But, then… I heard it…
“Congregation” kicks off the album, and it’s not a bad introduction track, but it really left a lot to be desired. One minute and forty eight seconds of Electronica, harmonized clean vocals, and spoken word samples that paved the way into some decent Hardcore material. One of the biggesxt draws to the last album was the sleeker production quality, and that’s not what we get here. This comes off as insanely restrained and muffled with a grainy quality that doesn’t in any way suit the Techno and Industrial elements on any of the songs. Once it picks up, it’s over.
“Sky” follows next, and I can’t even begin to write about how let down I am, and how hard I laughed my ass off at this song from start to finish. The vocals are horrible, the whiny screaming is just god awful and hysterical, while the clean singing is about what you would expect. The music constantly just changes for no reason, trying to sound darker at times with horribly off-timed Industrial effects that sound amateurish while the Emo Macabre style screaming goes on in the background here and everywhere else, effectively ruining everything including the Deathcore breakdown that erupts about a minute fifty in. The gutturals are horrible as well and clearly studio edited to be deeper, which sounds just as comical and as Emocabre earlier. Oh yeah, and the drums sound horribly washed out, especially the cymbals, though the snares and bass kicks can often be drowned out almost entirely.
“All Birds” has some tamer screaming that better fits the music, pushed back a bit in the mix and cut down to allow the clean singing more time. Unfortunately they are still somewhat washed out like the drums, and even crack at one point. The biggest problem is the weird bubble forming sound effect that you get here and there that is way too loud and immediately made me think of stages from early Nintendo Mega Man titles. I’m really not impressed by this one, but the album’s getting better.
“This Isn’t Why You Made Her” again brings in the higher pitched whiny screaming. This time it isn’t as comically bad, but the lyrics sound so horribly forced together to fit that it jars any flow whatsoever. There even seems to be a Grindcore section following the first chorus, and it honestly just isn’t that good, and neither is the rest of the song. Everything to be said about it has already been said, and no new ground is uncovered to even mention.
“Soul” starts off as a saviour to the album, and really harkens back to the professional ballad-style The Bunny The Bear brings with them. But again the vocals go way out of format with what they are trying to do, almost incorporating a Rap approach after the first major clean singing section. Later, they do end up working with the music during an extended bridge, but the material through this and many other passages just sounds tame and less vibrant than you would hope, removing any kick, bite, and energy that might once have existed. Around the two minute and fifty five seconds mark the Electronica just seems to drop out for no reason at all in a very unnatural manner that made me wonder what the hell was going through everyone’s minds and if they even bothered to listen to this before okaying it for release.
Finally, because I just can’t take anymore, I’ll end with “Breeze.” This seems to find more of a Deathcore approach to it than anything, but again the music feels beyond restricted with that washed out audio quality. The cymbals are more prominant here than any other track so far, and it even goes so far as to make some of the singing even more washed out due to being drowned out to that part of the drum kit. Again the Electronica seems to short circuit around the two minute and ten seconds mark and just drop out for no reason. I managed to make it to the end of the song, but at this point, if I had paid for this, I would have taken it right back to the store and demanded my money back for a defective album.
After laughing out loud to the point where I nearly wet myself, I realized that it’s not entirely the band’s fault, but rather the producer’s fault, and everyone involved who did not listen to this before hand. Of course the Emocabra vocals and really boring songs do still point the finger at the group. The Stomach for It is quite possibly one of the worst albums I’ve ever had the misfortune of hearing. I’m hoping it’s just a majorly compressed .zip file from the label, and not how the actual release sounds, as I can’t even begin to imagine any label or band even thinking for a second that this sounds good, and if so then I’m offended they think the fans on all sides will be content with something that sounds like garbage. The economy is bad, but it’s not this bad. Instead of a sleek, professional, musically varied performance, The Bunny The Bear end up sounding like a bunch of whiny amateur spoiled brats who just learned how to play their instruments and have no idea what direction they want to take themselves, so they just lump it all together. If the first half sounds this atrocious, I can’t begin to think the rest will be any better.
Now, if you’ll excuse me, I have a migraine to go deal with…
Article based on digital review material provided by Victory Records.