A Skylit Drive tries to push its experimental boundaries with its third release, “Adelphia,” emphasis on the word “tries.”
Though you’re not supposed to judge a book by its cover, the Lodi, Calif. based band’s proverbial cover tells listeners everything they’re getting into. Categorized as post hardcore, rock, experimental and screamo (a hybrid of the words “scream” and “emo”), the overall sound of loud electric guitars, heavy bass, pounding drums and crashing cymbals permeate every song on ASD’s record. It would be better categorized as noise.
ASD fans and supporters of the album are exactly who I thought they’d be: tween and teens thematically clad in black tees and jeans with tragically dyed hair and dense make-up surrounding the pain in their eyes. The band caters to them well, however, reaching into the depths of your heart and yanking out any teenage rage or rebellious fiber you had, breeding it into a festering anger toward the world.
Despite this image, the intriguing quality of this album is the vocals. Lead singer Michael “Jag” Jagmin alternates between high-pitched “shout singing,” where he’s not really singing but shouting really loudly while being on pitch every so often, and throwing in a hardcore, you-know-that’s-not-good-for-your-vocal-chords kind of screams. He sounds like a cross between a tone-deaf 14-year-old girl just learning to sing and a 30-something recovering drug addict in a metal band with an unkempt beard curtained by unbearably long, greasy hair.
Thankfully, songs such as “The World Ends in Whispers, Not Bangs” and “Air The Enlightenment” stand out on the record with a slower tempo and overall calm, almost gentile atmosphere. It’s a nice contrast to the general waterfall of noise that is constantly attacking the listener.
The album also follows a sort of concept, where it begins rather angry and forceful with “Prelude to a Dream.” But by the time you reach “I Swear This Place is Haunted,” the atmosphere of the album is desperately clamoring for an answer to whatever question the band seems to be asking. But this is where the variation ends. Everything else on this album maintains the isolated angry feeling of the disturbed youth.



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