You Can Be My Wave

Upon hearing Four Year Strong for the first time, I was immediately impressed. Right off the bat, you can tell that Dan O'Connor and Alan Day's guitar work is at a far more sophisticated level compared to their contemporaries. The riffs, the chord progressions, the rhythms; as formulaic as easycore can be, I always found that O'Connor and Day strived to craft songs that aren't so... typical. With this elevated guitar work, I'm also really impressed with how the duo can simultaneously perform their two-pronged vocal assault without missing a note. The two are quite evenly matched too; both having the ability to serenade, belt, scream, whatever the moment calls for. Four Year Strong's songwriting core is - for a lack of a better word - really strong, and better yet, has a tight rhythm section to support it. Jake Massucco is an absolute beast on the drums which was another significant pull factor for me really getting behind this band. The nimble footwork on those double bass pedals he performs to follow (or embellish) the intricate rhythms O'Connor and Day bring forward is nothing short of incredible. I've attempted to play them in the past and I vividly remember my calves seizing up after only five minutes of practice. So when it comes to just technical performance chops, what I'm trying to say is that Four Year Strong is one of the most proficient in modern rock. They're a band I will always point to as evidence that rock music hasn't gone to shit as some people tiredly suggest.

I would maybe not point specifically to Rise Or Die Trying though as it was the band's first big record. I sense they were still trying to figure out their sound. Production wise, I find the guitars to sound a little thin at times which can result in breakdown passages that unfortunately don't sound as impactful or beefy as they should, case in point, Heroes Get Remembered, Legends Never Die. The drums are super punchy but in my opinion, they sound a little dead, flat, and a little too robotic; indicative of heavy sample replacement which I think was common for records that probably didn't get the financial backing they deserved. Now as far as the style goes, Four Year Strong's brand of easycore at this time almost felt like hyperpop. What I mean is the band really tries to amplify the pop and hardcore elements to exaggerated levels. We have songs that are absolutely tooth-achingly sweet like Wrecked Em'? Damn Near Killed Em' which perfectly matches the lovesick lyrics. The album is riddled with candied synth leads, a slightly corny musical element that the band would later abandon much to the disappointment of the band's keyboardist Josh Lyford. And those pinch harmonics, the band definitely went overboard creating some of the nastiest and hellish squeals on any rock or metal record. Just listen to the first few moments of Maniac (R.O.D.)'s concluding section and tell me that pinch harmonic is not comical.

Don't get me wrong, just because I wouldn't necessarily suggest this record as a good introduction to the band for the reasons above, that doesn't mean I don't love it myself. Despite the production and the somewhat cartoonish presentation, the songs at the core of this record are undeniable for the most part. Heroes Get Remembered, Legends Never Die has one of the most iconic build-ups and breakdowns in the entire genre. Catastrophe's chorus has both Day and O'Connor belting at the top of their registers as the Energizer Bunny incarnate keeps his foot steady to provide a constant pulse of kick drum. Men Are From Mars, Women Are From Hell has an immaculate opening guitar riff that is so well balanced. It's got both dissonance and harmony, heavy rhythmic syncopation mixed with melodic runs, and the pinch harmonics add a great deal of flash and flair. It's an all-time great. The breakdown on this track is also one of the meanest on the record as guitars make these swaggering half-step walk-ups and walk-downs between heavy chugs. They play around with the timing too, throwing in some triplet rhythms for an added flex.

Beatdown In the Key of Happy is exactly what the song title suggests. The speedy opening riff is so catchy and I'm amazed how they can throw in all those pinch harmonics at that tempo. The drums, again, perfectly sync up with those guitar chugs and I find it hard to believe how someone can't be totally gassed after playing that intro section. Winding down, we have Maniac (R.O.D.), the first song I ever heard from the band and the most hardcore punk leaning track on the record as well. I love the downtempo chorus which provides a lot of space for those belting vocals and the incorporation of some classic guitar moves - dramatic slides and hammer-on/pull-off runs for example - add a great deal of personality to the song. The best part is the song's conclusion which is ushered in with a time signature and tempo change. We get an absolutely killer guitar riff backed by a strong three-four rhythm, and Josh Lyford leads the crew through some gruff gang vocals. It's an exhilarating end to the project.

I wouldn't say there's a dud on this record but I guess a personal criticism is that just a couple tracks don't quite meet the expectations I have for Four Year Strong in the guitar department. Whether that be the lack of a super catchy riff or coming up short on guitar flair, I find tracks like Abandon Ship or Abandon All Hope, Wrecked Em'? Damn Near Killed Em', and Bada Bing! Wit' a Pipe! to be a little underwhelming. In addition, there are moments on the record where you can hear O'Connor really straining to hit harmonies at the very top of his range, and it doesn't make for the most flattering sound. Despite these moments and perhaps a little bit of cheese stylistically, I think this album has tremendous and numerous highs that I still seek out more than fifteen years past its release. Rise Or Die Trying is definitely an easycore classic.