Nothing of that sort can be found here. The first four songs are the best. Once you're logged in, you will be able to comment. What also stands out is the thought-provoking lyrics with a good sense of melody. Professional ratings Review scores Source Rating 0. I don't feel like they've improved on their sound again, but I don't think this is the end for the band.
As odd as they are, they're also pretty characteristic of a Maylene album ending. So far, I've given the impression that Maylene's new direction in sound isn't a good change. The guys are much less Underoath now and much more Gov't Mule or Drive-By Truckers. I am thrilled that you guys have stepped outside of your former selves for this record. So Maylene has gone more mainstream. Hidden comments will still appear to the user and to the user's Facebook friends. Undeniably one of the most likeable aspects of Maylene was the intense, passionate vocal work from Dallas Taylor.
It feels like a release just for a sake or releasing something, which is not what I ever expected from this band. It seems as if Taylor recorded this album half-heartedly as his mind drifted elsewhere. Do not take the wrong ideas from this. They bring it in a satisfying way but the change it up a little. It just falls into a boring 12-tracks of forgettable choruses and boring southern guitar solos.
I enjoyed that album but it wasn't a bunch of new stuff. However, the top tracks are closer to the beginning of the album. Dallas and company have finally embraced southern rock and not southern metal with a splash of metalcore thrown in - but southern rock. It's pretty generic rock, with some heavy riffs, but a severe lack of creativity or that Maylene charm that fans expect from the band. Taylor ditches the screams almost completely, crooning with an almost Daughtry-esque wail. What we have here is a beautiful evolution.
Personally, I am a big fan of seeing bands change their sound, displaying growth and maturity, and of course, a greater songwriting ability. This album will sink into your bones and become a favorite only by repeated listens, preferably as a unit instead of on shuffle. You can also send an e-mail to blabbermouthinbox gmail. Maybe Taylor is tired of screaming every night. I like how they are going for a more straight up Southern Rock feel instead of Southern Hardcore not that I dislike Southern Hardcore.
When it comes to southern metal, Maylene and the Sons of Disaster have been one of the more revered names to come along in past decade. The first single released from the album was 'In Dead We Dream', through the website, on August 4, 2011. It is not necessarily a bad thing to want to be more radio-friendly, but the attempt Maylene has put out falls short of the better precedents they have set three times in a row. I also specialize in taking bad photos of music gigs and smashing guitars. Some bands go with this ideology, and the results are mixed. All in all, however, a great album, and I applaud the band for taking chances and not sticking to the same exact formula.
Almost immediately the listener will notice the lack of spark in the vocals. Listeners will even detect a whiff of bands such as Theory of a Deadman and Every Time I Die, though Maylene do put their own twist on each song. These two songs also have a few mild profanities on both, and that was disappointing to me. This may also be the explanation for the sound change during the rest of the album, which isn't anything like typical Maylene. The album is not bad. I believe this album is a throwback to 70's southern rock, where it actually began.
My musical tastes tend towards post-hardcore and metalcore, though I enjoy the soft whisperings of indie folk music just as much. Gone is much of the metalcore and screaming, but in its place is good, strong, southern rock. It flows well and don't worry, see them live and there will still be plenty of opportunities to hit the pit, ninja fight, or whatever the kiddies are doing these days. At first glance, hardcore fans of the old Maylene will find the change towards a lighter, less gruff sound a bitter pill to swallow. From the album cover to the fuzz they used for distortion, it's beautiful, classic even.
These songs are quite heartfelt, and, as another reviewer has put it, the music makes a very Maylene-esque rock album. I live in Singapore, where the its blazing hot for nine months of the year and soaked in torrential rain for the other three months. I think the music still rocks! After three successful albums from Maylene and the Sons of Disaster, I can't help but be disappointed at the outcome of the fourth installment. The result is a hot steaming pile of mediocrity. No joking, I'm dead serious. Fans would tell you that one of the most endearing things about Birmingham, Alabama's Maylene and the Sons of Disaster is that they're genuinely one of those bands that can't be pigeonholed.
And, you know what, I'm kind of an adult now, so driving around to gutteral screams isn't necessarily what I'm looking to do. I love the change, and hope the band continues in this direction. The album in its entirety has lost almost every bit of the pull they used to have in exchange for a handful of forgettable choruses and a few catchy hooks. That is, that as each new album is released, the band will go lighter and poppier until nothing recognizable remains. I do like the hook a little, but I feel like I enjoy the catchiness of it rather than calling it well-written. The songs are delivered with ferocious intensity, delivering infectious rhythms, imposing riffs, and Dallas Taylor's vocals, that shift from smoky to nasty with ease. The result is a catastrophically mediocre release from a band that we have come to expect better from.