| Reviews for After the Burial's Rareform |
| Very solid - 85% |
| Written by yentass
on November 10th, 2009
|
| Being a relatively new outfit, After the Burial have only two albums at their disposal this far, and while the general concept of the music hasn't changed that drastically in the course of time between them, "Forging a Future Self" all the things I hate about the "math/deathcore" trend - and while "Rareform" doesn't exactly do the opposite, is still an album that I'd actually recommend to buy. The ultimate strength of "Rareform" in my opinion lies in it's well performed and compelling - technically and musically - guitar work, which is so dominant that's the rest of the band's outward mediocrity doesn't even come close to spoil the experience. And while the guitarists' technical abilities are a given fact on which I would not elaborate, their musical effort is worth dwelling on: First of all - they take all the common concepts regarding basic riffing and "rhythm/lead guitar" partition and shatter it to pieces. Have you thought that the lower notes on the guitars are only good for power chords and rhythm, the higher notes - for leads and the middle range - for bridges? Not on this one. They go high, they go low, and mostly - they go wide, playing all across the guitar, combining high strings with low - most of the time in the boundaries of a single riff; Now imagine how does it sound on an 8 string guitar - and then check how it's implemented on, say, the title track's opener riff, then you might get why would I go as far as saying "that's how an 8 string guitar must be played". Another aspect that is hard to be ignored is the sheer amount of influences in AtB's music - starting with the inevitable "Meshuggah parts", through oriental, neo-classical, old school melodic metal and ending on the verge of punk and jazz; AtB's thing for crossing genres and progressive feel was prominent on their previous release as well, but on "Rareform" it is far more well implemented and less abrupt, introducing more fluid passages between different elements - mostly in a course of a single song - without falling out of context. Only one last word about them "Meshuggah parts" - apparently AtB decided to let go of the dull pseudo-old-Meshuggah-style palm muted chugging that was so predominant in their previous album and all of the math-metal genre, and moved to rip off their more recent "Nothing"/"Catch 33" era (the whole song "A Vicious Reforming of Elements" would be a good example). Now, ripping someone off is never forgivable and points were deduced for that, but I might give them the credit for actually pull that shit off with credibility and offer something more rhythmically interesting than the damn chuggers - which still reoccur, though rare and less annoying. Yet all that's sound and production related - "Rareform" epicly fails. It just doesn't sound good. It's not totally horrible, you still can hear everything clearly, but I've heard home recordings that sound like - if not better - than this one. First of all - I don't know if they've programmed the drums or played them live on this one, but it certainly DOES sound programmed on a cheap software. Then - the bass was thrown to the nethers in the mix, which is actually a good choice since the guy has seemingly ditched his bass lessons after root-notes and therefore doesn't really add to the band. But the biggest fault is the total abscence of low-end on this album - and let me remind you, it's 8 string guitars they're using, they just can't do without low-end (why didn't rip that aspect off "Catch 33"?), especially on a guitar focused album like "Rareform". In total, the album sounds like it has been rushed to be released or they've run out of funds for further studio work. Overall: All things considered - especially being part of a long overdone subgenre - After the Burial managed to take off their first shart of a release and actually craft a solid album that can be enjoyed despite it's weaknesses, and at times even displays brinks of originality, a thing I encounter less and less in all of metal these days. So yeah, consider buying if you're a fan of "math-metal" or deathcore, or at least keeping track of it. *P.S: The review is of the original release of the album; the 2009 re-release features a far better sound and a new and far better vocalist, so the score for the re-release would be 90* [Favorite bits: although sounds like an outtake from Meshuggah's "Catch 33" almost in it's entirety, "A Vicious..." is also as good actually, if not better at times] |
| Talent wasted - 55% |
| Written by autothrall
on November 5th, 2009
|
| Though it's one of the trendiest and most eye-rolling genres out there, the metalcore 'evolution' known as 'deathcore' can often prove surprising when done right. After the Burial are a band from Minnesota who infuse their deathcore with a lot of melodies, it's almost like a hyper melodic death metal with the deathcore breakdowns. This is their second album. Though the majority of the music here didn't do it for me, there are a few good points. The emotionally charged, melodic groove bridge of "Drifts". The mystifying leads over the groove in "Cursing Akhenaten". The insanely catchy little melodies in "The Fractal Effect". The album has a very crisp sound to it, and the style here should appeal to many fans of modern melodic American death metal, or perhaps the more technical bands like Arsis. There are quite a few Meshuggah-like grooves scattered through the tracks as well. Vocals are a mix of brutal Swedish core grunts and snarl vocals. Rareform is not a total miss. There is a talent on display here, but for myself the great riffing is only brought low when they break into the more generic grooves. Without these they'd have a pretty sweet melodic death metal record. As it stands, I found much of the album forgettable with the exception of a few choice riffs. -autothrall http://www.fromthedustreturned.com |
