Support |
songs
-
- 1
-
-
Doomsday
- 03:19
- 534,991 plays
-
- 2
-
-
Honor
- 03:08
- 357,828 plays
-
- 3
-
-
Falling Down
- 03:00
- 790,846 plays
-
- 4
-
-
Becoming The Bull
- 03:42
- 658,568 plays
-
- 5
-
-
When Two Are One
- 04:40
- 422,803 plays
-
- 6
-
-
Lose It
- 03:58
- 360,758 plays
-
- 7
-
-
No One Cares
- 03:03
- 237,806 plays
-
- 8
-
-
Can't Happen Here
- 04:02
- 253,986 plays
-
- 9
-
-
Slow Burn
- 03:26
- 423,270 plays
-
- 10
-
-
Blow
- 04:09
- 415,000 plays
-
- 11
-
-
Lead Sails (And A Paper Anchor)
- 04:16
- 244,385 plays
-
- 12
-
-
[Untitled Hidden Track
- 07:26
- 66,811 plays
album review
Atreyu's Lead Sails Paper Anchor is a decent album. The problem? It would be a much more consistent and stronger one if producer John Feldmann had settled on one sound -- slick or raw -- because it can't be both. (For the record, the rougher moments on the album do give Atreyu more vitality.) It isn't even a case of different songs having different production values, which would have made for a difficult, but ultimately forgivable, listen. Instead, these switches in sound occur multiple times, often in the same song. It's noticeable right from the beginning with opening number "Doomsday." During the verses, guitarists Dan Jacobs and Travis Miguel crunch away while Alex Varkatzas' raspy vocals add texture and grit, but as soon as the chorus hits, the sound abruptly becomes slick and restrained. It's not on the part of the musicians, either -- it's very obviously a recording effect. It's a trend that is repeated throughout Lead Sails Paper Anchor, reining in Atreyu's hard and heavy sound to the album's detriment. By holding the band back, the album never achieves any sort of critical mass. Fortunately, Lead Sails Paper Anchor isn't a bland effort, and this helps to compensate somewhat, even if some of the songs seem a little out of place. ("Falling Down," which sounds a little too punk-pop for this collection, is a prime example.) "Lose It" is a particularly intriguing number, beginning with layered and distorted guitars before bursting into a brief flurry of heavy riffs. This, in turn, gives way to haunted verses, a rough, aggressive chorus, and an eerie bridge section featuring echoing harmonies and hand claps. "Blow" is another highlight, though for completely different reasons -- the big, juicy guitar riffs, a singalong (though hardly family-friendly) chorus, and a healthy dose of cowbell all add up for a rousing, arena-ready showstopper. Both are unencumbered by the restraining effects placed on most of the other pieces, giving a glimpse of what this album could have been. Fans may have to wait for a live album or a concert ticket to hear what Atreyu are really capable of doing with this material. ~ Katherine Fulton, All Music Guide
more albums by this artist
See all-
-
-
- The Curse
- Released 2004
-
-
-
-
- A Death-Grip On Yesterday
- Released 2006
-
-
-
-
- Best Of Atreyu
- Released 2007
-
-
-
-
- Suicide Notes And Butterfly Kisses
- Released 2002
-
listener reviews
-
-
-
-
AMG: Get your reviews in line!
-
- By SpiffiestDaniel
- 5/10/2008 05:55:30
- While the latest fad has been to drastically makeover a<br/>band’s sound, Atreyu is one of the precious few bands who have done this with flair, and… success. This album is definitely a step forward for the little hardcore band that could, because they continue to sound more and more like a<br/>musical band, and less and less like a group of guys throwing their instruments around and making a lot of noise.<br/><br/>Key tracks are Doomsday, which displays the guitarists’<br/>flair for solos, and also includes a very epic, singalong chorus. Falling Down, which includes no screaming at all, has a very unorthodox, almost upbeat rhythm for a group of this caliber. The lead single, Becoming The Bull, showcases<br/>drummer/singer Brandon Saller’s extraordinary vocal talents. Blow, while very, very profane, shows an ever so slight change in the band’s direction, versus the blatant change of pace in Falling Down. The title track is surely the most controversial of the bunch, however, as it uses instruments never even seen in post-hardcore music.<br/><br/>All in all though, definitely one of the best ‘transformation’<br/>albums of the latest fad.
- 5 out of 5 people
- think this is useful
-
-
 |
