Review Summary: Mediocrity meets Between the Buried and Me
From start to finish, Between the Buried and Me’s Colors is a progressive metal masterpiece that inspires equal parts high school nostalgia and present day appreciation for an album that’s stood the test of time so well. Whether it’s the intense guitar work backed by groovy basslines found in the track “White Walls” or the frenetic, all-over-the-place nature of “Ants of the Sky”, Colors remains the album that defines Between the Buried and Me and still stands as their (arguably) best work. Eight years and several releases later, Between the Buried and Me has dropped their latest LP, Coma Ecliptic. Old fans and general metal listeners alike are sure to be sorely disappointed by the lackluster nature of Coma Ecliptic, and the album may be one of the most disappointing releases of the year.
What’s immediately noticeable about Coma Ecliptic is the fact that it’s heavily driven by vocals rather than by lengthy instrumental passages and pure shredding. Unfortunately, there’s no denying that the toned-back instrumentation makes for a less exciting listen than previous affairs. Between the Buried and Me has received criticism in the past for being erratic and having transitions that seem to come out of nowhere, and maybe this will be the album that satisfies such naysayers. The key issue is not only the fact that the song structures are entirely predictable and somewhat boring, but also the fact that it feels like the band is trying to be something that they’re not. Widespread remarks about vocalist Tommy Rogers doing his best James LaBrie impersonation are entirely true, and his growls are still as monotone and unimpressive as ever. That’s not to say that Rogers is a bad vocalist, because he’s not. Rather, Between the Buried and Me is a group made up of extremely talented instrumentalists and it’s puzzling as to why the group would move in a direction that moves the spotlight away from them.
Despite showcasing a large shift in sound, older fans can still find solace in certain areas of Coma Ecliptic. The fourth track, “Feminine Wolf” beckons back to a more instrumentally charged BTBAM sound and features excellent guitar work near the end of the track. The same can be said about the mid-section of “The Ecotopic Stroll”, but reaching that point forces the listener to suffer through three minutes of drivel before anything exciting happens.
One recurring element that occurs throughout the entire album seems to be winding back-and-forth builds between the vocals and instrumental sections that create an artificial sense of a nearing climax. The real crime in this is the fact that these builds rarely lead anywhere besides Tommy Rogers crooning and slamming down chords on his keyboard like a child taking piano lessons for the first time. The aforementioned “The Ecotopic Stroll” is a key example of this as the six-minute mark exits an atmospheric instrumental passage so that Rogers can belt out “Let’s begin our lives!.” Such moments are common throughout the album and the overall listen is frustrating as a whole.
While “Coma Ecliptic” still contains obvious characteristics that represent the juggernaut of a progressive metal band that Between the Buried and Me used to be, it’s ultimately plagued by its focus on lackluster vocals and awkward song structures. Change isn’t always a bad thing, but this is arguably one of the lowest points that the group has hit in their lengthy career. Pressing the play button on Coma Ecliptic yields one thought: “Will the real Dream Theater please stand up?”
