| Reviews for Job for a Cowboy's Doom |
| Is THIS it? - 70% |
| Written by TheSunOfNothing
on February 8th, 2010
|
| Job For A Cowboy are easily the biggest extreme metal band in modern times. Their latest release, "Ruination", has peaked at like...#58 on the billboard 200, which is fucking crazy considering that's a death metal album up against pop and rap albums, especially in a time where most people download (not me though, very rarely at least). While reaction was mixed with thier debut and sophmore albums, with 50% loving them and 50% hating them, it seems to be a unanimous decision that THIS album sucks dick. No one has really tried to defend it, which is weird because it beats out most modern day deathcore bands. These guys have a far greater death metal influence than a metalcore influence, that's for sure. Unlike most bands, you won't hear an entire song filled with "dun-dun...dun-dun dundun". Instead this is filled with blast beats and semi-technical riffs. The breakdowns are still there, but they aren't the focus of the songs really, but that's where this album fails. There isn't a focus at all. The band can do plenty of impressive things, sure, but nothing that really catches your attention. If you've ever listened to a band like Dream Theater, most of the time the music is lead along by John Pettruci or Jordan Ruddess with the rest of the musicians taking a back seat to their abilities for a few measures while they solo. It seems to me that JFAC, as talented as they all are, are either too nervous or simply not good enough to make any specific instrument stand out. Even for a few measures. It seems like these guys really aren't trying. The only real exception here is Jonny Davy. The dude get's alot of hate, sure, but he does many different styles of vocals. There are pig squealed vocals, there are some decent death growled vocals, there are high pitched screams, and some more mid range growls (the latter two being the most prominent). Doing so many styles, and as well as he does them all, is pretty hard. I personally think that his vocals are the best played aspect of this album, even his pig squeals aren't all that stupid sounding here. So, in conclusion, this is a fairly good deathcore EP despite the undeserved hate it gets. If you want bad deathcore, listen to Emmure, that's a band that deserves to be hated. 7/10 |
| better then Genesis - 69% |
| Written by alexlovestheredchord
on January 8th, 2010
|
| If I could switch the title for Job for a Cowboy’s second album , with the title of their Doom EP I would do it in a heartbeat. Where Genesis was watered down death metal at best, the Doom EP has a genuine sense of a young band trying their best. As maligned as the deathcore genre is the Doom EP is not the worst release from a deathcore band, and even though the entire EP is inconsistent in tempo I would take this over their last two albums. In spite of the negative reviews for this Ep I think it’s far better then their last few attempts at death metal. The greatest strength for the EP is Jonny Rice the drummer, the EP is filled with his inventive fills and though his blast beats are off timed he provides some solidarity in an otherwise terribly offkey EP. In the song “Entombment of a machine” he starts off with some pretty rapid blasting and then inexplicably transfers to a more hardcore intro and then more inconsistent blasting and then a fill. His drumming follows that pattern pretty much through the entire Ep, though on some tracks he is the focal point see “Relinquished” where he leads the rest of the band. His drumming in all reality though is pretty much the driving force on the EP, even with its inconsistent nature its still miles above the terrible guitarists. Johnny Davy and the guitarists (I don’t recall their names) are the downfalls of the EP, every complaint about their lack of talent is completely true. First off the guitarists can’t write a cohesive riff to save their lives, Relinquished is a pretty good example of how badly they suck. “Relinquished” is pretty much one long breakdown and one riff all the way through, Knee Deep starts off with a good opening riff and quickly devolves into a breakdown fest only fit to be loved by hardcore kids. They even have the nerve to attempt some jazz interludes and sweeps in “The rising Tide” and “Entities” needless to say they fail miserably The vocalist has two major pitfalls his highs are extremely labored case in point where he screams for the chorus of “Entombment of a Machine”. Quite possibly the worst vocal technique ever invented by human beings the pig squeal is also utilized by Johnny, though it just adds to the pile of shit that is his singing. His lows are amateurish at best in songs like “The Rising Tide” ,he can get deep but suddenly he goes back to pig squealing and his terrible highs. On “Entities” the best song he uses mainly lows and along with the incredible gravity blast from the drummer he is at best bland. I can’t think of the Doom EP as any more then average at best, given the case for this band this EP being better then their last two full-lengths one can’t adequately give an excuse for their seeming inability to play good music. At least on this EP they played deathcore and were original compared to the weak Behemoth clone they are now. I don’t recommend buying this or downloading it unless you like sub-par musical performances, but I would advise checking this out before you look at their shitty follow up albums. |
