Michael Rooker (Creeper look alike)

MelissaDethFan with Steve Kudlow of Anvil

We figured since we already seen Arch Enemy play at a way smaller venue before, that we wouldn’t miss anything too amazing if we skipped it and went to subway. A few minuets after we got our sandwich and sat down a big group of guys that looked like they were from the show came in. They were trying to find the key to the bathroom, so we told them where it was and then they said “So, did you see us play?” and instantly, we realized it was the band we had been making fun of so we both said “…Yeahhh..” shamefully. One of them sighed and said “Aww. They hated us” and we felt bad so we were like  ”Noooo.” then asked to get a picture with them. It’s sad when you’re fans are asking for a picture out of pity. They were very nice and funny though. A  while later someone walked in and ordered a sandwich and it took us a few minuets, but we realized it was Rob Dukes, the lead vocalist from Exodus. Poor guy. I don’t think he has friends. He came in and ate his sandwich all alone.
(Me with Rob Dukes)

(Kat with Mutiny Within)

(Me with Mutiny Within)

The journey starts off with the calming mellow piano playing of ‘Foam Born (A) The Backtrack’ followed by some nice clean vocals from singer Tommy Rogers, but don’t let this chill moment fool you, because in a few seconds some Muse sounding keyboards come in, then some distortion and heavy drums and then it launches into a metal onslaught. At times it might sound a bit a bit deathcore-ish like on the next track (B) The Decade of Statues and that might turn off some metal listeners but it never really goes overboard. There’s also your typical metalcore-ish breakdowns here and then but again they are only bits of the big picture of this album and Between the Buried and Me never really milks the whole breakdown trend like other metalcore bands do. It’s safe to say out of all the metalcore bands out there, this is the only one really worth listening to. With each track comes more and more ideas, and they aren’t afraid to use them to their full potential. ‘Informal Gluttony’ first builds up with tribal sounding drums and chanting then an Egyptian sounding guitar riff before exploding into a very heavy Mastodon-esque riff then turning a sharp corner and going into an almost black metal sounding part complete with blast beats. By this point you kind of have a feeling what you’ll be getting into for the remainder of the album.

A typical BTBAM track sounds like the band wrote a bunch of riffs, pulled a few out of a hat and then some how made a kick ass song out of them. To me it is a great way to keep the listener on the edge of their seat awaiting one surprise after the next. Of course, a lot of this has to do with the sheer talent every member possesses. People talk about how musicians like the guys in Dream Theater, Dragonforce, or some shredders like Alexi Laiho of Children of Bodom or even Yngwie Malmsteen are the most talented musicians and there is no doubt they are talented but a lot of the shit they do in songs can a lot of the time just degenerate into boring pointless noodling. The members of BTBAM manage to bring you something that sounds like it is almost impossible to play but not just for the sake of sounding impossible to play. Every note on this album is carefully woven together and every riff is an essential piece to the puzzle.

After ‘Informal Gluttony’ the songs begin to enter the 10+ minute territory with ‘Sun of Nothing’. It is also the beginning of a lot of awesome odd and funny moments in the song. Around 3:27 the sound of babies come in along with some piano and an odd little jazz section starts out of nowhere. It’s so unexpected since it comes right after another blast beats heavy part but damn is it entertaining. There are also a few nice mellow sounding almost post-hardcore sounding parts, then there are some parts that are just too good for words. Then when this song ends the album wastes no time and dives right into the next song, which is probably the second best song of the album, ‘Ants of the Sky’. Ants of the Sky comes in furiously with insane guitar sweeps, then gives you a total metal kick in the ass for awhile and then late in has yet more unexpected moments. One being a Kansas sounding classic rock bit complete with an organ, and another towards the end that becomes a country bluegrass hoedown jam. You really get an idea of all the influences that went into the making this album. I could go on about what other bands I hear on this recording but I’d be here all day so there is no point.

After that slice of awesomeness, the band goes back into shorter territory for a bit with the 8 and a half minute ‘Prequel to the Sequel’ who’s opening sounds a lot like old In Flames to me. Then in this song yet more weird out of place awesome moments come, one is a brief polka part that sounds like something Mr. Bungle would do and then a borderline Cheap Trick sounding bit at the very end. Did I mention how they must of had influences up the ass writing this thing? After this things calm down for almost 3 minutes with the instrumental ‘Viridian’. Nice jazz sounding guitars and synths accompany one hell of a bass solo from bassist Dan Briggs. After the solo the song begins to slowly build up. It keeps building as you first hear a heavy E minor chord in the distance. It grows louder and louder and then BAM! The last 14 minutes of the album start with a vengeance with the epic closer, ‘White Walls’.

There is too much too say about ‘White Walls’. It has to be one of the best, most epic, well written tracks I have ever heard. It is one rollercoaster of a song. In fact I wonder what it would be like to ride a rollercoaster to this song. Probably amazing. Everything about this song is fantastic. The heavy moments, the quiet mid section that builds up into a great part of the lyrics, the “WHITE WALL!!!” breakdown but none of these things compare to the last 3 minutes of the song. It is quite possibly the best ending to any song ever. I’d like to explain it more in depth but I can’t really do it justice. It just sounds like the end of an epic, perilous and intense journey. It even ends with piano, just like it began with piano. The perfect wrap up to a perfect album. This album won me over and turned me into a fan of this band and I anticipate everything they do now. I don’t think they will ever be able to top this album though. Stay tuned for what I thought of the follow-up to this, ‘The Great Misdirect’ soon. Till then, check out this album and make sure to listen to it without any interruptions and with headphones on.

Thats me with Terji Skibenæs, the guitarist of Týr. And I got the blow up sheep from White Wizzard and Swashbuckles drum stick.