Speaking of commercials… please enjoy one before your video begins, courtesy of MTV… (I would’ve certainly posted a YouTube version, but the marketing department at camp BFMV apparently don’t like metal blogs making fun of their band, so they’ve disabled embedding).

Justin’s Review

Man… it’s been a long time since I graduated high school, but back then, dudes wearing Maiden and Slayer t-shirts weren’t the total pussies they seem to be nowadays. Good thing Bullet For My Valentine are around to show these wimps that all you need is a little patience, a remote wooded area, and 3 copies of Twilight on DVD to stand up to those jock fuckheads.

Wait a minute… don’t jock fuckheads listen to Bullet For My Valentine? OH SHIT… RUN!

Mark’s Review

If there’s one thing I hate more than TEACHERS and PARENTS, it’s fucking JOCKS! Everyone’s always telling me I need to change my ways, but fuck that, I’m true to MYSELF!!!. So when I watch this video, it’s like someone had a camera on my LIFE. Bullet for my Valentine is REAL, COMPRENDE??? They don’t follow trends like shitty Taylor Swift and Lifehouse (FAGS!! LOL!!). In fact, Matt Tuck once said he doesn’t give a SHIT about trends or “what his fucking hair looks like”, and I believe him, cause when I saw the band at the Mayhem Fest (sponsored by Hot Topic), they totally looked like they kicked ass!!! I hope this video inspires other kids like me that are total UNDERGROUND to change into werewolves and murder people who pick on them.

Mark’s Review:

Could Brendan O’Brien be the kryptonite for once-great, American metal bands? After Mastodon announced that the famous hard-rock producer would be working on their album Crack the Skye, I was worried. It was an ominous sign that Mastodon wanted to take their sound to a more “approachable” level, and they needed someone to hone this vision into an acceptable package for new fans and mainstream media. I can’t say I blame them. In a few short years, they had arguably become the best American metal band, secured a major label deal and garnered loads positive press. It was time for them to choose whether to take their careers to the next level, or keep pushing the metal scene they were now leading. Crack the Skye was released, and although it’s filled with quality songs, I felt it really lacked the intensity and memorable moments of their previous works. I keep trying to get into it, but in the end I feel that the album blends together with forgettable riffs, passages and vocals.   Editor’s note: Bullshit.

Killswitch Engage is at a similar crossroads. Once an underground band, the addition of Howard Jones turned them into American metalcore darlings, and for good reason. The End of the Heartache is a classic album filled with all the extreme riffage, guttural screams and soaring vocals that make metal great. I felt their next album, As Daylight Dies, was a quality effort, but with their increased popularity and exposure, the band was quickly becoming a soundtrack for MMA events and Hot Topic. When I heard a “nicer”, mainstream radio version of the song My Curse with all the screaming cut out, the line between “credibility” and “credit cards” had been crossed. Well, now enter O’Brien, and their latest release: the self-titled Killswitch Engage.

Amazingly similar to Skye, the album starts off with a group of punishing songs that show what makes Killswitch great. Never Again, Starting Over and Reckoning feature Jones’s incredible voice and the serpentine riffs of (co-producer and lead guitar) Adam Dutkiewicz. Unfortunately after these opening gems, things turn repetitive. The album quickly becomes a mundane “paint-by-numbers” release with the tracks using the same metalcore songwriting formula (opening riff-scream verse fast-sing chorus slow-breakdown-repeat). The vocals steer more toward singing than screaming and we lose that intense dynamic Jones is able to create. Every riff continues along the same path, with the heavy chugging always followed by a sweeping arpeggio tail. The end result is something that’s good, but not great; tolerable, but not memorable; solid, but safe. Much like I felt with Mastodon, it seems like the steam has been let out of Killswitch Engage, and in order to “ensure” that this album is easily digestible for the new metalcore fan, something has been produced that is very sound but not very ground-breaking. I’m sure with this release, Killswitch has found a place in the hearts of “Affliction”-wearing jocks and mall-metal followers everywhere, but in the end, it’s a very “common” record and its formulaic construction pales in comparison to their older, more-spirited releases.

Mark’s Rating:

King says: “The “Brendan O’Brien Album Formula” needs more falsetto and more evil… with that, you can’t go wrong.”

Justin’s Review:

I’ve been following Killswitch Engage’s career for nearly a decade now (anyone remember their album Killswitch Engage? Anyone? Anyone?) and much like a number of their East-Coast brethren, it’s been exciting to watch the band seemingly pave the way for modern (American) metal. As I said, it’s been nearly 10 years, and despite their complete over-saturation, and what many describe as “turning metal gay”, KsE still dominate the airwaves and continue to turn a plethora of teenage girls on to metal. And what headbanger in their right mind would argue with that?

Well, it’s 2009 and KsE is back in the spotlight with their brand new album… Killswitch Engage.

Wait… What? Killswitch Engage? Yep… you heard me right. Killswitch Engage.

If there’s ever been a sign that a band has run out of fresh ideas, it’s naming an album after themselves. For the second time. (Or a third… :cough::cough:). I’m guessing you can probably figure where I’m headed with this.

Well, as Mark points out, Killswitch Engage (henceforth to be referred to as KsE09) starts of with everything that makes KsE great… solid riffs, great hooks, awesome solos and a healthy dose of Blood Has Been Shed (literally… Never Again lifts the verse riff directly from Greetings from the Gallows). Anyways, a few good tracks follow, but after about 10 minutes, and throughout the rest of the album, it’s nappy-nap time. Not to shit on the album entirely, but for the most part it’s everything you heard last time around (though I will admit… slightly more memorable than As the Daylight Dies… which isn’t saying a whole hell of a lot).

As Mark so eloquently discusses above, Brendan O’Brien was brought in to produce this one, which I found to be a strange and interesting decision. As most of you already know, guitarist/backup singer/attention whore Adam D has produced all of the band’s previous efforts (as well as 98% of metalcore records in general), so I’m not really sure what the motivation was to bring O’Brien onboard here. Is it just the trendy thing to do, or was Killswitch actually looking to the album’s production to push them in a much-needed new direction? Honestly, I have no idea… but what I AM certain of is that Roadrunner pissed away tens of thousands of dollars for the completely unnecessarily addition of O’Brien (good thing they’ve got Nickleback around to keep the cash flow in check). I’ve listened through this thing 4 times now, and I’ll be damned if the album sounds different or new in any way whatsoever. KsE09 features the same slick production that all of a sudden has become synonymous with “boring as hell”.

I’d hate to dissuade anyone who is an avid follower of the band, because KsE09 certainly does not suck, but unless they change it up and knock my socks off next time around, I think I’ll be limiting my diet strictly to BHBS.

Justin’s Rating:

King says: “With Killswitch Engage, it’s pretty obvious that fresh ideas belong to ‘THEM’.”

Have A Listen:

Killswitch Engage – Starting Over:

Download audio file (Starting_Over.mp3)