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I Killed The Prom Queen - Music for the Recently Deceased

Rating

RIYL

It Dies Today
Parkway Drive
Killswitch Engage
Embrace The End

Tracklist

1. Sharks In Your Mouth
2. Say Goodbye
3. 666
4. Your Shirt Would Look Better With A Columbian Neck Tie
5. The Deepest Sleep
6. Bet It All On Black
7. Headfirst From a Hangman's Noose
8. Sleepless Night and City Lights
9. Slain Upon My Faithful Sword
10. Like Nails to a Casket
11. There Will Be No Violins When You Die

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Recent Ratings
Rick Gebhardt

With a couple of solid albums under their belt, most notably their last full length When Goodbye Means Forever, Australia's I Killed The Prom Queen have decided to stay with the same metalcore formula that garnered them their success to begin with; this time with a different (and in my opinion, better) vocalist. On their underwhelmingly titled new offering, the band has churned out an impressive, though rather generic, collection of material. Though the album is entirely unoriginal and brings absolutely nothing new to the genre, it has an unexpected staying power which lies within the well-crafted melodies, somewhat abundant melodic vocals, and yes, earth-shattering breakdowns.

After a solid opening track, the album's first highlight shows it's face in the form of "Say Goodbye". Anyone familiar with It Dies Today's first EP Forever Scorned should notice an obvious similarity already forming between that album and the songs found on this record. "Say Goodbye" seems to be the most obvious example, with its growled and screamed vocals, possibly the catchiest chorus on the album, and a few obligatory breakdowns that seem to ring out for eight or nine hours before completing their respective sets. The melodic singing on this record, first shown on this track in the aformentioned chorus, is done with relative success. Sure, the amount of reverb added to it will probably turn some people off, but I think it sounds fine. A lot of the melodic vocals on this album, especially the chorus to this song, draw at least a slight comparison to those found on Soilwork's Natural Born Chaos, if for no other reason than the heavy effects that are put into them for added atmosphere. That is, of course, where the similarities to that album end, but the comparison is there.

The next track should be briefly noted for it's obvious (or not?) nod to the film Donnie Darko, with it's repetitive lyrics of "Every living thing on this earth dies alone.". It goes without saying that this song also features a breakdown that could kill a small child. The fourth and best track on the album basically sums the entire band up in under four minutes. We're greeted with a six second drum roll followed by an obvious guitar build up to yet another life threatening breakdown, and at twelve seconds in, are treated to said breakdown. Further into the song we're shown yet another melodic and catchy chorus that soon gives way to the track's second breakdown. Then, less than three minutes in, the band decides to throw a few solos in over slightly fast-paced riffing and drumming. They, of course, come to their senses, remind themselves that they aren't metal, and deliver a build up to what will turn out to be the best and most crushing breakdown on the album. As it kicks in, per the usual, the guitars do not ring, and we are left to hear a crash cymbal obliterated over and over again for the first set. Then, once again, the band remembers what they're doing as they let the down-tuned guitars do what they're generally intended to do on this album by ringing for yet another eternity between sets. Many people are not a fan of this. I am. Period.

As the album progresses if follows the same basic path with a few more high points here and there; most notably track six with its endless barrage of breakdows, tracks five and seven with more melodic vocals, and clearly the most metal track on the album (look at the song title, fool), track nine. Of course, in regards to track nine, the actual music does seem to be a bit more on the metal side than anything else, and it also includes an excellent chorus sung over an oddly beautiful tremolo picked melody.

Overall, fans of this type of metalcore will more than likely find at least something to enjoy about this record. It's certainly better than the usual pack of generic slime that comes from this genre on what seems to be a weekly basis. If you're looking for something that's going to revolutionize this or any other type of music, I'd suggest looking elsewhere. If, however, you're looking for a fun album, nothing more and nothing less, give this a chance.

--Matthew Dyess