Phantom Anthem: Album Review
Thoughts On: Phantom Anthem (2017)
August Burns Red's 8th studio album.
August Burns Red are a flat out tremendous band, one of incredible precision and complexity that, in my opinion, have created indisputable masterworks in the likes of Composure, Meddler, White Washed and Marianas Trench. In addition to manifesting an absolutely pounding sound with impossible pace, August Burns Red have an intensely likeable tone solidified in their more playful work - their covers and Christmas albums. If you haven't ready, you have to check out their brilliantly transformative Britney Spears cover...
... as well as something from Sleddin' Hill...
That said, Phantom Anthem plays on the straighter side. It solidifies ABR as one of the most consistent and focused bands attached to Fearless Records. Many of the bands under Fearless have a more conventional metalcore sound, relying on the clean choruses and breakdowns. Others have changed their sound up quite a bit between albums - Motionless In White being a key example. Almost all bands eventually shift sound, but ABR is evolving slowly (at a pace I very much so appreciate). In addition to not requiring huge dynamic range in the vocal department, such has them stand out significantly from the rather strong roster of bands under Fearless - which is to say, I'm a fan of a whole heap of songs from Ice Nine Kills, Underoath, The Word Alive, Blessthefall, and more, but August Burns Red is undoubtedly the best band among them.
I'm rather terrible at keeping up with bands and so I haven't heard much from ABR since they moved from Solid State Records to Fearless. I'm then most familiar with Constellations and Messengers. However, it was with glee that I sat down and let Phantom Anthem wash over me. ABR is a band that I hold in such high regard for their immense ability to produce unpredictable rhythm that nonetheless pulls you into a storm. This has everything to do with Greiner on drums at the very centre of the sonic landscape. Leading such a huge quantity of each track, Greiner's drums speak to the guitars impeccably well. And it's this rhythmic discourse between guitars and drums that is overseen by understated but relentless vocals that produces works of musical genius. This has not changed in Phantom Anthem; the band have only managed to get better.
King of Sorrow
The album opens with what might be the heaviest track. The heft of the opening and post-solo sections in addition to those confrontational first person lyrics bring this song to the edge of a darker genre that ABR usually exist some way away from. Alas, this works fantastically; I love the prominence of the bass and the blast beats as well as the way the lyrics intermittently rise and lead the sound. The counterpoint between the lead roars and back up screams are sensational. The solos, as always - and especially the second one - fit so uniquely into the track. King of Sorrow blows me away: crushing.
Hero of the Half Truth
A more familiar sound. The beat patterns: why I love this band. The way in which you are required to listen to ABR is rather different from the material emergent from more conventional metalalcore bands. There is an unpredictability motivating each track that centralises the transformation of the sound rather than emphasising its successivity. The strumming patterns of the chugging, palm muted sections in Hero of the Half Truth are so sumptuous to listen to. And the rolling around the set during the solo... yes... The part of you brain that wants to headbang sometimes gets a little confused, but in the very best of ways. Resorted to shaking your face with a disgusted grin, you can't deny that the rhythmic work done here is simply gorgeous. And I can't help but 'whoaaar' during those final minutes. There's no waiting for the breakdown, they scream at you with pace and endless movement. Ingenious; less a breath of fresh air, more a blast that takes your breath away. The grimy tone of the solo has to grow on you a little, but Hero of the Half Truth is relentlessly good.
The Frost
Like no other metal band I know August Burns Red can make a jovial tone work for them. Undisputed kings of the 'happy metalcore' sub-genre, ABR of course perfected the sound we hear under the vocals in Sleddin' Hill. It's fascinating and a pleasure to see them take that sound and find a way for the vocals to resonate with it. The busyness of the guitars as well as the persistence of the vocals exist in harmony with the uncorny motivational, introspective lyrics, making for a track that really stands out from the entirety of the album.