| A deathcore gem... - 80% |
| Written by Heraklyon
on April 26th, 2009
|
| So, yeah, I’m back reviewing another deathcore album, the difference is this time I won’t be bashing intensively neither I’ll be dissecting extensively this albums seemingly endless flaws, because honestly there aren’t almost any. In fact, this album is pretty good and it is a huge surprise, especially because After the Burial’s previous output was bloody awful at best, which isn’t saying much I know, but believe me, Forging a Future Self(FAFS) was easily forgettable, utterly terrible and, unfortunately, juvenile to say the least. Still, it showed some major potential, if carefully polished and thought, a hint that was absolutely right as Rareform will attest. The mixture of genres on FAFS was intriguing and showed the band’s will to do something different but they failed completely, pretty much thanks to a weak vocal contribution and fragile song structures that seemed to care only to include the largest collection of different styles and influences without thinking too much about it, ending up evidencing the band’s lack of experience. By that time, their love for deathcore’s aesthetics and the passion for Meshuggah’s polyrhythmic riffage were already evident, but now on Rareform their ideas seem to have been planned diligently and the result is an incredibly vicious and compelling technical/progressive melodic deathcore beast that is sure to please Messhugah, Between the Buried and Me and Swedish melodeath fans. If this sort of blend seems awkwardly interesting to you, don’t miss a second and buy this album immediately, for you will not be disappointed. While their core leaning maintains its presence in form of massive yet original breakdowns, the truth is their other influences carved a much stronger shape in their overall sound this time. If you’re looking for easily played one-chord breakdowns that attract scene kids like honey attracts bees, just skip this review instantly. What you’ll find here has much more to do with The Faceless’ Akeldama than with Whitechapel’s The Somatic Defilement, as the opener Berzerker will prove, with astonishing twin guitar melodies that could be easily described as “early 90’s Swedish melodeath leads on steroids”. Actually Berzerker is a thunderous first track that prepares the listener for what’s about to come, showcasing AFB’s composition skills when it comes to blend dynamic and intelligent breakdowns with frenzy guitar extravaganza, while still remaining time to play brilliant neo-classical moments that would make Mohammed Suiçmez blush (see minute 2:19) and also some Messhugah-esque mechanical chug-fests (oh just listen to Cursing Akenaten‘s ending). Don’t be fooled by one or another less creative breakdown, because all the other pummeling sections make up for those little drawbacks, believe me. Rareform stands firmly as one of the most original records to ever see the light of day from the saturated and overlistened deathcore scene so I’ll try to put to words some of its best moments right now: the neoclassical section from Berzerker is something that you can’t lose; the magnificent melodic death metal ambience and the solo encrusted on the breakdown from Drifts; the chuggish structure which succeeds on sounding catchy and interesting without ever becoming boring and the bass hammer-ons between those chugs are another reason to listen Cursing Akenaten (is that Jens Kidman shouting before the complete Meshuggah worship ending?!); on Aspiration you acknowledge ATB’s sublime melodic sensibility; the highly enticing breakdown barrage and the bass going berserk on The Fractal Effect are incredible sections; the Dragonforce-like solo from Ometh is undoubtedly one of the highlights of the album; the progressive structure from A Vicious Reforming of Features is also very pleasant; so, basically there’s a lot of good stuff to find out in this record and from me it is still pretty hard to choose a favorite track, but if you have paid attention, you must have noticed that I haven’t mentioned the self-titled track, Rareform. This is only because it simply is a track that doesn’t stand out from the rest, which is a shame, since I always use to enjoy self-titled tracks. Overall, the album is very well balanced but analyzing each person/instrument separately one understands the individual work of it and how it influences the sound. Vocally everything is in its right place, with a varied vocal performance that ranges several different styles, including death grunts, disposable hardcore-ish shouts and surprising screeches that almost sound black metal. Luckily there aren’t those bloody awful gang (bang) choruses that usually plague the common –core record, like Unearth, All Shall Perish and so on. However, the instruments play a major role in the whole process, with particularly good work from the guitars and the bass, the latter who actually delivers an impressively polymorphic work in the background. But first, the guitars, who if you haven’t figured already, create a lot of interesting leads and riff that often border the melodic death metal realm, with a lot of speed much like the outputs from The Absence, although if not so thrashy like the aforementioned. Also, the guitar solos are mostly great, take an example from the one on Ometh, that like I said, reminded a lot of Dragonforce but without sounding exaggeratedly technical and wimpy, while maintaining the sense of melody required to fit the ambience of the song. The breakdowns are most of the time complex chugs that are very difficult to memorize, even after hearing it for an entire week, more than three times per day, though some of those are a bit less inspired than the other ones. The bass could be labeled omnipresent and omnipotent, since it dwells underneath the guitars but always sounding clear like a guitar, but with its distinguishable low and raspy tone, doing actual different riffs instead of the usual root notes. The hammer-ons in Cursing Akenaten and the crazy 90’s pop-ish melodies on The Fractal Effect and a sheer example of fine bass work the makes this record even more special. The drums are okay, with the occasional highlight, but in any case, with a lot of fills and rolls that work just fine with this type of sound. Most people complain and question about whether it’s triggered or not, but in my case I really have no problem with that, it sounds precise, pounding and varied enough. Pay attention now: I’m done with listening to average deathcore and metalcore clones whose creativity come uniquely and exclusively from ripping off Shadows Fall, Killswitch Engage, Suffocation, Dying Fetus, Whitechapel, Unearth and a few couple more. This album stroke me like I haven’t been since Whitechapel’s The Somatic Defilement and that must be for a specific and simple reason: Because it rocks! If you’re tired of the same formula all over again (endless breakdowns with double pedal, second rate riffs stolen from the bands that played that already 15 years ago, gruesome and low pseudo-brutal vocals, etc.), embrace Rareform with an open mind. It is almost flawless, with some minor issues (some breakdowns may bother some purists and the track Rareform doesn’t really stand out like I said), but with a lot of good moments to offer. Maybe this should be called “deathcore for intellectuals” or something like that, I don’t know and I don’t care, the only real thing I know is that this album is a breath of fresh air from the stereotyped –core scene and that is enough for you to give it a try, isn’t it? |
| An intense barrage of melody and technicality - 91% |
| Written by TheMetalcoreDude
on March 18th, 2009
|
| Let me start by saying that the name After The Burial is a complete misnomer for this band. With a band name like After The Burial, you'd probably expect a generic chug-chug breakdown deathcore band. Instead, this is an intensely melodic and technical band with a focus on breakdowns. "Arsis and Meshuggah had a baby" (as quoted from a fellow reviewer) pretty much sums this album up. The album is chock-full of some deliciously weird and off-beat guitar playing, a good example in "The Fractal Effect" at about 2:50, that may make you scratch your head at times. The bass and guitar both work smoothly together, each intertwining their own respective parts. The vocals are fairly average, more in the hardcore genre with a few high black metal screams to keep things varied. The drums are probably the worst part of the album, the production was clearly lacking in that area, the double bass sounds woefully triggered. Onto the songs. Each song is fairly similar, but each manages to keep their own separate identities. From the extremely melodic guitar work in "Ometh", to the insanely fast breakdown at the end of "Drifts, this band has something to cover all their bases. This band will keep you guessing, changing from melody to a breakdown in a blink of an eye. The standout tracks are "Drifts", "Ometh", and "Cursing Akenaten". Overall, this is a fantastic album, something fans of Meshuggah will easily be able to get into. Their is something for every fan of the -core genres in here, from the quick solos and melodies to the bone-shattering breakdowns. If I had to recommend a metalcore band to some who usually listens to other types of metal, this is the band I would recommend. |
| A Vicious Reforming of Metalcore - 82% |
| Written by Magero
on February 13th, 2009
|
| I was first linked to After The Burial a few years ago. At the time, I was in a very indifferent mood towards all things core, basically hating them for existing no-matter the actual merit of the band. I therefore hated the idea that these core kids were playing 8-string guitars, as I saw it as another gimmick. About 6 months ago, I actually went and listened to After the Burial and all my preconceptions vanished. After the Burial play a technical and almost progressive form of metal, their 8-string guitars actually being used for sonic diversity, not just added chug. One thing is for certain and that's that these guys can riff. Every song on this album contains some absolutely top notch riffs and the breakdowns are simply crushing. The intro to "Berzerker" is a prime example of what this band is all about. Technical shredding, still done tastefully, while retaining heaviness and groove. The odd time signature changes don't even feel forced and the off time Meshuggah-usque groove never feels like it was done simply to show off. The vocals are probably the weakest part of this band. While they aren't bad, they're too dry in a lot of sections. He has his moments, the ending breakdown to "Berzerker" comes to mind and most of "Aspiration", but overall the vocals sound too claustrophobic and cramped. As much as I'm loath to recommend it, more reverb in the studio would probably help. This is a huge step up from After the Burial's previous effort, "Forging a Future Self". The production is tighter, the riffs are stronger and the music itself has benefited from the extra time spent in the industry. After The Burial have really tried to step away from the metalcore mould that is becoming so stale in it's Autumn years and what the future holds for them will be interesting to say the least. The band's music is catchy, yet heavy. Frantic, yet melodic. Chaotic, yet constructed. Tracks like "Cursing Akenaten" and "Aspiration" really show off the band's variety of influences, from Meshuggah-usque chug patterns to melodies and harmonies that would make Muhammed Suiçmez sit up straight. Definitely a band to keep an eye on. |
