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daniigrimm-blog · 1 year

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Yeah Boy & Doll Face, this is Bulletproof Love so Throw a Match into Water cos Today I Saw The Whole World and it's The Jaws of Life

Pierce the Veil did the walk of shame out of a tour with All Time Low in 2017 and that same year announced that drummer Mike Fuentes would be leaving the band; they cited that they wanted a safe feeling environment for their younger fanbase and honestly in the six or so years that the two girls that came forward with receipts and allegations really nothing has been done and that is a shame. A couple to a few years ago (not sure on exact date) they did a quarantine video featuring the drummer however and they have yet to remove his image from their Epic Win playlist but I do digress, it does seem the band has been trying to turn over a new leaf and move on sans Mike Fuentes.

That being said, let's do a deep delve into what exactly has been up with Pierce the Veil--active members are now Victor Fuentes (guitar), Tony Perry (Lead Guitar), and Jaime Preciado (Bass).

So what have these guys been up to the last decade?! Well it seems they were busy growing and having families. That's right ladies, sorry to say--these three starling studs are currently off the market. Sad, I know, but that's not why we're fucking here. We are here for the music. I did think that it was very sweet that Vic, Jaime, AND Tony settled down with seemingly the loves of their lives and that Danielle, Vic's wife, recently gave birth to their first baby Violet Valentine Fuentes! I'm excited for them and their newest adventure together as new parents. As a parent myself I wish nothing but the very best for them and as someone who can no longer make these cute little babies, I am certainly excited for whatever pics they have to share.

Now let's talk music.

Where were you on February 10th, 2023 when The Jaws of Life dropped? i was in my room, I know rather anticlimactic but, I am always in my room. Introversion aside, I remember putting on my headphones and gearing up to rock out to PTV's newest jams and my god was I not disappointed.

In an interview for Blabbermouth.net Fuentes says: "This album has truly brought us closer than we've ever been. It was extremely difficult for us to be off the road and apart for so long. We've never missed anything more than playing music together and never had such an strong appreciation for recording, touring, and simply being in the same room together than we do now. 'The Jaws Of Life' is about how life can sink its teeth into you and try to devour you. The negativity in the world and within your mind can be a vicious thing. We're extremely grateful for this record, our fans, and the opportunity to play live music again."

The first single release from the new album, was Pass the Nirvana--let's start here. Clowncore visuals aside (I am deathly afraid of clowns!) I'd say the music video takes me right back to a 90s grunge era when I was a stinky teenager watching TRL on my couch. Flash warning, for the sensitive.

“‘Pass the Nirvana’ is about the many horrible traumas that the youth of America have endured over the past few years. COVID, no proms, no graduations, an insurrection, school shootings. The list goes on. Their lives have been tossed around like clothes in a dryer, as the tensions within our country have infiltrated our own homes, friends, and families. To me, the song represents a euphoric detachment from all of that anxiety and stress and about finding some form of peace or nirvana.”

That tracks. The grungy guitar riffs and metaphorical lyrics really tie this track together in a pretty plaid bow. There were a lot of things this year that made me question what year it was, but I'd relive the 90s again as adult this time--why not? could be fun, some of the trends were neat.

The second single on the album is throwing the same vibes; albeit the song is different in many ways as the first single. For instance, both are desperate situations with meaningful lyrics. Both have underlying 90s grunge rock vibes. But Emergency Contact is essentially about a pair of lovers; one is ready to move their relationship further and is frustrated with the other who is still unsure if they should. Vic Fuentes tells you the meaning in his own words here. It's a lovely melody that I think is comparable to their collide with the sky style. Which was also very nice to hear again.

Now that brings me to their third single off their Fifth album (Fearless Records) , The Jaws of Life, Even When I'm Not With You. This is my FAVORITE out of the three singles so far, but I am as HUGE sucker for a good rock ballad.

“This song was inspired by a text my manager sent me while I was going through a rough time. I thanked her for being there for me, and she said, ‘Even when I’m not with you, I’m still with you.’ That phrase touched my heart and inspired me to write a love song dedicated to my wife about no matter how far away I am on tour, I’m still devoted to her, and we will always be connected through our love.”