Lifeline
Whilst I would have liked just a little more aggression from Lifeline, this does so well to allow riffs to develop and speak to one another in the rhythmic section. Here we hear a bit more flash than usual with some sweep picking thrown into the mix. And I always find the way in which solo becomes melody immensely impressive in an ABR track. The desperation in the lyrics, the evocation of how to teach and learn soars above all quite beautifully.
Invisible Enemy
The kabuki theatre-esque opening is novel and maybe could have been integrated into the wider song a little better, but Invisible Enemy secures... just an absolutely disgusting sense of melody. The sickeningly complex strumming and double-bass patterns pulls you in deep; the chime of the cymbals guides you; the roaring vocals, the sticky tone of those riffs, those sexy tap sections, the looming, encircling movement over the toms, all put you into a cacophonous void of ecstatic weight. This is more than impressive.
Quake
What this does so well is run--sprint--forward. Everything about Quake gives the impression of movement. You can truly move your head to this thanks to its heavy stomp. And yet this is a really complex track; very precise; the details get a little lost as the rhythmic plains squash into one another a tad (in addition the general sound is quite wide and spread out) but the described impression is very tasty--very tasty. The lyrics also... yes...
Coordinates
The interruption of that slow opening--yeeeeeesh. Beautiful. The tone of the bass end of this track is awesome. There are very, very, very few bands (in my opinion) that have a better tone than Thy Art Is Murder, but, with this, ABR become a confrontational force; I'd love to hear more bass like this in the mixing of their tracks--tremendous. The stormy busyness of the drums (fuuuuuuuck); we're pushed into a maelstrom and feel like we have to search through the haze. Whilst the dynamic changes that occur throughout are something ABR is quite comfortable with, they push a new, popping, sharp edge into the solo sections with the grit of the guitar and snare-centric drums. The cleans come in over the track as something a little unexpected to my ear, but they pretty much work here.
Generations
Just... yes.. to the rhythmic storm. Greiner is entirely unsatisfied with being static in Generations - and he leans on the double-bass at all the right moments. The sound is almost physically jumping up and down, leaping and bounding, the ripping vocals leading much of the way, but the drums bouncing around in the back like a mad man - tremendous stuff. I'm really happy following the vocals here - that can't be understated. The cleans and spoken words find their place very nicely. But, more than anything, Generations sounds like a thrilling flurry of drum sticks. Wow.
Float
We have a return to the gruff cleans. I never expect cleans in an ABR track (except in Ghosts), but the rough, almost cleans--I'm liking them quite a lot. That said, Float had me stop and just shake my head. It is ridiculous how unpredictable Greiner is. His imagination--genius. I love the organic emergence of aggression in Float. It emerges from the counterpoint between cleans and screams, but also just the growing, fluctuating intensity of rhythm. There is something inspirational that exudes from ABR's lyrics, especially here, and it appears to come from their Christian background. Ambiguous as this is, it feels more than genuine and is such an enchanting element of the band.
Dangerous
The vocals and lyrics come to the fore of Dangerous, giving way only to some pounding double bass and a classic breakdown. Whilst the lyrics are evocative in bursts, more could be said and felt from them (as we feel in a song like Composure). That said, this is a rather ripping track. I'm a little 'hmmm..' about the melody on the whole, but I can't help but smile at those screams.
Carbon Copy
Phantom Anthem doesn't close with its strongest tracks, but I really appreciate the dialogue between guitars in Carbon Copy. Compared to the rest of the album, this is rather consistent and steady rhythmically. There is also a focus on atmosphere with quite a few effects thrown into the mix, but it doesn't give much to the track. I feel, on the whole, that this might have benefited from being constructed around a bpm just a little higher. What's more, I would have liked to have heard a little bit of a closer, more interactive sound that plays off the ear instead of into it.
In total, Phantom Anthem is epically good. August Burns Red knock their 8th album out of the park, refusing to venture too far from their established sound, instead, sinking ever deeper into it in the most respectable way. I've got my tickets to see the band later this year and cannot wait. This album and more will be on loop until then. What are your thoughts on ABR and Phantom Anthem?
Previous post:
Border - In Human
Next post:
End Of The Week Shorts #99
More from me:
amazon.com/author/danielslack
August Burns Red's 8th studio album.
