In The Unlikely Event
The Fall Of Troy
- Style
- Progressive Post-Hardcore
- Label
- Equal Vision Records
- Year
- 2009
- Reviewed by
- James
/ 100
Killing songs: <i>Panic Attack!, Webs, Walk Of Fame </i>
You can't please everybody all of the
time, as The Fall Of Troy
have no doubt discovered in the wake of the premature leak of
In The Unlikely Event.
Right off the bat, fans were complaining about the record being too
clean and commercial, that Thomas Erak's vocals had lost a lot of
their fire, and the band generally having lost their touch. Cue a
snarky response from Erak himself on the band's Myspace page,
describing his own voice as “fucking tits” (I assume he
means this in a positive sense) and generally giving off the
impression that he felt his fans were ignorant plebs. He later
apologized for his rant, but it's clear that In
The Unlikely Event
was a controversial release before it was even officially available.
Well, now that it's in fact available in stores, just what is all the
fuss about?
Well,
it's true that many of the fans' complaints are largely accurate.
Hiring Terry Date to produce the album was largely a bad move, with
much of the album sounding overly slick and shiny, particularly in
the neutered sounding vocals. Speaking of Erak's voice, although he's
technically improved as a singer, his bugged-out yelp is gone, and
with it a good chunk of his energy. Straight-Jacket
Keelhauled
shows they can still bring it on par with other math-post-hardcore
champs The
Dillinger Escape Plan
when they want to, so why don't they for much of the album? It all
feels like a calculated step in a more commercial direction, with
most songs boasting syrupy melodies a mile wide. Oh, and the cover
art makes the band look like a faceless screamo outfit.
So,
In The Unlikely
Event is
heavily flawed, but it's certainly not without merit. If we must be
given more commercial songs, at least make them maddeningly catchy,
and that's exactly what The
Fall Of Troy
have done. Panic
Attack!
comes straight out of the gate with an arresting chorus, and from
here on the record is laced with hooks throughout. Those of you who
view any semblance of pop sensibility as anathema should steer clear,
but seeing as you seem to be a forward-thinking bunch (we've reviewed
Coheed And Cambria
before without receiving death threats) you'll probably have half the
songs here looping around in your head for weeks. The only real “bad
song” here is People
And Their Lives,
which goes on for entirely too long. Indeed, the record could do with
a judicious pruning of one or two songs, with Dirty
Pillow Talk
not having all that much to it apart from a guest slot from Protest
The Hero
frontman Rody Walker. Unfortunately, he doesn't really add all that
much, using his fairly average growl rather than showing off his
operatic talents, his part clearly not having been written with him
in mind. Still, although the album is weak vocally, for the most part
(Erak still shows off that voice he's so proud of on obligatory slow
jam Webs)
the band are still as instrumentally spectacular as they've always
been, so even disappointed old-school fans will find some solace in
the mathcore workouts of Walk
Of Fame,
the closest the band sound to their old selves, and a track that
would fit in nicely on Doppelganger.
Very
few people will call this The
Fall Of Troy's finest
hour (though this record will no doubt win them many new fans) but
there's enough in here to make it well worth your time. I'll still
turn to Doppelganger
every time I want something with a bit more substance from them, but
if I want The Fall
Of Troy-lite,
an album I can rock out to without having to really think too much.
That's probably the most backhanded compliment I've ever given, but
as enjoyable as In
The Unlikely Event is
I can't get around the fact that the band have sold their souls a
little here. This is an album that works because the band's
songwriting is as strong as ever, but I can't help but be concerned
that the new sound with lose its' flavour very fast on subsequent
recordings. Indeed, already the band are starting to sound less like
themselves (Webs
and
Nobody's Perfect
are pure Coheed
worship, regardless of their quality). Good stuff, but leaves the
band in a very awkward predicament.