Artist: Every Time I Die
Album: From Parts Unknown
Release Date: June 30th 2014
Every Time I Die have continuously released brilliantly constructed dirty southern groove and balls-to-the-wall hardcore for well over a decade now and on previous album ‘Ex Lives’ showed no signs of running out of steam. Can they keep up the intensity on ‘From Parts Unknown’?
‘The Great Secret’ explodes into a deafening wall of noise that follows with drummer Ryan ‘Legs’ Leger flexing his muscles and showing how he accompanies Jordan Buckley and Andy Williams blistering fretwork. A charging start for the boys from Buffalo, NY. ‘Pelican of the Desert’ has producers (Converge’s Kurt Ballou) fingerprints all over it. Clocking in at less than two minutes, certain riffs sound akin to his style of play.
Now if we know one thing for sure about ETID it’s that they most definitely can write a groovetastic punk party anthem, and ‘Decayin with the Boys’ is simply that. Along with the recently released video, (that is 100% NSFW!) head banging is necessary and failure to comply will result in you being body slammed through a poker game or getting a pie to the face if your too busy taking a selfie. The riffs keep coming in the form of ‘Overstayer’ that also features one of frontman Keith Buckley’s most stand out lyrics of the album with the line, “I should have died when I was young” over scathing guitars.
‘If There Is Room to Move, Things Move’ incites you to do just that, move. If you’ve ever witnessed a ETID live show then you will be familiar with the chaos and bedlam that ensues on and off stage. This track sounds like it’s been recently discovered from a vault that houses the original recordings of break-through album, 2003’s ‘Hot Damn!’ Savagely brutal stuff. Kurt Ballou’s influence shines through once again on the slow building, jaunty piano led ‘Moor’, that when it finally kicks in has some of the heaviest and most filth-ridden guitars ETID have ever laid down. A devastating beatdown-esque style brings the song back around to the jaunty yet haunting piano before just cutting off.
‘Thirst’ may just be one of the greatest songs the band has penned to date, it’s infectiously catchy, short, simple and to the point, and the Beevis & Butthead style video makes us grin like a Cheshire Cat and puts a flat full of UK students predrinks to shame. When news emerged that Brian Fallon of The Gaslight Anthem fame was to lay down his raspy rockabilly crooner vocal to this record it raised a few eyebrows, and so it should. His parts sound great but then sandwiched in-between the harshness of Keith Buckley’s vocals and the hard hitting playing, it all sounds a bit confusing on ‘Old Light’.
‘El Dorado’ might as well have been on ‘The Big Dirty’ with that Southern groove running throughout not too far off fellow punk champions The Bronx. It adds a different layer to the onion that is ETID with big rock riff hooks and a mid tempo pace to strut along to. Closing out the album is ‘Idiot’ with a ‘Last Night in Town’ vibe running through it, that is until towards the end, another example of moving into heavier territory with an almost unrecognisable tone, a gnarly death sound.
This is probably the first album of the bands that you can take any song and put it onto another album of theirs and it not be out of place. It has everything they’ve been influenced by and comprised of over their career and smashed together to create an unholy racket that we thoroughly enjoy.