August Burns Red are a flat out tremendous band, one of incredible precision and complexity that, in my opinion, have created indisputable masterworks in the likes of Composure, Meddler, White Washed and Marianas Trench. In addition to manifesting an absolutely pounding sound with impossible pace, August Burns Red have an intensely likeable tone solidified in their more playful work - their covers and Christmas albums. If you haven't ready, you have to check out their brilliantly transformative Britney Spears cover...
... as well as something from Sleddin' Hill...
That said, Phantom Anthem plays on the straighter side. It solidifies ABR as one of the most consistent and focused bands attached to Fearless Records. Many of the bands under Fearless have a more conventional metalcore sound, relying on the clean choruses and breakdowns. Others have changed their sound up quite a bit between albums - Motionless In White being a key example. Almost all bands eventually shift sound, but ABR is evolving slowly (at a pace I very much so appreciate). In addition to not requiring huge dynamic range in the vocal department, such has them stand out significantly from the rather strong roster of bands under Fearless - which is to say, I'm a fan of a whole heap of songs from Ice Nine Kills, Underoath, The Word Alive, Blessthefall, and more, but August Burns Red is undoubtedly the best band among them.
I'm rather terrible at keeping up with bands and so I haven't heard much from ABR since they moved from Solid State Records to Fearless. I'm then most familiar with Constellations and Messengers. However, it was with glee that I sat down and let Phantom Anthem wash over me. ABR is a band that I hold in such high regard for their immense ability to produce unpredictable rhythm that nonetheless pulls you into a storm. This has everything to do with Greiner on drums at the very centre of the sonic landscape. Leading such a huge quantity of each track, Greiner's drums speak to the guitars impeccably well. And it's this rhythmic discourse between guitars and drums that is overseen by understated but relentless vocals that produces works of musical genius. This has not changed in Phantom Anthem; the band have only managed to get better.
King of Sorrow
The album opens with what might be the heaviest track. The heft of the opening and post-solo sections in addition to those confrontational first person lyrics bring this song to the edge of a darker genre that ABR usually exist some way away from. Alas, this works fantastically; I love the prominence of the bass and the blast beats as well as the way the lyrics intermittently rise and lead the sound. The counterpoint between the lead roars and back up screams are sensational. The solos, as always - and especially the second one - fit so uniquely into the track. King of Sorrow blows me away: crushing.
Hero of the Half Truth
A more familiar sound. The beat patterns: why I love this band. The way in which you are required to listen to ABR is rather different from the material emergent from more conventional metalalcore bands. There is an unpredictability motivating each track that centralises the transformation of the sound rather than emphasising its successivity. The strumming patterns of the chugging, palm muted sections in Hero of the Half Truth are so sumptuous to listen to. And the rolling around the set during the solo... yes... The part of you brain that wants to headbang sometimes gets a little confused, but in the very best of ways. Resorted to shaking your face with a disgusted grin, you can't deny that the rhythmic work done here is simply gorgeous. And I can't help but 'whoaaar' during those final minutes. There's no waiting for the breakdown, they scream at you with pace and endless movement. Ingenious; less a breath of fresh air, more a blast that takes your breath away. The grimy tone of the solo has to grow on you a little, but Hero of the Half Truth is relentlessly good.
The Frost
Like no other metal band I know August Burns Red can make a jovial tone work for them. Undisputed kings of the 'happy metalcore' sub-genre, ABR of course perfected the sound we hear under the vocals in Sleddin' Hill. It's fascinating and a pleasure to see them take that sound and find a way for the vocals to resonate with it. The busyness of the guitars as well as the persistence of the vocals exist in harmony with the uncorny motivational, introspective lyrics, making for a track that really stands out from the entirety of the album.
Lifeline
Whilst I would have liked just a little more aggression from Lifeline, this does so well to allow riffs to develop and speak to one another in the rhythmic section. Here we hear a bit more flash than usual with some sweep picking thrown into the mix. And I always find the way in which solo becomes melody immensely impressive in an ABR track. The desperation in the lyrics, the evocation of how to teach and learn soars above all quite beautifully.
