert, Arizona. Sounds like some hick town out in the middle of nowhere, no? That description fits better than you think. Roughly 110,000 people is not a large demographic, but somehow a decent, nay, impressive band has risen up. Scary Kids Scaring Kids, named somewhat curiously after a song on a Cap'n Jazz album, did the hard yards at the start, organising car washes and various fundraisers to finance their debut EP, After Dark. They built a solid fanbase in their home city (bear in mind that they were still in high school when After Dark was released) and signed to Immortal Records, releasing their first full-length, The City Sleeps In Flames. While that album was hailed and the band given "high potential" status, they have unmistakably matured with the release of this self-titled LP. They are signed to RCA Records, after Immortal went belly up in 2007.Scary Kids Scaring Kids is:
- Tyson Stevens - Vocals
- Pouyan Afkary - Keyboards
- Chad Crawford - Guitar, Vocals
- DJ Wilson - Bass
- Steve Kirby - Guitar
- James Ethridge - Drums
Track Listing:
- Prelude
- Degenerates
- Holding On
- The Deep End
- Faces
- A Pistol To My Temple
- Star Crossed
- Derailed
- Breathe
- Set Sail
- Free Again
- Snake Devil
- Watch Me Bleed
- Goes Without Saying
- Blood Runs Forever
- The Power Of Resolution
Opening tracks tread a very delicate line. They can soften the listener up, creating a more favourable impression of the album, or they can make the listener cringe in agony and press the eject button. While there have been several opening tracks that have done the former, there are sadly many more that accomplish the latter all too easily. Prelude, while not being a masterpiece per se (it's only 40 seconds long) does create a dark and foreboding tone. A voice in the background rants about pollution and the like, while in the foreground someone appears to be running and panting heavily, knocking frantically on doors, apparently seeking an escape. This eventually climaxes with the smashing of glass, indicating the conclusion of the matter in a (presumably) grotesque manner. Degenerates takes over, then, and immediately the full aggression of the band is revealed. Vocalist Tyson Stevens showcases his ability to be angry without screaming. An impressive feature throughout this song and the whole album is the tightness of the rhythm section. The bass drum and bass guitar are connected perfectly, particularly when drummer James Ethridge uses his double kick pedal. Holding On is another passionate track, Stevens' voice impassioned as he moans about his attempts to "hold on" to a woman. The rhythm takes a back seat here, leaving the twin guitars to take centre stage. As is the case with many post-hardcore bands, the guitarists have learned to play off each other. There is no lead or rhythm guitarist, as both Chad Crawford and Steven Kirby switch between these roles effectively. The Deep End continues in pretty much the same vein, another passionate power ballad in which the guitars really flourish. The lead single finally arrives in Faces, which is the first real fist-pumping mosh pit song on the album. It is arguably the best choice for a single, with lyrics speaking about revolution and breaking free of restrictions, to put it in a nutshell. The musicality is top-notch, and Pouyan Afkary manages to add intricate keyboard fills on top of the driving sound created by the band. The next track in this "bracket" is A Pistol To My Temple, which involves the first real use of screaming. It retains a resemblance to the other tracks, but is still excellent and catchy. Derailed and Breathe can't really be called "songs", and they appear to be, while pleasant to listen to, merely filler. The remainder of the album continues the high standard set by the first bracket. Standout tracks include "Snake Devil", which verges on glam-metal and is a fun track, and "Free Again", which again speaks about revolution. Special mentions should go to the acoustic ballads, like "Watch Me Bleed" and "Set Sail". They provide a welcome respite from the high-octane rock, but allow for the rock to resume almost immediately.
The band has taken many strides musically since their debut LP. Stevens was criticised for screaming too much on that album, and the instrumentalists were, while impressive, not outstanding. They have completely eradicated those preconceptions with this album. Screaming has very much taken a back seat, although Stevens uses it tactfully in songs such as "Free Again" and "Snake Devil". The band have stepped up in terms of understanding each other. The guitarists switch soloing duty at will, and Afkary inserts the uniqueness of his keyboard skills without ruining the overall chemistry of the sound. Ethridge has developed the wisdom of knowing when and when not to play complicated fills. When he does play them, though, they are quite impressive. As stated above, he clicks extremely well with Wilson on the bass, and they provide the strong undercurrent upon which the rest of the band runs.
Despite the overall success of this album, there are a few niggling issues that prevent it from being a classic. One is the reliance on ¾, 3/8 or related time signatures (i.e. 6/8) in songs, or at least their choruses. "Degenerates", "Holding On', "The Deep End", "A Pistol To My Temple", "Star Crossed" and "Blood Runs Forever" all use the aforementioned time signatures in at least the choruses, and in many cases the complete songs. While the mainstream public may not care or pick up on this, there needs to be more variety in the rhythm. It would have been nice to have more songs like "Snake Devil", for instance. Maybe even a jazz-rock improvisation, who knows? Another issue is lyrical complexity. It is true that the band has become more proficient musically, but lyrically there can be some improvement. It is extremely similar to their previous effort, with a lot of emphasis on revolution ("Faces", "Free Again") and relationships ("Snake Devil", "Holding On", etc.). This does work, but perhaps the inclusion of more social commentary or a broader range of experiences might have been in order. Then again, these are not HUGE issues, merely slight chinks in the armour.
Overall, this is an impressive sophomore effort from SKSK. They manage to find the middle ground between hardcore and melodic, and keep the scales fairly balanced.
Recommended to fans of: Thursday, Thrice, As I Lay Dying, Dance Gavin Dance, Saosin, Chiodos, Silverstein
Rating:
4/5
