Review Summary: An incredible generic definition of music.
„If heaven had a theme song,
we wrote it"
Such amusingly statements from bands on their myspace site referring to the point
Sounds like are probably not always an indicator for the quality of the music. In case of Lower Definition, it’s also definitively not fitting. If it were true, heaven would be a place full of generic scene kids and, to make things worse, full of generic scene music. Taking the same line like the current bands “Dance Gavin Dance”, “Pierce the Veil” and “A Skylit Drive”, Lower Definition tries not to run in a far too different direction in terms of the sound of their genre mates, wanting to be able to get a piece of the big fat pseudo-screamo-pie of the year 2007. And with the release of their debut “Moths”, they could really make it.
Starting off with “The Ascending” and a melange of dissonant chords, cracking crash cymbals and a pounding double bass, the record shows some really promising points. The instrumental-ship namely is really sophisticated and advanced, demonstrating some great potential by each of the band members. But can they exploit it during the full length of the record? Sadly no. On each great guitar riff comes a boring everyday mosh part; on each superb drum fill comes an overused double bass roll and a too frantic bridge pattern. It almost seems as if guitar and drums are trying to bid over each other to take the leading role instrumentally, resulting in overdone breaks and ruined song structures. Take the aforementioned “The Ascending”: The whole song consists of a complete breakdown with some refrain-esque parts only distinguishable through the increased tempo and the more catchy singing. It bobs up and down from part to part, no direction is noticeable based on the repetitive breaks and stops, which eliminates every clear line and increasing climax in the bud.
Same with “Her Last Winter”, which starts in the middle of a verse, searching for his own good in a more pop-punk oriented sound. But instead of constantly evolving this approach into a cracking hook or catchy chorus, they return to the same start-stop break formula that ruins every arising flow. What is very regrettable, because Matt Geisers voice is much more compatible in this regard. Having a subtle sense for catchy vocal melodies, he puts out some great work on the chorus with convincing and highly memorable singing. Finally there is a totally enjoyable piece of music, existing not really often during the 21min long playtime. While his voice isn’t particular overwhelming, he shows some ambitious vocal interplays, reminding in spots on Daryl Palumbo and his vast vibratos. But drowning the generic breakdowns with the sleekly and not very vigorous voice creates a contrast which Lower Definition can not defuse, neither with ingenuity nor with song writing means. Sure there are some killer leads, some really catchy moments and a few of the multiply breakdowns kick in at the very right moment, but overall it’s too wishi washi and kinky, which incidentally applies also for the corny lyrics and the barely noticeable bass work.
Lower Definitions firstling could definitely smooth their way to the top of scene. Containing all things for a great “screamo” record, the band manages it to structure it in the most generic and conformed way. Lacking in all departments, from song writing to variety, “Moths” only will afford pleasure by the listeners of “Dance Gavin Dance” or “Emarosa”.
Everyone else should stay away.