| The Meandering Cowboy Blues. - 13% |
| Written by hells_unicorn
on June 26th, 2008
|
| One of the reasons why it is less painful to simply ignore the radio and all of the rot infesting most promotional compilations is that you spare yourself the agony of trying to make sense of what the hell the mainstream considers to be great. Like some rich later teenaged girl with daddy’s credit cards, all of the trustees of free musical advertising will line the stores looking for the latest gag with the catchiest slogan, which is precisely how this whole deathcore nonsense got started. But like with all choices made in what to spend your money on, you get what you put into it, and simply accepting what is right in your face with no extra research being required is the mother of accepting mediocrity as godliness. If we were to understand the deathcore subgenre as it manifests itself on this extremely disjointed EP, it would basically be nothing more than 3rd rate grindcore worship with some technically oriented, yet extremely fragmented brutal and melodic death metal riffs. Everything just sounds like it’s been chopped up in random shapes and sizes, and then glued back together with no discernable structure to speak of. Perhaps it takes some skill to memorize these through-composed monstrosities in order to accurately recreate them live, but such virtuosity does little to relieve the listener of the perplexity at just what the hell he’s actually listening to. In order to actually treat any of these misshapen compositions as songs would require an extensive suspension of auditory sensory perception and cognitive organization. A perfect example of just how disorganized of a style this band exhibits is the extreme metal grab-bag anthem “Suspended by the neck”, which goes through so many damned stylistic and tempo changes that you’ll wonder if the random play button on your player is malfunctioning and shifting songs every 15 or 20 seconds. If you’re listening on an I-pod you’d suspect that the player is randomly shifting between the In Flames debut, something from The Dillinger Escape Plan, and a few occasional Dying Fetus excerpts and maybe a Machine Head or Biohazard bit. The singer just throws everything at the microphone but the kitchen sink, in no particular order, and succeeds only in sounding a tiger anally raping a bob cat at random intervals. Everything else on here follows the same practice of mindless meandering and unfocused aggression, and perhaps occasionally adds some industrial noises to the intro to vary it somewhat. The one positive thing is that, unlike on the demo, the band has decided not to subject us to anything over 5 minutes in length, let alone doing a 7 minute song which would be twice as torturous with this even more asymmetrical and unstructured approach to songwriting. If you get the version with the bonus track “Entities” you get something that sounds slightly like a technical death metal song at times, though again with little attention paid to intelligibility. The solo sounds like a halfhearted attempt at emulating what was heard on much of “Individual Thought Patterns”, but without a clear melodic or thematic focus. In short, the only thing this album really provides for any card carrying metal enthusiast is a good reason to avoid anything calling itself deathcore. The band essentially tries to merge both the early 90s technical death style and the mid-90s Gothenburg style to grindcore, poorly in all cases, and the result is a complete mess that is best swept under the rug. Scene kids who want to stay consistent are best advised to stick to straight up metalcore bands like Killswitch Engage and later In Flames, because the only reason for liking this is to brag to your authentic metal fan friends that you like music more technical than what tends to pass for radio, and no fan of old school grindcore or death metal would be impressed with nor fooled by this. |
| Bree Bree Hor Hor - 10% |
| Written by Dasher10
on May 1st, 2008
|
| Let me state that I don't hate Job for a Cowboy because they're popular, nor do I hate them because a lot of scenesters like them. I could care less about their audience and if it gets scenesters into death metal, then I'm all for it. I also don't have a problem with them getting famous off of Myspace. Myspace is the new face of the underground and the tape trading scene has turned digital. You can either join the Myspace revolution and try to search for quality bands on that site or you can let people without a sense of taste create the next trends. It's your choice. Hating a band for their audience is just stupid and people should come to their senses and judge a band on the quality of their music. Sadly, Doom is full of two things, subpar musicianship and bree bree. The worst part about Doom is that there's simply much better deathcore out there which makes Doom one of the most overrated releases of all time. The drums are good, I'll give them that. It's standard triggered double bass, but the drums are used effectively and don't totally suck like the guitars, nor do they show off all the time like the vocals. They show a lot of talent and are the only part of this band that seems to have any developed talent. Unfortunately, drums don't define a band's sound and having an good drummer is just a bonus. The guitars are