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I Ate Your Microphone
Album review
Emerging from some rising feedback, the opening chords of album opener 'Violent Mood Swings' pound out of the stereo, and it sounds like the new SpineShank release is going to be carrying on right from where 2000's breakthrough sophomore effort "The Height Of Callousness" left off. As vocalist Jonny Santos enters with his trademark roar, a feeling of excitement sets in, as SpineShank's self-styled techno metal is, at the very least, pumping and vibrant in its execution. Interestingly for a leading track, the lyrics are full of expletives, as Santos develops a bitter rant about the state of mainstream culture where people are not willing to speak out, or think for themselves. The anthemic chorus "It's like a fucking disease" is repeated many, many times, and while this may lead some to believe that they are endeavouring to appeal to a younger crowd who are more likely to be impressed by such constant cursing, the vehement self-belief portrayed in uttering the line is enough to dispel any such fear, and allows the song to be appreciated for the strong message it carries.
It would be difficult for a band to emerge three years on, however, and remain static, or unevolved. The first single off the album, 'Smothered', is where the first real change becomes apparent in SpineShank's sound from their previous output. The vocals are soft and gentle, bringing to mind the sound of Depswa's most recent material (I swore it was them when I had this song stuck in my head some weeks ago!). It is obvious that Jonny is very comfortable and settled with singing in this manner, his voice is powerful and melodic, and there is more to come on the album in this vein. The instruments are also toned down somewhat, with very light and uncomplicated parts, mildly adjusted electronically by drummer/effects man Tommy Decker. This obviously broadens the appeal to radio, but what people really want to know is whether it affects the fundamental part of SpineShank's sound, which is their unnerving energy and aggression. Being realistic here, there is no way this song could be described as aggressive, however it is a very well written track indeed and has the potential to attract many new listeners who would previously have been put off by the sheer fury of the majority of the band's material. On the album, this is followed by 'Consumed (Obsessive Compulsive)', which does a magnificent job of mixing the lights and shades of aggression, calm, screaming, and melody. So far, so good, and the opening third of the album is remarkably successful and compelling to listen to. The opening chord of fifth track 'Beginning Of The End' however, is where a slight disappointment is felt on my part. It is identical to the one used in their successful single 'New Disease', and knowing that song well as doubtless many of their listeners do, it is unnerving to hear a totally different track follow. The pseudo-rapping found in this track is also not particularly appropiate to their sound, and I feel that the album would have benefitted tremendously by leaving this song off. It is however redeemed somewhat by the strong and melodic chorus, which is thankfully the most memorable section of this track. The pace is slowed somewhat for 'Forgotten', a gentle and somewhat ordinary song, reminiscent in some ways of material from their first album, aside from the accessible and tuneful vocals. The lulling atmosphere is broken somewhat however when the title track kicks in, as Jonny once again begins to scream, following a crescendoing introduction which becomes rather intense. However it seems he cannot resist singing even here, as the chorus vocals are very clean, although the screaming backing vocals maintain the pressure and intensity of this rather excellent song. Without doing a full track-by-track analysis, it is sufficient to say that the record continues in this way pretty much for the duration of the CD. Of course, there are some blisteringly heavy reminders of SpineShank's ability to assault the ears... just check out the introduction to 'Falls Apart' for example... but on the whole we have an album which varies dramatically in both heaviness, and aggression.
Overall, I'm left with the impression that while SpineShank diehards may initially feel a slight sense of disappointment upon hearing this chapter in the bands career, the melodies and hooks employed within the record account for some of the most memorable songs written by SpineShank, and while this has been achieved with a drop in intensity, it has made for a compellingly listenable record, which will doubtless increase their steadily rising fanbase whilst satiating the open-minded amongst their current followers.
Chris
Link:
http://www.iaym.com/?page=reviews&f;=70045
Uk Fusion
Review
Link:
http://www.uk-fusion.com/
Metal UK
Review
Link:
http://www.metaluk.com/reviews/viewReview.cfm?iReviewID=120
Various
Kerrang! - "Self Destructive Pattern' spills standard songwriting formulas over the corpse of established nu-metal procedures and devours it whole." - KKKK
Terrorizer - "However you brand them, make sure the words excellent and distinctive head your label" - 8/10
Powerplay - "The best all-round metal album so far this year - 10/10"
Powerplay
Album Of The Month
"Self Destructive Pattern" - Album of the month!
