You Can Be My Wave

This one almost slipped through the cracks for me and I'm glad I was able to catch up to this one. I was not previously familiar with the band, but after some cursory research, it appears that some would consider their previous works to be essential in the world of screamo and post-hardcore. After listening to The Loser, it's pretty easy to see why given the band has such a unique sound. Instrumentally speaking, I feel like I'm listening to an epic progressive rock band, such as Yes or Genesis, with those organs and keyboards so forward in the mix. The band will also incorporate some rather unorthodox sounds (by post-hardcore standards) like some saxophone or woodwind keyboard patches. Even the drummer, Vincent Roseboom, has some serious jazz fusion chops that I'm in total awe of. The production does a fantastic job of highlighting each and every member's insane musicianship in a very natural, no frills sort of way. Kurt Ballou returned to produce this comeback seventeen years in the making, and continues to prove himself to be one of the best producers in the hardcore arena.

As for that hardcore element, it comes in of course with Adam Dooling's vocals, which I can only describe as being uninhibited and manic. Seriously, I find myself truly concerned for Dooling's vocal health given all the straining, voice cracks, and tortured cries he delivers to make his performance so emotionally impactful. You can see what I mean in the album's first moments where Dooling screams "I feel so alive," holding that last syllable into oblivion. I can't tell whether the vocal acrobatics are intentional or if he just lost all control and went with it. Either way it's gripping.

That vocal is just one of the many reasons why I am particularly drawn to the album opener Bravo. The keyboards and guitars mesh to create this giant wall of sound while Roseboom furiously plays behind the kit. He plays so fast, practically playing one long drum fill all while maintaining a strength and intensity sufficient enough to bury his kit into the ground. Hyper was another cut I really enjoyed with its extended prog intro that I like to think is a Transylvanian take on Rush's Subdivisions. The instrumental break on Metallic Olives was also another highlight for me. The keyboard solo is one of the most harmonious moments on the record and having those chugging guitars underneath maintains the propulsion necessary to keep the song rockin'.

Overall, I was really impressed with this record. There's a thread of prog rock traditionalism that I have yet to hear in an album of this genre. The musical chops are on full display, and that is bolstered by some fantastic production. The songs are so intense, barely giving you any cool down time, making this a pretty enthralling listen from start to finish. I'm definitely a fan.