Mis­ery Roadrunner Aussie scene-run­ners mis­judge the met­al­core cal­cu­lus

Metal Hammer (UK) - - Reviews | Albums. Lives. Merch. - ROB BARBOUR

some years ago, a me­tal blog pub­lished a tongue-in-cheek chart map­ping age vs cool­ness, con­clud­ing mu­si­cians get cooler un­til their mid-20s, then it’s a rapid de­cline. By the time the the­o­ret­i­cal mu­si­cian reaches the age at which The Amity Af­flic­tion cur­rently find them­selves, the ‘cool’ axis has dropped be­low zero. And not in the good way.

All of which is to say that when a band op­er­ate in a dis­tinc­tive scene – in this case, melodic met­al­core – there comes a point where the au­di­ence out­grow the genre, and bands sur­vive by be­ing the best at it, or by be­ing some­thing else en­tirely. Now on al­bum six, Amity have cocked an eye at the ca­reer tra­jec­tory of BMTH and opted for the lat­ter. To evoke the ti­tle of an al­bum by Limp Bizkit – a band who quickly rose to the top of a genre, and then al­most disappeare­d – re­sults may vary.

It’d be un­fair to claim Mis­ery as some great de­par­ture from what we’ve come to ex­pect from Amity – an im­pres­sive scream/clean blend cour­tesy of Joel Birch and Ahren Stringer, and hooks wrapped around sharp gui­tars – but it would also be disin­gen­u­ous to ig­nore its cyn­i­cal at­tempts to in­cor­po­rate ‘cur­rent’ el­e­ments. The lit­mus test of whether this is for you comes 59 sec­onds into Feels Like I’m Dy­ing, when a screamed, tit­u­lar vo­cal hook meets a squelchy syn­the­siser riff pil­fered from Di­plo’s re­cy­cling bin. While Mis­ery has its highlights – opener Ivy (Dooms­day) is huge – Amity de­cided some time ago what it is that they want to be. And when you’re on a pitch this crowded, you’ve got to play a lot bet­ter than this to stand out.


The Amity Af­flic­tion: all down­hill from here?

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.