Review Summary: The Emptiness is essentially the pus that oozes from an infected pore on the face of music.
Alesana formed around 2004, and have since been producing post-hardcore music rather prolifically. Yet never have they taken a step outside the realm of normalcy in terms of music other than centering many of their tracks around subjects like Greek mythology. However, their first concept album still feels as though it should be a strange endeavor for this band, considering they are the personification of rehashed aural assault. Questions arose as to whether Alesana would be capable of creating a decent concept album when creativity had never been their forte. Would they progress on this venture? Yes, it would become apparent that they had. However, would they be any good? The answer is a resounding no.
Instead of epic, Alesana ride the route of pretense with disastrous results. For example, “The Thespian” separates itself from scores of other songs in its genre via awkward and tawdry spoken word samples. Their purpose seems not to augment the sound showcased on
The Emptiness, but to simply propel their equally cheap version of a Poe-centered storyline.* Not just plaguing one track, these unnecessary inclusions interrupt the fluency of several oh so generic tracks. Splicing pop-punk choruses, clean vocals, and rehashed rhythms with phlegmy screams, breakdowns galore (all of which are in 4/4 time), and overtly simplistic musicianship seem to be Alesana's focus on this record. Doing their most generic work on “Hymn for the Shameless”, and their most irritating on “Curse of the Virgin Canvas”, Alesana prove time and time again that faux-brooding atmospheres and so-called “catchiness” are far more relevant staples of their sound than innovation. The closing breakdown of “The Thespian” is as predicted as its lackluster chorus; the same may be applied for nearly all of the refrains and breakdowns shown on
The Emptiness. Adenoidal singing is in the vein of Drop Dead, Gorgeous and therefore a crop of several other bands. Technicality is nonexistent, despite the fact that this band utilizes three guitarists. The tune they use is hollow, and leaves the tired and droning sounds of Alesana penurious of emotion, technicality, expertise, and all other things enjoyable. However, there are some moments of hope.
For example, a various assortment of string instruments are used. Violins create a dark atmosphere, one that is far more enjoyable and far less irritating that that evoked from said spoken word and synth lines (ex. “Curse of the Virgin Canvas”). Less tracks are inherently awful than on their previous works; the production value has increased exponentially and the vocals have followed in suit. However, these very minuscule flickers of hope rarely increase the value of this typical post-hardcore release. Whether it be the droning cavalcade of instrumentation found on “Annabel” or the pretentious, sub-par attempts of diversifying their sound throughout, Alesana's third effort shows that they are indeed the blemish on the face of music.
*The plot line centers around poems Edgar Allan Poe to Virginia Clemm.
