The divine [5.00].
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[5.00]
Thomas Inskeep: Apparently “post-hardcore” means sounding like a baby Soilwork — which I’m entirely okay with. The lead singer screams where appropriate, the guitars do their Yngwie Malmsteen thing, and the lyrics alternate between suitably emo (“Now, I only pray when it all goes down/I’ll be surrounded by all of the ones I’ve loved and cared about”) and utterly ridiculous (“My bedroom computer light is the only menace to my new faux wooden blinds”). They’ve got chops, give ’em that.
[5]
Micha Cavaseno: Lets see… D-Beats? Check. Overflashy metal licks? Check. Hair metal vocal arrangements that can never sit still? Check. Bad “Good Cop/Bad Cop” vox? Yeah. Heavy pitch-tuning? Oh BEST BELIEVE IT BAYBEEEE. Also, nobody’s ever going to get over the Killswitch Engage breakdowns, are they? There’s a lot of stuff crammed in here, to PtV’s credit, to the point this is borderline Between The Buried And Me levels of overexertion, but with none of the actual ideas of unique quality to bring forward. A for effort, F for about everything else.
[3]
Patrick St. Michel: The little EDM touches offer a nice reminder that this form of teenage melodrama rock has evolved a bit. The overwrought poetry reminds that they are sticking to their roots.
[3]
Brad Shoup: I’m on a pop-punk bender at the moment, so while this has all the imagery you shouldn’t get within 500 yards of per court order and a killer chorus, too much time is spent thrashing in the breakdowns and bridges. But goddamn, I’m ready for that Coheed record now!
[6]
Ramzi Awn: If anything could relive the glory days of Korn, Stone Temple Pilots, Hole and hits from the bong, this would be it. Who knew? I don’t think my parents ever really knew what I was up to in my best friend’s basement in high school, and I hope they never do. But “The Divine Zero” comes pretty close to summing it up.
[7]
Alfred Soto: I’m not the audience, but this works fine as scouring agent: the yells are good punctuation, the chord changes well-timed.
[6]