April 3rd, 2012
Release length: 31:27
The music here actually has a pretty strong production value to it. The guitars sound great amid the varying distortions utilized, and even when coming through cleaner to more melodic moments that feature harmonizations or singing. The breakdowns have a dominating presence thanks to the deeper sound the chords have, as well as the bass presence that is pretty low and acts as an additional layer sometimes, but during less intricate sections such as these, they end up acting more as support. The drums are pretty solid as well, having a loud click to the bass kicks and crisp ringing or clash to the cymbals. The snares stand out well with a thicker sound that does come through over all other instruments, though still not quite as loud as the vocals that come through pretty dominantly. The audio levels are not bad, and the range shown goes from screaming to singing, and even some Deathcore specific squeels at limited times, helping to keep the music fresh, as well as erratic.
However, when it comes to the singing, it often can come through a little tone deaf. Really, this is the only issue to be had with the album, but it doesn’t pose that much of a problem. “Everyone Sleeps But Me” has a little bit of everything, though for the most part the harmonic vocals here work out thanks to the harsher performance behind them aside the chorus, which still doesn’t boast a bad performance. The song itself is a chaotic offering that relies a lot on more intricate Mathcore material, often shifting from the pulse-pounding pace it starts with to a more melodic chorus that seems to fall in line with a Metalcore approach with some strong bass-fueled breakdowns, guttural squeels in the background against maddening foundations, and just generally slower music. The bass drop in the final breakdown of the song, however, is quite impressive and very loud, coming through like a literal explosion. This is one of the more technical offerings, as many others are a little more restrained in comparison, such as “The Chalk and the Matter,” which focuses on streamlined rhythm with varying shorter technical passages, and heavily varied music such as the Jazz oriented verse that hits prior to the first breakdown.
“As I Lay Fail” is another strong track, though this one doesn’t quite pack as much technicality or Progressive shifts into it. This one feels like a traditional Metalcore offering than anything else, and it makes a nice break from the norm. There is some emotion found thanks largely to the more passionate and enthusiastic clean singing in some of the melodic areas. Things do shift into a Deathcore approach towards the end, incorporating gutturals as well, marking the start of the more erratic sound once more before going into some Jazz-like music similar to what you find on “The Chalk and the Matter.” “Kolpa” is also worth making note of due to it being a heavy Grindcore experience with some additional Punk influence thrown in. Unlike the rest of the album, this song doesn’t really branch out into intricate material, build up into a tighter sound, or become too erratic. But, as it continues, you can tell that the lyrics accompanying the high paced Grindcore material are replaced with just random screams, and is meant to just be a fun song, which it does end up being.
But, of all the songs on here, the ones that stand out the most are the longest, largely since these show the dexterity that the band has. “Shores are Not for Vacancies” is a slower track that utilizes a clean singing approach mostly, as well as some screaming or rougher harmonies. The melodic chords give off a nice emotional atmosphere to the track that the faster, maniacal songs of the recording rarely have. The pace doesn’t hold the song back either, allowing intricate performances and shifts in the speed, some minor and some dramatic, as well as aggression to come through with superb transitions in and out. Much of this explains “Your Average Hero” as well, except a good majority of it is toned down. The vocals are mostly the same, but sound as though they are captured from a man performing at quite a distance. It suits the atmosphere of the track well to keep the listener happy, and the shifts in music that often respect the pace all have decent transitions, and continue to add a more emotional experience as it builds to a richer, dynamic closing.
Despite the often off-key cleaner vocals, an error that actually ends up working in the bands favor at times, Lost Fathers and Sons makes for an outstanding Mathcore album. The only problem? Chances are it’ll go under the radar for a lot of people. While this isn’t the greatest album you’ll ever hear for the style, it definitely is an interesting one with some great music, and interesting changes throughout. The energy captured on many songs really makes an impact on the listener, and some of the emotional elements and songs really come off as a shock your more than willing to embrace. Various -core styles are represented here perfectly, and there’s plenty of replay value to this recording. Hopefully this acts as a springboard for the group with future recordings since Lost Fathers and Sons proves Chopstick Suicide is a band that is well worth keeping a close eye on.
01. Everyone Sleeps But Me – 3:15
02. The Chalk and the Matter – 2:34
03. Shores are Not for Vacancies – 5:15
04. Televisions Television – 2:55
05. As I Lay Fail – 2:47
06. Small People, Broken Glasses – 4:17
07. Your Average Hero – 8:18
08. Kolpa – 2:06
|Overall Score: 9/10
Digital review copy of this release provided by Peyote Muzik via Clawhammer PR.