The lyrics are sweet, the looping riff is melodic and wonderful and I 100% love this track. Favorite track on the album? No, sorry--but definitely my favorite listed of the three singles. If you hate Gold Medal Ribbon or the vibes thrown on Misadventures then I don't want to hear anything you have to say. Your opinion is sadly invalid here on my blog, move along.

How many tracks are on The Jaws of Life? 12.

So we've already been over tracks 2-4, no need to readdress those. Let's go back to the Death Of An Executioner.

“The visual of this song, to me, is a car that’s following you—like the video for ‘Karma Police’ by Radiohead. It’s got its headlights on your back, and it’s just kind of slowly creeping on you. To me, it represents social media and people expecting perfection out of you and always waiting for you to make a mistake so they can run you down and destroy you. I like the title ‘Death of an Executioner’ because it describes killing the person who’s trying to kill you.”

Hello Alt Rock/Rock Electronica Radiohead influences! YES, I am HERE for it 100%. The harmonizing laid over vocals just work. And the filter effect over Fuentes' voice is mesmerizing. Kinda partial to the repeating of "blood red moonlight" as a good scene setter too--just GREAT imagery here. Plus, have you listened to it yet? You should--the song goes really hard.

Flawless Execution. It's the fifth track. on the fifth album.

“This one’s kind of hard to describe. I feel like it’s about people blurring the lines between love and sex and vice versa. It’s almost about when you’re OK with being used because you want to be close to the person so badly. You want love so badly that you’re actually OK with being used or abused, kind of like the Bill Withers song ‘Use Me.’ So, it’s about those extremes that we go to just to be validated. If you’re always desiring someone’s approval, it can go to some toxic places.”

"I'll scar you with my flawless execution every time." This. is actually one song that really caught my ear the first time I heard it. Man what a smooth earworm it really is! And that chorus really hooks you. Not sure what that says about me, now knowing the meaning of the song (fuck it I already kinda knew what it implied), nah--it really doesn't change my mind. This song slaps. It's definitely one to put on and really enjoy.

So far, I really think that consistently this band has grown with each album release and that really says something. Personally, their Dance Gavin Dance/Myspace screamcore on A Flair for the Dramatic wasn't my favorite (I know Ill get hate for that) but they were still growing as people and as a band. After doing infinite amount of touring and getting to know other musicians/bands they did some dabbling and grew into Selfish Machines--Besitos really hooked me. And it just got better from there my dudes! Hold the freaking phone! When Collide With The Sky and new doors and opportunities were opening for them--that was it for me. I was a fan. Misadventures , which won album of the year in 2017 circulated so many times on my playlist that I lost count. And then--radio silence. Man, when the allegations dropped I was heartbroken.

For a long time I did not support a band that I loved because of one person doing a misdeed and that was not fair. Not fair to the people who weren't involved, and not fair to me personally because of what their art does for me. When they finally addressed things and booted that rootie tootie from the band, I almost threw confetti into the air! They did the right thing, for those girls, for the fandom, and for the band. Now, they could begin to grow--and GROW THEY DID.

It took just short of a decade but we finally got NEW Pierce the Veil, and man am I just so happy with what they have given us. That finally brings me to the title track, The Jaws of Life.

“It’s about trying to get released from life’s grip and finding your way. There’s a line in it where I say I’m having the time of my life rotting in the sun, inside the jaws of life. It’s trying to be OK with where you are and starting to feel happy again—I’m making my way, and I know that I can see some light. There’s a lot of ’90s influence in this song musically, which I’m super stoked on. The verse feels like Tripping Daisy or Superdrag—I was thinking about their song ‘Sucked Out’ a lot when I was writing this one.”

That is super befitting because so far I can hear all the 90s undertones and influences from track 1 to the title track. Superdrag, Tripping Daisy, Smashing Pumpkins, Radiohead, Bush, Soundgarden, and a little Nirvana. These are great fucking influences to have and man, I love that they are just spinning them into their own modern grunge pop and I am here for it. As a fan of many different types of rock and pop I have to say this is taken and done--and it is done well. Kudos to production and underlying bts workers/musicians that put their time and effort into this. This album is fully flushed out, very well produced, and thematic from track one to track twelve. Just pure perfection.

This is what went into the Production of PTV's fifth studio album.

The seventh track on the album is quite possibly my favorite. It's consistently stuck in my head no matter what I do to get it out but I'm not even really trying at this point--it's too good. It can take up rent free space in my head for as long as it possibly desires to--because jesus fuck it is glorious! It's called Damn The Man, Save The Empire.

“I’ve been trying to use this title for years, but it’s never felt right until now. It’s a quote from one of my favorite movies, Empire Records. Lyrically, it’s about how no one can really know who you are until they’ve really spent some time with you. I feel that way sometimes when people follow our band on social media and think they have me pegged, but you’re seeing what I want you to see, not who I fully am. So, it’s just reminding people about that superficial experience.”

Instrumentally this combines grungey hard guitars with dreamy vocals that portray that same kind of dreamy vibe that social media gives you with a filter on it. "No one like us anyway..." is another relatable vibe but im starting to get that not everyone is built to be an extrovert and you only live one life--so why spend it trying to please people that don't like you when they don't matter? Great song. Even better message.

Track 8 is called Resilience.

“With this song, I had this vision of that classic scene in the movies when the hand pops out of the dirt after they’ve been buried alive, and the person starts pulling their body up to the surface. It’s like when you’re digging your way out of this hole, and your eyes finally see the sun and they adjust. Also, one of my most proud moments on this record is that we got to use a quote from Dazed and Confused to start the song. We actually had to have the actors approve that. It was such a win for the album.”

It starts off with a familiar scene from a movie most of us grew up with. I don't know about the children today, but I don't really care. It's a cult classic and Idgaf what the kids younger than me have to say about it really. The acoustic guitar is melodic and almost waltz like, and vic's crooning swoony voice wraps this song up nicely. "It's odd that I-keep runnin into spiderwebs, runnin into spiderwebs at night." was a really neat lyric I picked up on in that song. Very neat visuals.

Track 9 is called Irrational Fears . It's a 20 second interlude of an air flight assistant talking over an intercom. I don't really have much to say about this.

Vic said this:

“This is an interlude that sets up the next song. It was inspired by that first scene in the movie Garden State, with Zach Braff, where he’s on a plane that’s going down and everyone is freaking out around him, but he’s perfectly calm. We wanted to set the scene with this British flight attendant being all chipper but saying really dark things. Jaime made the music, and then my friend who’s a voice actor recorded the voiceover in London. It was a fun challenge, and I’m really proud of how it came out.”

Track 10 is called Shared Trauma and it's vapidly becoming one of my favorite PTV tracks. I guess personally, it touches very close to home. My family hasn't had the easiest life up until now, we have a lot of shared trauma but it's made us closer because of it--and it's certainly helped us grow knowing that.

“The title kind of speaks for itself. I’ve always felt that shared trauma and going through a traumatic experience with somebody can be one of the strongest bonds in human existence. Knowing that you’ve both been through something together will always connect you in such a powerful way. I think that’s beautiful—it’s the good that can come out of the bad. Musically, it was very much a collaborative band effort that came out of this loopy analog beat that Jaime sent me. It was really fun to write.”

So Far, So Fake starts off with couple of slow arpeggios that set the mood for the song which is cut into like a knife by Vic's sharp vocals to form a smooth even climb through the rest of the melody. The chorus is catchy, man, and does it stick if you let it. It's a hit. 100%. If they were to make another music video off this album, I would get in line to watch this one (but who are we kidding? I would get in line to watch any videos they decided to make as long as Mike isn't in them.)

“This song was written in 2017, so we’ve had it for a long time. It was one of the only ones that made it from some of the first writing sessions we did before the pandemic. It’s about if you’ve ever been betrayed by somebody you felt was a friend, and the wound never really mended—where even an apology doesn’t feel like it’s enough. It feels like it can never really be resolved. So, it’s a bit angry, a bit sour, a bit difficult to think about. But I always want to write about things that are affecting my life.”