Remember the first time you heard Linkin Park's "Hybrid Theory" in its entirety? Remember that barely controllable sense of excitement as stunning tracks followed on after another? Remember how after only a couple of spins, the melodies were permanently imprinted on your mind? And with such huge crossover appeal, it was little wonder that even Powerplay's readers and writers - not known for their love of nu-metal - succumbed to its charms. Then along came "Meteora" which, although hailed as a triumphant return by LP's fans, suffered badly in the crossover stakes due to an over reliance on rapping and scratching, and too few quality songs. Enter Spineshank and "Self Destructive Pattern" - a nu-metal album for all metal fans…
I wasn't actually paying much attention as I took the promo disc out of its sleeve and slotted it into the office hi-fi. One of a large stack of promos that I was ploughing through as I worked at my PC that day, I'd heard both of the band's previous albums, "Strictly Diesel" and "The Height Of Callousness", and while both were competent, neither had made any kind of lasting impression on me, so I wasn't expecting anything startling from album number three. Sixty seconds into opener "Violent Mood Swings", I switched off my PC, turned the answer phone on, cranked the volume up, and did nothing but listen to the album until it finished 40 minutes later. And as my ex wife will tell you (it being one of the reasons for her status as an ex) there are very few things that can distract me when I'm working.
Produced again by GGGarth Richardson, the music positively spits, growls and tears its way from the speakers the guitars rip, the drums crack, and the vocals are beautifully prominent. And what vocals they are! One minute hurled abusively at the listener, the next they coax and cajole, positively demanding that you delve further. Elephantine sing-along choruses are backed by chants and death metal growls, such as on the first single, the dazzling "Smothered", and the oh so perfect "Beginning Of The End", which has enough kick to leave a lasting boot print on your arse. Then there's "Consumed (Obsessive Compulsive)", on which nu-metal aggression is taken to its limits and then tempered with stunning vocal melodies, seemingly delivered out of nowhere. But the best track of all, the album's defining glory, the mid-paced masterpiece that is "Forgotten", is buried deep in the middle of the album. A true hidden gem and a future classic for certain, it leaves you breathless and wide-eyed on every listen. Sticking with nu-metal comparisons: like Linkin Park's "In The End" or Papa Roach's "Last Resort", this is one of those songs that has now become so ingrained in my psyche that I simply can't imagine life without it. It's that good. And I guarantee that album closer "Dead To Me" will have you chanting along and spinning the disc back for another play as soon as it has finished.
I urge those of you who, like myself, turn cold at the mere mention of nu-metal to investigate this album because with its pained and disturbingly well-observed lyrics, ridiculously infectious melodies, and delivery with more crunch than Kellogg's, it is the best all-round metal album so far this year by a mile. And from a writer and a publication with little tolerance for nu-metal, that's one hell of an endoresement!
Mark Hoaksey
Planet Loud
Interview
Link:
http://www.planet-loud.com/interview.php?interviewid=71
Planet Loud
Album Review
Track Listing : Violent Mood Swings / Slavery / Smothered / Consumed (Obsessive Compulsive) / Beginning Of The End / Forgotten / Self-Destructive Pattern / Tear Me Down / Stillborn / Falls Apart / Fallback / Dead To Me
A lot of people wrote Spineshank off as nu-metal wannabees when their debut album, Strictly Diesel, hit the shelves. The band responded with a follow-up which destroyed their closest competition with its electronic-soaked aggression. If further proof was needed that Spineshank had shrugged off those allegations then it came in the form of sold-out UK dates which saw the band deliver a solid performance on the back of their cracking second album. Well, since the end of a hectic touring schedule, the band have been keeping their heads down and have emerged from months out of the limelight with a cracking new album.
Self Destructive Patterns is the album that Spineshank have had in them right from the start. It sees them shedding their nu-metal skin once and for all with some frankly huge rock songs. This is everything you'd want from a Spineshank album, the huge banks of electronica coupled with mammoth melodies give songs like Smothered and Forgotten a futuristic edge while the hooks in songs like Consumed have you nodding your head like only the coolest rock albums can make you do! Biggest improvement of all though is in frontman Johnny Santos who has eased off on their harsher vocals he utilised on the last album instead preferring a more varied, cleaner approach and with songs like the title track he can really let rip with his best performance yet. You may have got the impression that the 'Shank have gone soft on us but wrap your ears around Stillborn, one of the standout tracks on the album, where Santos and co let rip with a thumping concoction of pounding metal and eerie electronica. Superb!
If, after listening to Self Destructive Patterns, there are any people who still want to write Spineshank off then you have to wonder what the band have to do to convince these people. However, with the quality on show here, I don't think it's going to be hard for the band to convince people that they are a massive force to reckoned with in the metal scene of 2003. Expect big things from this band in the coming months because their time is now!
Graham Finney
Link:
http://www.planet-loud.com/albumreview.php?albumid=107
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