Release DetailsLABEL N/A
RELEASED ON 3/27/2006
The Landscape Verses
posted on 4/2006 By:
I’ve got no business liking this album. First, it’s a demo. Second, it’s a Victory styled screamo-core record (Taking Back Sunday, Aiden, Hawthorne Heights, etc). However, there’s something here that makes me really like this. There’s something in the Thursday meets Tool intelligence of the song writing. There’s something in the subtle yet epic orchestration that graces most of the songs. There’s something in Steve Sellwood’s mature, Maynard/Morrissey -ish croon, that even though laced with emo squeals, are understated and not geared toward angry eye-liner wearing teens.
All of those something’s result in a fluid, mature and ultimately listenable screamo/rock demo album that cries for a proper record deal (Victory or Equal Vision would realistically be perfect fits) that sounds like Chiodos, but with a Rush /AOR lean. And yes, I really like it.
Avoiding the typical verse/chorus and sign/scream altering song structures, Kincaide’s Tool-like weaving and undulating song craft creates a very non emo atmosphere that’s ethereal and unpredictable. The synths and keys add a very Prog/80's pop atmosphere that reminded me of The Bled’s first record, but with more developed , less core styled prose.
After opening instrumental “The Landscape is Consistently Flat”, Kincaide soar into two standout cuts-the hypnotic depth and elegance of “Angels and Archetypes” with its scathing mid song screamo burst and piano segue, then the bittersweet, darkly peppy “Sweet Anodyne”. These 2 songs alone should get these guys a record deal. But there’s more; the more traditional metalcore gallop and (impressive) melodies of “The Devouring”, the New Wave meets screamo tones of “Something Survived”, the brilliantly dramatic unnamed ballad (the album’s other real standout), the radio friendly, soft stern contrasts of “Diamonds”, and the rather vitriolic “The Business of Subtle Distress”.
Only instrumental “Ayahuasquera”, the way too emo ballad “Maps for the Blind” and the choppy dissonance/The Smiths collision of “A Bad News Blues and the Twenty Five Jive” don’t leave me completely mesmerized. The rest of The Landscape Verses is highly enjoyable and recommended for those with slightly more open metal mind and labels in search of a truly talented act.
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