Review Summary: Full, atmospheric post-hardcore
A promising debut album is a wonderful thing to come across in the music industry. Korn's self-titled, Guns n' Roses'
Appetite for Destruction, and Pearl Jam's
Ten are just a few debuts that were not only amazing, but led to a successful future for the respective bands. Another album to join this list is Fight the Fade's
Second Horizon, yet there is something missing. What is that missing component?
Recognition. Unlike the bands above, Fight the Fade have yet to break out onto the scene, and it's absurd. With an album like this, you'd think there would be at least some sort of popularity, even just for a short time, but no.
Second Horizon deserves recognition. Not only is it a fun and memorable album, it actually stands out in a genre that is generally plain. Mixing elements of electronic, post hardcore, metalcore, pop, and even some classical orchestration, Fight the Fade compose an album that effortlessly jumps genres and styles throughout the entirety of the album. Full of vibrant ambiance,
Second Horizon provides not only great musicianship, but an atmosphere persistent throughout its duration. Accompanying this atmospheric experience is incredible instrumentation from all members of the band.
Utilizing all aspects of the guitars, Fight the Fade craft songs enforcing multiple genres and styles by manipulating the playing styles of guitar, from poppy note picking doused in delay and reverb ("Lost") to chugging out heavy power chords ("Beside the Dying Fire") to even some djent influenced riffs ("Monolith"). Experimenting with different guitar effects ranging from wah to distortion to reverb and delay,
Second Horizon displays a unique exhibit of what can be described as a guitar field day, mixing separate guitar sounds into one. Complimenting the guitars is the excellent drum performance. Integrating different play styles, Fight the Fade transition between upbeat grooves ("Ignition") and driving metalcore beats ("Monolith") effortlessly, showcasing a wonderfully executed performance, both memorable and creative. There's not much to say about the bass considering it isn't very prominent in the album other than a few short grooves scattered within the verses. However, this is made up by the additional electronics and subtle orchestration found throughout
Second Horizon.
Electronics, piano, violin, and cello all remain fairly persistent throughout the album. The electronics are utilized in such a way that there is almost always an ambiance accenting the background of the songs, providing a unique and enjoyable undertone behind each song. As for the orchestration, it interestingly arises in the choruses of some of the more intense songs of
Second Horizon, juxtaposing the aggressive riffing and driving drums in songs like "Beside the Dying Fire" and the build up of "Lost." On the other side of the spectrum, the piano is in the spotlight in quieter moments, even earning itself its own song, "Breathe." Although the instrumentation is remarkable, the real awe-inspiring factor of the album lies in the vocals.
With a Chester Bennington-esque voice, the vocals are top-notch throughout the entirety of the album. "Alive" showcases the vocalist's ability to reach immense high notes without fault, while songs like "Monolith" exhibit the harsher, metalcore-like screams executed with fair precision. His voice is much like the other instruments in a sense that he can cover all the genres presented throughout the album with such smooth transition, making for an undeniably entertaining show of alternating singing tactics.
With a combination of all of the above, Fight the Fade's debut holds much promise for a bright future in their career. Is this album flawless? No, not at all, but it is an amazing album with an above average sound for its genre.
Second Horizon's infusion of genres shows innovation in a genre that fails to portray such originality.
