Review Summary: The Number Twelve have reached the epitome of their craft, and this album is accessible, technical, entertaining, and all around amazing.
The Number Twelve Looks Like You were a 5-piece whatever core outfit from New Jersey. They are now defunct :[
Worse Than Alone is an album that utilizes all of the tools that The number Twelve Looks Like You (12 from here on) have made their trade. Back in 2001 when their debut EP Put On Your Rosy Red Glasses was released, they had accomplished what many bands fail to do with their first release: cement themselves as masters of their craft. It was a grindcore classic, implementing dueling vocals, insanely technical guitar-work, blistering drums, and jazzy bass lines.
A lot has happened to the group's style since then. Worse Than Alone marks 12's third full-length studio release, and it puts a cap on every loose end that the last 3 albums left. From energizing opening track "Glory Kingdom," to the five and a half minute jazz influenced memoir about growing up in Jersey "The Garden's All Nighters," to the jaw-dropping drum solo at the end of "Retort, Rebuild, Remind," all the way to the epic nine minute finale "I'll Make My Own Hours," this album will keep you on your toes, and your ears entertained.
The vocals are better produced than ever without being overly tweaked, and clean vocals are even implemented nicely, the single guitarist has honed his skills to the point where he very ably implements riffs from several different genres into a single cohesive mix, the drumming is simply perfect, and even the bass has its noticeable moments of brilliance.
This is 12 is as they were meant to be heard: Perfectly produced, edgy, unique, and beyond genius.
The album is blasted into with a smooooth bass-line and then all mayhem ensues when vocalists Jase Korman and Justin Pedrick begin their Jekyll and Hyde assault in "Glory Kingdom." Clocking in at just over two minutes, this is a perfect opening track. The next track, "Given Life" begins with a needling guitar and tribal sounding drum beat, an once again the vocals take center stage with a combination of high pitched wails and clean singing that drips with emotion. Once the track really kicks off is about a minute and a half in with a guitar riff you just cant help but tap your foot to. "To Catch A Tiger" begins with some static and a distorted riff with shifting time signatures before the drums and bass take it away with a mix of high pitched screams and low growls that blend perfectly.
These next two tracks deserve their own paragraphs, they're that amazing. "Marvin's Jungle" kicks off with some clean singing layered over a jazzy bass line, and a bluesy guitar riff that really showcases just how amazing Pareja is on his instrument. When the vocals kick in, Jase's lows are used in a better way than ever before, with Justin's highs looping in and out. Jase's clean singing from 2:30 on is simply perfect, and when Justin starts to scream over him, and THEN the guitar begins twanging, you'll be almost in heaven. But then the next track begins...
Here it is: The Garden's All Nighters. The Number Twelve reach complete perfection here. A serene intro part gives way to a sharp guitar section, and then all chaos breaks loose when Jase and Justin completely lose their *** on the mic. An extremely catchy clean section stars which youll sing to every time, and a brief bit of screaming comes into play before the song breaks into a full on jazz/samba arrangement. Wait what? Jase sings and Pareja plays his spacey jazz riffs in the background, but when the singing stops, the guitar really shines. You will be left speechless at the technicality and precision that this man plays with. All of this builds up to an epic finale to an epic song, no doubt the best on the album.
"If They Holler, Dont Let Go," is another winning track, focusing on vocals, and leads into "Retort, Rebuild, Remind." At the end of this track drummer Jon Karel has his moment of glory, pounding away at every piece of his kit like there's no tomorrow. There's no way to describe it other than... Holy ***e.
"The League Of Endangered Oddities" is perhaps the most straightforward song, and might be the only less than stellar track on here. It is followed by a spacey little interlude that rips into album closer "I'll Make My Own Hours." Clocking in at over nine minutes, this is 12's longest song ever recorded, and its amazing for all nine minutes. It starts with Jase's best low growls and escalates until reaching its climax and crushing your ears with more low growling, and dwindles off to its end with guitar feedback.
You'll be left a haggard mess wondering what the *** you just heard. You'll most likely need a nap. But you're more likely to hit the "repeat" button.