typically playing generic death metal riffs or generic metalcore chugging and show very little originality or talent. The lack of technical ability is strongly apparent and proves that this is a band that needed a few more years of refinement before getting signed. This is not a guitar driven band and they should have gone with a Fear Factory type approach in terms of production with the drums drowning out the guitar. At the same time, there's the vocals which totally suck and simply show off as much as possible. The problem is that Jonny Davy tries all sorts of vocal wankery, but is nowhere near as talented as Mike Patton. He only really has four ranges yet still attempts to show off. This is most apparent in the (over)use of pig squeals which are annoying as fuck, but after a while you find yourself uncontrollably laughing at them. It's totally pointless and it sounds like Jonny is constantly singing, "bree bree hor bree bree" and is most embarrassing in Relinquished where it sounds like he's saying, "catch a glimpse of BREE BREE BREE!!!" which is one of the funniest things that I've heard in music outside of Weird Al. Pig Squeals aren't brutal, nor are they fun to listen to. It wasn't good when Circle of Dead Children did it, and it's not amusing with Job for a Cowboy. The real problem with Doom is the age of the band members. They were simply too young to have developed properly and I'm hoping that they can eventually turn themselves into something interesting that's actually worth paying attention to. The final blow against JfaC is that there's better deathcore out there. Doom is horrible and there isn't a single good track on it, making this one of the worst releases that I've ever heard. If you want to hear deathcore that doesn't totally suck, try Lamb of God, Divine Heresy, or The Red Chord. Those bands at least know how to make enjoyable music. Steer clear of Job for a Cowboy. (Pun intended.) |
| Gotta give 'em some credit - 80% |
| Written by TheMorticiansFlame
on March 17th, 2008
|
| The reason I gave this album an unusually high rating is because first of all, I find the album to be a fun, easy listen. Now hear me out, I'm not some scene kid who listens to every myspace band or whatever, I really do think this album can be a fun listen, which might just make me stupid, but who gives a fuck. Like, if you are sort of pissed off, or feel like driving fast to some ridiculous music at a high volume, I think approaching this album is a good idea. The relatively corny bass drops and pig squeal vocals make for a good, short listen. On the technical front, this album has very little to offer, everything is very basic, from drumming to guitar. So do not listen to this album if you want to hear guitar mastery or even slippery time signatures and decent solos or lead lines. The riffs mostly use the same chords and are in the famous drop C tuning I believe, to make things even easier for them. The drumming is nice and fast but there is not much creativity happening which is disappointing, but bearable. The guitar parts are harmonized in almost exclusively the same interval, and are basic palm muted rhythms being hammered away, some of them are catchy, but many of them dissolve into a mess of other, similar ones. The two standout songs to me on this album are, like everyone else, "Entombment of a Machine" and "Knee Deep". These songs do have catchy riffs and listenable song structure, even if it is very basic. The breakdowns once again, aren't the most interesting, but they might be able to get you to nod your head or something. Now the vocals on this album are something to be addressed completely separately. I know just how many people (on this site especially) are against the whole "bree bree" thing, and that totally makes sense, but it is a lot better to not even try then to get some half-assed death growl that is even less attention grabbing. I think that is the whole point of pig squealing anyway, to snag your attention, like, "what the fuck?" which is reminiscent of the entire album. But anyway, I think the vocals work fine, simple songs, simple vocals, you wouldn't really even want a great vocalist anyway, it would make the instrumentals completely unfitting. One thing you must be aware of going into this album is that if you take it like they are trying to change music or do something revolutionary, than you are going to be disappointed and frustrated. Job for a Cowboy seems to be a band that likes to have fun and write fast, brutal music that kids can beat the shit out of each other to, and is there anything really wrong with that? |
| It's okay, but there's much better out there - 60% |
| Written by Noktorn
on January 27th, 2008
|
