![]() Let “The Jaws of Life” be a reminder that emo never died, it’s just that the scene grew up. Paramore brought a post-punk slant that is in line with today’s sound, Fall Out Boy has perfected the art of writing pop rock lov e songs and My Chemical Romance’s new song is the exact sound that Pierce the Veil strived for on this album. While other emo bands have emerged from their caves with new music, they tend to have brought something new to the front. The incredible guitar performance on the bridge of “Flawless Execution” must be balanced with the blandest guitar riff of 2023 on “12 Fractures.” For every moment when Fuentes sings about issues that are mature and important, he must go back to the script with his teenage lyrics. And these tracks showcase Pierce the Veil’s biggest problem: T he band intentionally keeps lurking in far superior bands shadows rather than treading their own path.Įvery moment of greatness on this LP, there is a moment of disappointment or cringe that will come to bring balance to the universe. The titular track sounds like a Jimmy Eat World b-side while Fuentes sings about being stuck in life (just like Jimmy Eat World indeed). “Shared Trauma” sounds like a Twenty One Pilots song circa 2015, and it provides a nice touch of maturity to the album. The best moments are when Pierce the Veil breaks its formulas and tries something new or turns down the edgy lyrics to a solid four. Other than the lyrics, the album itself is fine. “Red lip’d Snow White / Sipping beer through a straw real slow / I had a perfect high / Lip-locked in a bathroom stall.” The lyrics don’t come off as cool or edgy it’s just corny. The lyrics are weird, vague and as dark as your little cousin’s Twitter account, removing the listener from any momentum the band could create. The song, “Even When I’m Not With You,” is the best example of Pierce the Veil’s horrendous lyrical abilities. ![]() “Cigarettes on a dark, bent highway / Follow you from a distance like / Demons in a death machine.” Even after a multi-decade career in making music, the lead singer and lyricist, Vic Fuentes, is still writing for the same 13–16 age demographic. The opener, “Death O f A n Executioner,” is supposedly about a drag race gone wrong, but the lyrics sound like a twelve-year-old boy writing an English assignment. However, the punk singing that goes on top can be so unpolished that it’s annoying and the lyrics can get edgy that it undercuts any good the band brings forward. The band has some solid if not great instrumentation and musical chops. Most emo bands suffer from a condition that Pierce the Veil is no exception of. Seven years since their last album, Pierce the Veil ha s released their new album, “The Jaws of Life.” After the band’s 2016 album, “Misadventures,” multiple allegations of sexual misconduct by the drummer and founder, Mike Fuentes, were brought forward and he left the band shortly after. However, the emo scene during this time was fading away from punk rock and more toward an indie sound which makes its older albums sound late to the punch. Pierce the Veil made waves during the late 2000s and performed on the Warped Tour circuit, and in 2012 it would have its biggest hit, “King for a Day, ” which brought the band more fans. ![]() Except for Pierce the Veil, a band still riding the coattails of a genre that has expired past its prime. More than a decade has passed since the height of emo rock in the mainstream, but now a renaissance of the emo bands of yore has brought life back into the genre.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |