Boys Like Girls
LabelTooth And Nail
3. The Hospital
4. Reinventing Robert Cohn
6. The Atmosphere
7. Cloak and Dagger
8. Right Here Waiting
9. Bed of Nails
11. The Alamo
Your RatingCreate an account or log in to rate this album
Many artists have mellowed out during their careers, often switching from metalcore to more of a rock sound. Cave In did it with Jupiter, This Day Forward did it with In Response, and Glassjaw did it with Worship and Tribute. Now, one of the newest bands to make the transition is New Hampshire’s own And Then There Were None.
With a strong work ethic and constant DIY tours, And Then There Were None built up a strong following playing metalcore akin to As I Lay Dying and Darkest Hour. After their last release with a small indie label, And Then There Were None completely revamped their sound to techno inspired indie rock and signed to Tooth and Nail Records. While the band’s tenacity has rightfully earned them a spot on a premier label, their new full length fails to deliver on many levels, making Who Speaks for Planet Earth a huge disappointment.
The main issue with this release is the lack of diversity and the one-dimensional songwriting. It’s hard to fathom why a band would have the same drum beat in every single chorus on their album, especially when they are a drum and bass focused band. After a few songs, listeners will most likely end up with a headache from the quarter note bass drum pounding throughout Who Speaks for Planet Earth. Granted, this is techno inspired music so it’s meant to be upbeat, but surely there are other beats to play besides the one used here. Additionally, the vocals are adequate but nothing special and go off key a few times, most notably on the choruses of “Reinventing Robert Cohen” and “The Alamo.” Moreover, the vocal melodies aren’t very memorable, leaving little reason to listen to the songs again.
Despite the lackluster music and vocals, the arrangements in the songs are well written. And Then There Were None uses different instrumentation and synth sounds on the verses to mix things up; it’s the choruses that are the problem. Also, there are a couple of parts with acoustic drums that sound pretty solid, it’s a shame the band doesn’t explore that side more because those are the better parts of the album. Additionally, being a Richard Marx fan, the “Right Here Waiting” cover is the highlight of the album. It’s unfortunate that a cheesy song from the 1980’s is the best part, but the track is enjoyable nonetheless.
And Then There Were None is a really hard working band and paid their dues to get to where they are now; there’s no arguing that. However, Who Speaks for Planet Earth has too many issues to ignore and can literally be painful to listen to at times. Hopefully they’ll either figure out a better way of playing this style of music or switch genres again; either way, the band needs to go back to the drawing board.