| I don't mind deathcore as a genre. I like a lot of it. The problem with 'Doom' isn't that it's influenced by metalcore; the main issue is that it's pretty mediocre all around. I picked the EP up on a whim one day having heard most of the tracks before in various locations, so I figured that this would be eight bucks of fun breakdowns and brees. It seems that, unfortunately, the music here is much better when heard one track at a time in various locations than when collected into an EP. There is one place that 'Doom' really shines: it's great driving music. When I'm on my way to college in the morning, this is a pretty regular play for me. It's very straightforward, sufficiently brutal, and heavy-production-having, which are all pretty important characteristics for morning drives. At least for me. When I'm sitting at home listening to it though... not so good. None of the songs stick out to me, probably because there's a hundred bands who play pretty much exactly the same thing (which is another element that makes the hate surrounding this band all the more perplexing). I own better metal albums, and more importantly, I own better deathcore albums, so it's hard to find a reason to give this particular one a listen. The problem with this EP isn't that it has metalcore influences, as I said before. The main problem is that it doesn't have ENOUGH metalcore influences. I'm serious, this isn't nearly as ridiculous and mercilessly -core as it should to qualify as the fun experience it really should be. Because honestly, if you take out the bass drops, the breakdowns, and arguably the pig squeal vocals, you're left with a pretty generic technical death metal album. That's why 'Entombment Of A Machine' easily the most iconic track of this release, is the best: it's pretty much all breakdowns, bass drops, toughguy riffs, and similarly inclined vocals. Comparatively, the rest of the release just doesn't have that much of any of those elements; in short, it's pretty conventional death metal apart from the odd breakdown. Job For A Cowboy is pretty good at making silly metalcore, and they're pretty good at making straightforward death metal (I have 'Genesis' and it's actually pretty good modern DM), but when they combine the two extensively, the result is pretty listless. It just goes through the motions throughout its seven tracks. There's a weirdly large amount of blasting and tremolo riffing, which in this case is rather uninspired. There's also a lot of midpaced sections that are neither death metal nor metalcore, which feature sort of scattered drumming and winding, repetitive guitar lines, which I suppose may have been Job For A Cowboy's attempt at a signature style. They're very uninteresting and I stop paying attention when they happen. 'Doom' is the sort of release that's okay if you're absentmindedly listening to it, but it really doesn't hold up in quality under any real scrutiny. There's a lot of problems with it: the parts of songs feel very disconnected with each other, with the vocals being the only really common thread that holds the songs together, a lot of those sections are overly jerky and arrhythmic, and for an album so centered on groove and breakdowns, there's not a whole lot of places you can really headbang to. That being said, it's still an okay listen, and not nearly as odious as many people make it out to be. It's just sort of boring. |
| Somewhat technical and brutal, but mediocre - 63% |
| Written by Burning_Season
on December 21st, 2006
|
| First off, this is not a terrible EP by any stretch of the imagination. I believe that the problem most of us metalheads have with this album is not particularily the style done, but rather the fashion, attitude, and relative success of the band. The fact that this band has a semi-emo look is more of a reason that this band is classified as metalcore than any other. However, I must concede that this release does have a few metalcore elements. First off, this is neither a pseudo melodic death metal band (i.e. God Forbid or one of that crowd), neither is it a breakdowns galore tough guy fest. Credit must be given for avoiding those two trends in metalcore. However, to say that it lacks breakdowns, or the occasionally faux death vocals of the other mentioned trend(such as the oddly accented, would be false. It does fall victim to those parts of the metalcore genre. There are enough metalcore elements to classify this as deathcore. And on a side note, points are deducted for a completely worthless intro lacking atmosphere in any form. Another contributing factor to Job For A Cowboy sounding metalcore is the production. It is fairly clean in my opinion. It sounds similar to production used by other metalcore bands such as As I Lay Dying. Upon the production and other trademark elements of metalcore refered to in the previous paragraph, there is a somewhat simplistic sense of songwriting. The songwriting is narrative, to its credit. However, the flow between certain riffs are not as well done as real death metal. It is rough, unarchitected. Mediocre production and songwriting. The guitarwork is technical on occasion, however certain riffs come out sounding very overdone. These tend to be the more metalcore sounding breakdown riffs. When done at any semblance of speed on this album, the guitar work can be fairly technical, brutal, overall very death metal sounding. However the slower riffs tend to come out far more simple and more importantly, far more forgettable than the faster ones. Fairly good guitarwork in parts, others need improvement. Enough good riffage to have this qualify as deathcore. As in at least %75 of the metal scene in general, the bass is not there. Nothing to say for the bass. The drums are good. Nothing much better than your average death metal drummer. Double bass, blast beats, not alot of bass/snare alternating patterns though. When the double bass sections do occur, the drumwork is not very fast. One problem with the drums not relating to technical ability is that the production makes them come out very trebly sounding. The drumming is decent overall. Finally the vocals. The deep growls are terrible, very faux death sounding. Also, as mentioned in other reviews, these awful pig shrieks come out. They are the worst vocal component on this recording. The only good vocals on the EP are done in the more midranged style. Poor vocals. I do not reccomend this to the majority of those who listen to death metal. It has a few moments of catchiness occasionally, and some technicallity. However, the songwriting that is so key is lacking, and too many metalcore elements intrude. This EP I reccomend to those who enjoy the more death-ish sounding metalcore. |