| Twin Cities Crush - 88% |
| Written by NileBrutality
on February 9th, 2009
|
| Minnesota's After the Burial are a perfect example of why not to "judge a book by it's cover". Yes, the name sounds like metalcore garbage, but the musicianship displayed on Rareform proves that a name doesn't account for the music. Being a fan of Born of Osiris's debut, I heard about After the Burial also being of the new "melodic mathcore" sub-genre. The fact that they play eight string guitars also happened to spark my interest. Just imagine the time signatures and grooves of Meshuggah blended with the melody and technicality of With Passion (without the over usage of sweep picking). The guitarists in ATB really know how to write quality riffs, which sets them apart from most metalcore bands today. While I despised a lot of bands that overuse breakdowns (cough, Emmure), ATB have some well thought out and creative grooves going on here. For example, the breakdown at the end of "Drifts" goes through 3 time changes in one minute, as well as being difficult to even memorize. The solos/leads on this album actually contribute emotion to a song, rather than pointless shredding. "Ometh" ends with a trade-off that would impress Cephalic Carnage or even Necrophagist. The drumming on Rareform is incredibly precise (3/4 high-hat for almost the entire durations of "Aspiration" and "A Vicious Reforming of Features"). There have been many rumors of the drums being programmed, and if true, wouldn't come as a surprise. The bass drum is too loud and a bit distracting, though used tastefully and not over doing the "we have a fast drummer" gimmick (Dimmu Borgir, As Blood Runs Black, and Carnifex for example). As expected with recent extreme music, there is a huge lack of bass guitar. It's a shame, because a band with this much creativity could excel further with a prominent bassist. The vocals on Rareform are of mid/high range yelling, nothing new, but not bad in any way. On the opening track "Berzerker", there seems to be some kind of inhaled growl that almost ruins the section, though that’s the only time throughout the album that the vocals are distracting. The production on Rareform is of high quality, and with stuttering breakdowns and start/stop riffing, it should be. "Aspiration" and "A Vicious Reforming..." have their moments where the cd sounds scratched, and while some see this as "cheating", others see it as adding a cold feeling to the song. The guitar tone reminds me of Necrophagist with actual distortion, with every note coming through clearly and audible. Be weary though, as After the Burial isn't a melodic death metal band or a trendy deathcore outfit, but more of a metalcore band with flare. I recommend Rareform to anyone with an open mind or a thirst for something new within extreme music. Standout tracks: Drifts, Cursing Akhenaten, Aspiration, The Fractal Effect, Ometh. |
| Arsis and Meshuggah had a baby. - 90% |
| Written by Zekester
on August 5th, 2008
|
| After the Burial's second release. I'm very impressed, having never listened to this band before. The whole album is very technical. My only qualm with the instrumentation is the vocals. They're kind of grating, sort of a mid-range yell, with some lower grunts and screams. The album's songs are mostly melodic riffs, pretty nice shredding solos, some really sweet softer melodies that are my favorite part of the album. There also a lot of breakdowns reminiscent of Meshuggah and Ion Dissonance. Sometimes the songs will have a few too many breakdowns, but they're better than your standard chugga-chugga deathcore breakdown, they at least change chords occasionally and use some pretty cool rhythms. The guitarists definitely get a workout playing this. Lots of tremolo picking, pedal points, and odd rhythms. I've heard the drummer is actually a drum machine, and if it is, whoever programmed them did a pretty good job. The cymbal production seems thin though, and I don't like the triggered double bass sound either. The actual beats are pretty neat though and so are the fills. This album is basically technical melodic death metal with Meshuggah breakdowns and some heavier death metal riffing. The vocalist may even be considered to be doing hardcore vocals. But I don't consider this a deathcore album. It's pretty original sounding, if it is. Most metalheads probably won't like this release saying the breakdowns are unnecessary, and sometimes I agree, but I think this band will continue maturing and use the breakdown more effectively and tastefully. Rareform deserves this score because it’s “deathcore” in rareform. It’s original, even if melodic riffing has been done before, they add their own twist to it. Breakdowns ala Meshuggah have been done before, but not quite like this. The seventh track Ometh, is one of the more original songs I’ve heard in a long time, and my favorite song on the album. There are sometimes, too many breakdowns. Just be wary of that. If you like Arsis, Meshuggah, Ion Dissonance, The Faceless, Quo Vadis and similar artists, you will like this album. |