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Metal/Prog Metal CD Reviews

Every Time I Die

Hot Damn!

Review by Josh Turner

By my own definition, music must contain melody and rhythm. The pace flutters while different elements work in tandem. Music incorporates memorable riffs. This album contains almost none of these traits. However, it does have power and emotion. If the goal is to live life on the edge and go full out, this may be just what the doctor ordered. On the other hand, it may raise your blood pressure, damage your eardrums, and ultimately give you an aneurism. Due to the side effects, this prescription is most certainly not approved for everyone.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2004 Year Book Volume 2 at

Track by Track Review
Romeo a Go-Go
The song is all over the board and abusive to the ears. Keith Buckley, their vocalist, shares nothing in common with Jeff Buckley. Keith wails at the top of his lungs, literally screaming over a meandering jam. It sounds more like a rehearsal to tune the instruments and test what volume the speakers can handle. I can only imagine someone using this music to bang their head against a wall. On the positive side, the licks change every now and then. These transitions make the music bearable for someone who is not altogether into torrentially heavy music.
Off Broadway
This is not on Broadway. This isn't even on the street around the corner. This is in the basement of a biker bar that is very unfriendly to unexpected guests. The riffs are redundant. The music is deadlocked into a dark corner. It is time to leave, but there is no view in sight. This leaves the listener smacking into cement walls while hurrying to find a way out.
I've Been Gone a Long Time
The riffs in this track come close to Guns n' Roses' "You Should Be Mine". When the vocalist isn't screaming, he tries to sing in a few parts. You need to listen closely or you may miss it.
Godspeed Us to Sea
While not a giant leap for mankind, this is another small step up from the past tracks. The guitar licks are more varied. This has the best bass lines on the album, but the vocals have become quite grating by this point.
She's My Rushmore
The fastest song of them all, this is the carnival ride you've gotten on to impress your friends. You just ate, your stomach is rolling around on you, and you can hardly wait to get off.
This is the unfunny friend who has locked the cars doors and pretends to pull away while you're still outside. He slows down when you come close to grasping the handle. Before you get a chance to catch your breath, the gas pedal is floored and you are left in the dust. This one leaves you breathing heavy, dizzy, and in a cold sweat.
In the Event that Everything Should Go Terribly Wrong
With a slow build-up, some delicious drumming, and a few pleasant riffs, this is the best song on the album. It is a spot where everything the band does goes unexpectedly right. This reminds me of the band Paatos or a heavy version of Bjork. This is unlike everything else on the album, which might be why the band themselves thinks it's wrong.
This takes us back to the screaming and jamming. It is hard to differentiate this song from some of the earlier cuts that use the same technique. There is zero melody and close to no pause, though it is funny when Keith yells that it is a rock n' roll takeover party.
Hit of the Search Party
You can actually hear Keith's voice going hoarse at this point. I wonder what his voice coach would say about the toll his vocal cords are taking (something tells me he wasn't privileged to classical training). He is pretty much yelling to the point of exhaustion. His voice is overdubbed in one place in order to provide a layer of shouts.
Someone is actually singing and their voice is not half bad. Simultaneous with this saintly voice, Keith belts out some of his loudest and most forced screams. This is like the talons of an eagle swooping down and searing your skin. If you've made it this far, you will fall down in exhaustion once freed from the clutches of this bird of prey.
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