| Nothing Special, but enjoyable - 50% |
| Written by SRX
on August 22nd, 2006
|
| I remember downloading the album after watching the somewhat famous spongebob video on the internet with the song Knee Deep by Job For A Cowboy. I really liked the song so I got the rest of the album. I got to say, though I dislike Hardcore and I don't like Metalcore as much as other Metal Genres, I found this album pretty good. The style is heavy and I guess it is pretty technical. I found the drumming and guitar work to sometimes make interesting combinations of sound the created a more powerful tone and the rhythm is sporadic making the songs rather chaotic. The vocals is interesting in the fact that the vocalist is daring to try both deep growls and harsh screams but he can only pull it to an extent and they sound mediocre. Though I like the screaming, I would rather the singer to do only growls and try to develop upon them more. The lyrics are alright but I never really cared for lyrics anyways. The drumming is well done and I think that the drummer is pretty talent (I am easily impressed on drumming). Bassist is there and makes a good heavy sound to reinforce the guitars, something I have heard from many bands so I didn't expect much more from the bass. And the Guitar-ing is above average and they have some skill but they are too infected with the Hardcore to really show it. While listening, I felt that they are definitely influenced by Death Metal though the Hardcore side pulled the album down. If they tried to be more Death (not sure how) then the could actually do something. The first song is Catharsis for the Buried and is an Intro. I guess it is suppose to be the sounds of someone being buried alive though I can't confirm. Its a bit sinister and is a good way to start the album. Entombment of a Machine is the second song in the album and it must be a good song since they made a video out of it. It starts with a loud scream and intense drumming and guitaring and goes into a mess of riffs and screaming. Its pretty catchy and is listenable. The Next song is Relinquished and is a lame song. It is too Core and has emolicious breakdowns. I didn't enjoy this song so much. Knee Deep is the fourth song and is my favorite song by them. It is fast and intense and is the most well crafted song on the album in my opinion. This should have been the song with the video. The lyrics are actually good and has a good death theme. Next Up is Suspended By The Throat. It in terms of guitaring it sound more metal than core so it is a song I don't skip. It isn't anything special but it isn't bad. The last song is The Rising Tide and is like Relinquished as it has breakdown-ings. It is better than Relinquished but not by much. Over-all you should only download Entombment Of A Machine, Knee Deep, and Catharsis For The Buried (If you like creepy sounding intros). This band has potential and I hope they go into a good direction. |
| Eh, whatever... - 25% |
| Written by droneriot
on July 20th, 2006
|
| To be honest, I never really cared about Metalcore. I knew perhaps two songs from the genre from zapping through television channels and neither of them particularly offended or interested me, and the genre was described to me as being similar to Gothenburg Melodeath, which is a sure way to keep me away from anything. Add the suspicious band pictures to that, and yes, I can't say I ever was really interested in this kind of music, I'm not the kind of person to check out a band just to see "what the fuss is about", and neither am I one to willingly hop on a bashing bandwagon. Until now. One night, in a state of excessive inebriation for some reason I felt like listening to something of the Pantera style of redneck Groove Metal with Southern Rock elements, and I just started to browse filelists in the p2p program of my choice, and well, "Job for a Cowboy" seemed like a match. A few days later, I was perfectly sober and looking through my downloads folder, remembering that drunken night in which I thought it was a great idea to download some shitty music, and so I listened to this... Just what on Earth is this? The site here lists this as Metalcore, and a band picture that looks like an episode of Happy Days gone wrong would certainly confirm this, but I'm not sure if what I've heard the Metalcore genre described as properly reflects this music, you might construct marginal similarities to In Flames into the directionless rhythm guitars and the nonsensical arrangements, but this doesn't really have what one might call melodic leads, so lets say this isn't Metalcore the way it was explained to me once. The reviewer below me calls this "technical Death Metal", which doesn't really make sense, because by "technical Death Metal" I don't understand the kind of music that every small local Death Metal band plays