To hear Touché Amoré tell it, they had no choice but to work with famed heavy metal producer Ross Robinson if they were going to make this kind of record. It’s a long overdue revelation that he alone can’t be there for everyone at all times, which makes Lament their capstone-a Touché Amoré album that can reach the most people as possible from the greatest distance. This entire history is summarized on “I’ll Be Your Host,” the second single from their phenomenal fifth album Lament, wherein Bolm recognizes the privilege of his platform and the common misconception that he can singlehandedly walk people through their grieving process because he made a great hardcore record about not knowing how to grieve. He atoned by making an entire album about her passing from stage 4 breast cancer. Bolm missed his mother’s dying day because he was “on stage living the dream” at Fest in Florida. The music he makes with his band, Touché Amoré, compels guys with neck tattoos to spend a half hour irresponsibly slamming into fellow fans before they corner Bolm after the show and reveal how they felt truly seen by “And Now It’s Happening In Mine.” He’ll be the first to tell you about the ways he falls short: 2013’s Is Survived By explored Bolm’s struggles with the pressures of being in a profoundly impactful (but not famous) hardcore band, which brought even greater success and demands. Nothing that made the original Dead Horse the beloved album so beloved has been lost, and some of the songs have been improved in some areas, making this album a worthy listen from start to finish.Jeremy Bolm has spent the past decade striving to live up to the example set by his own words. While this album doesn’t replace the original, it does manage to perfectly capture the essence of the songs and give them new life for the most part. Jeffrey Eaton from Modern Life Is War's guest vocals on 'Always Running, Never Looking Back' don’t suffer like Rickly's and sound just as good as they did on the original track. However, that’s a very minor nitpick in the grand scheme of things since the rest of this album is at least on par with the original. I’m not sure what it is, but they somehow sound a little less passionate in comparison to his delivery of the vocals on the original track. The only real downside is that Thursday vocalist Geoff Rickly's guest vocals on 'History Re***s Itself' don't sound quite as good as they did on the original version of the song. Likewise, additional guitars in the track 'Suckerfish' help the song feel more alive as opposed to the original which felt a bit empty in places. The previously barely audible spoken word section in 'Cadence' is now performed with a difficult to miss shouted vocal approach, really adding to the overall vibes of the song and making it actually possible hear what Jeremy is supposed to be screaming. Some new touches to the songs improve on the original versions in some ways. The songs overall feel they somehow have more energy than the original. Jeremy Bolm's distinctive vocals sound as passionate and emotive as ever, showing that the band are once again putting 110% into everything. The production on the new versions of the songs sounds a lot crisper in comparison to the original without taking away any of the bite that made the album special to begin with. Luckily, on Dead Horse X, Touche Amore mostly manage to successfully recapture everything that made their debut album special and provide a more than worthy substitute to the seminal 'To The Beat Of A Dead Horse for the album's 10 year anniversary.ĭue to not being able to remaster the album since the files have been lost, the band decided to re record the songs instead, allowing newer members Elliot Babin and Tyler Kirby to have a chance to play on the album and for the band to capture how they play the songs live. There’s always some fear that the newer versions of the songs won’t live up to the originals. Review Summary: Touche Amore manage to successfully recapture the magic of the original songs without taking away their desired effect or replacing the originalīands re recording old songs is nothing new, but to re record a whole album, yet alone one that is held in pretty high regard within its respective scene, is a pretty rare feat.
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