Invisible Enemy
The kabuki theatre-esque opening is novel and maybe could have been integrated into the wider song a little better, but Invisible Enemy secures... just an absolutely disgusting sense of melody. The sickeningly complex strumming and double-bass patterns pulls you in deep; the chime of the cymbals guides you; the roaring vocals, the sticky tone of those riffs, those sexy tap sections, the looming, encircling movement over the toms, all put you into a cacophonous void of ecstatic weight. This is more than impressive.
Quake
What this does so well is run--sprint--forward. Everything about Quake gives the impression of movement. You can truly move your head to this thanks to its heavy stomp. And yet this is a really complex track; very precise; the details get a little lost as the rhythmic plains squash into one another a tad (in addition the general sound is quite wide and spread out) but the described impression is very tasty--very tasty. The lyrics also... yes...
Coordinates
The interruption of that slow opening--yeeeeeesh. Beautiful. The tone of the bass end of this track is awesome. There are very, very, very few bands (in my opinion) that have a better tone than Thy Art Is Murder, but, with this, ABR become a confrontational force; I'd love to hear more bass like this in the mixing of their tracks--tremendous. The stormy busyness of the drums (fuuuuuuuck); we're pushed into a maelstrom and feel like we have to search through the haze. Whilst the dynamic changes that occur throughout are something ABR is quite comfortable with, they push a new, popping, sharp edge into the solo sections with the grit of the guitar and snare-centric drums. The cleans come in over the track as something a little unexpected to my ear, but they pretty much work here.
Generations
Just... yes.. to the rhythmic storm. Greiner is entirely unsatisfied with being static in Generations - and he leans on the double-bass at all the right moments. The sound is almost physically jumping up and down, leaping and bounding, the ripping vocals leading much of the way, but the drums bouncing around in the back like a mad man - tremendous stuff. I'm really happy following the vocals here - that can't be understated. The cleans and spoken words find their place very nicely. But, more than anything, Generations sounds like a thrilling flurry of drum sticks. Wow.
Float
We have a return to the gruff cleans. I never expect cleans in an ABR track (except in Ghosts), but the rough, almost cleans--I'm liking them quite a lot. That said, Float had me stop and just shake my head. It is ridiculous how unpredictable Greiner is. His imagination--genius. I love the organic emergence of aggression in Float. It emerges from the counterpoint between cleans and screams, but also just the growing, fluctuating intensity of rhythm. There is something inspirational that exudes from ABR's lyrics, especially here, and it appears to come from their Christian background. Ambiguous as this is, it feels more than genuine and is such an enchanting element of the band.
Dangerous
The vocals and lyrics come to the fore of Dangerous, giving way only to some pounding double bass and a classic breakdown. Whilst the lyrics are evocative in bursts, more could be said and felt from them (as we feel in a song like Composure). That said, this is a rather ripping track. I'm a little 'hmmm..' about the melody on the whole, but I can't help but smile at those screams.
Carbon Copy
Phantom Anthem doesn't close with its strongest tracks, but I really appreciate the dialogue between guitars in Carbon Copy. Compared to the rest of the album, this is rather consistent and steady rhythmically. There is also a focus on atmosphere with quite a few effects thrown into the mix, but it doesn't give much to the track. I feel, on the whole, that this might have benefited from being constructed around a bpm just a little higher. What's more, I would have liked to have heard a little bit of a closer, more interactive sound that plays off the ear instead of into it.
***
In total, Phantom Anthem is epically good. August Burns Red knock their 8th album out of the park, refusing to venture too far from their established sound, instead, sinking ever deeper into it in the most respectable way. I've got my tickets to see the band later this year and cannot wait. This album and more will be on loop until then. What are your thoughts on ABR and Phantom Anthem?
Previous post:
Border - In Human
Next post:
End Of The Week Shorts #99
More from me:
amazon.com/author/danielslack