after three years of practice. If any genre tag I know of is accurate enough it might be "brutal Death Metal", as in a whole lot of blasts, chugga-chugga riffing, disharmonic semi-leads, lots of guitar squeaks, and vocals that try to be as extreme as possible. Try indeed, unless you count "extremely poor". No matter if he tries what sounds like Dani Filth-like high-pitched screaming, generic deathgrunts, ATG-esque generic Melodeath yells or Brodequin-istic toilet flushing noises it all seems to fail. Wise choice to put the vocals so high in the mix there, really, well done guys, my compliments. *sigh* But somewhere below the vocals there are supposed to be other instruments too, I just can't seem to find them, they are buried under someone having the stereo playing generic Death Metal from the mid-90s turned up too loud. Or is this actually supposed to be their own songwriting? It cannot be, because why oh why would any band choose to sell something so painfully generic, lifeless, entirely uncaptivating, directionless and utterly boring as creations of their own? Is that a new form of musician's masochism that psychologists today just haven't heard about yet? Perhaps I should write a paper on that and send it to an international psychology summit, I might be on to a whole new undiscovered mental condition, and I might even earn some fame, and maybe the priviledge of naming the disease. But in their defense, there are actually some very nice groovy parts hidden here and there, the problem is just that as soon as you start nodding along to them the singer takes out his horrendous Brodequin imitation again, and this truly pushes the nerves further than they can take being pushed. So, so much for my first encounter with a band called Metalcore, even though I'd call them more generic trash anything else. And so, there I am hopping on the bandwagon, but damn that felt liberating after being seduced by coincidence into listening to this. Now, dear "Job for a Cowboy", for the next five years please practice more, and develop a sound and identity of your own, and until then please refrain from making any more releases such as this one. Thank you for your consideration. (edited July 31st, 2006. Typo fixed.) |
| Killing Death Metal - 21% |
| Written by EdwardtheBlack
on April 12th, 2006
|
| I forgot what happens when bands find the next trend on the mallcore scene. You see, in 2002-2005 the trend was metalcore. Actually, it was less metalcore than it was Gothenburg riffs with a poorly placed mosh part here and there that wasn't even theoretically sound. Metalcore bands have stunk up the archives in that time period, and now mall-level death metal will. Mall Kids move kind of fast for retards. They've gone from open D stomp parts to tremolo leads all the way to technical death metal now. Job for A Cowboy are leading this trend, and are doing a rather shitty job of emulating the heroes they heard about 6 months ago. You see, Job For a Cowboy fits the profile of poser perfectly. They were a Christian metalcore band who then decided to give the finger to Jesus and start emulating whatever shit Earache is putting out. 46000 myspace friends later, Job For A Cowboy is (relatively) huuuuuuuuge. Take it from me, "technical death metal" is the new metalcore. 100 Demons, Terror, and Heaven Shall Burn have garnered a lot of success in metalcore not by riding the trend, but making their own unique sound. Everything is solid, played to perfection, not necessarily technical, and memorable. Job For a Cowboy has nothing memorable, let alone technical or well done to brag about. Every song goes tremolo blastbeat with pig squeal vocals, drum fill to silent guitars, rimshot to slam riff, false harmonic at the end of each lick, ends with big breakdown/mosh part that really isn't necessary. Job For a Cowboy, at their best, sound like the worst songs from Cryptopsy's "And then You'll Beg." Piss-poor horrible. I put "technical death metal" in quotes because frankly, it's not very technical. The drummer is fucking up on the record. Fucking up live is one thing because a drummer will be very winded unless they're fit (survey says FUCK NO), fucking up on tape is inexcusable since it's like playing a videogame with unlimited lives: no matter how many times you fuck up you can still try again. The guitar work is glorified tremolo to palm mute stuff, and the entire song will sound just like that one riff at the beginning. As stated before, every song sounds the same. The bass just takes up space as it is barely audible to my refined hearing. The worst part of all? The vocals. Despite what the kids say, squealing like a pig isn't very brutal. Neither is having high pitched vocals akin to The Black Dahlia Murder or abortions. I seriously cannot stand these vocals. I though Chris Barnes post-Cannibal Corpse was horrible, but this guy takes the cake. EEP EEP EEPEEPEEP. The lyrics are unintelligible, and upon consulting the insert are really stupid and say nothing of profound impact. From describing a machine that he requires to live on, some broad with a locust-infested vagina, to anything that is forgettable, cliche, and you guessed it, very much like metalcore lyrics. Job For a Cowboy will undoubtedly sell a lot of records to a lot of stupid people, so prepare yourself for an even bigger onslaught of skunk-haired trend felchers namedropping some band that started 6 months ago. |