I do recall a time where Vic had mentioned he was cheated on by someone who wasn't exactly exclusive with him? I don't remember the interview exactly but I do remember hearing it. Maybe that applies here. Maybe and I'm not saying this to start anything--it hits even closer to home and it's about Mike and what he did. They are family, and the band did lose out on a member. I imagine that would affect everyone very deeply and there would be wound that needed healing. I'm glad though, whatever the case, that Vic was able to get this out--it seemed he needed to. Music can be very therapeutic. Not just to us but to the artists who create it especially.

The final track on the album is called 12 Fractures and it is a lovely duet between Victor and an artist named Chloe Moriondo. She/They have never come up on my radar before but some how are an active member on the emo scene. She's/They've hung out with everyone from the likes of All Time Low, and Simple Plan, and now to Pierce the Veil and I love her/them for it. And can I just say that Her/Their voice is just wonderful. It's safe to say, I love this song.

Shout out to all the legal smokers of medicinal 420. I cannot wait til they federally legalize. We just need to move forward as a society but I digress, "Oh thank god for THC" is one lyric grab I loved from this song but it's just one. And it makes it all that more relatable.

“The song was called ‘12 Fractures’ before it became the 12th song on the album. We didn’t plan it like that. I’m glad it worked out that way, but it also makes things confusing. I’m actually looking at our vinyl right now to make sure it doesn’t just say ‘Fractures.’ But this one came from a deeply personal story about a friend of mine who went through a divorce. I watched two of my favorite people in the world just fall apart. When friends break apart like that, it’s like losing a family member. It’s super difficult, even as a bystander. It was cool to get Chloe on the song to bring the story to life. I’m a big fan of hers, and I think she did an amazing job.”

Now that I heard her/them on this song I will certainly be looking into her music because to be quite frank I just hadn't heard of her. I do love getting new music on my radar all the time though and this is usually how I find it. Artist collabs are SO so good for expanding the playlist repertoire-just trust me.

Did this convince you to go get The Jaws of Life and give it a listen? I sure hope so. It's fucking amazing on many levels. They did grow, they did change, and what they created is something I'll be blasting on my playlists for the next few years--but hey, let's maybe not make us wait another decade for new tunes next time guys? Pretty please?

Thanks.

D. Grimm

Sources:

here

Some may not be linked because of space in the post my apologies, they can be found with a simple google search.

#music #music blog #rock music #pierce the veil #vic fuentes #tony perry #jaime preciado #fearless #fearless records #jaws of life #the jaws of life #selfish machines #a flair for the dramatic #misadventures #collide with the sky #musician #jams #album review

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thisaintascenereviews · 2 years

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Wage War - Manic I’m just going to come out and say it, folks -- Wage War’s newest album, 2021′s Manic, is awesome. I didn’t expect to say that, and I thought that this review would go a lot differently, because a lot of metalcore bands have been going the way of butt-rock the last handful of years, and I thought Wage War was another one. I never listened to this album for that reason, but Wage War has always been one of my favorite modern metalcore bands, especially their first two albums, 2015′s Blueprints and 2017′s Deadweight. 2019′s Pressure was a good album, too, and I remember really enjoying it, but it was a bit more radio-friendly, including catchier choruses, all the while still having some killer breakdowns and riffs. I passed on Manic, but I’ve been catching up on some metalcore albums that I missed last year, including the new Of Mice & Men album, Echo, which I wasn’t crazy about. If you missed that review, the cliffnotes on that one is that the album felt like a lazy retread of their early work without being incredibly interesting. It just has modern production behind it, which is a good thing, but the album just lacked a lot of memorable moments, whether it was riffs, breakdowns, or hooks. It had a few really good songs, and a few really solid moments, but it just didn’t do a lot for me as a whole. Manic, however, is the opposite. This is the kind of stuff I’ve been looking for, as well as the kind of metalcore album I really like. I also reviewed the newest album from Fit For A King, 2020′s The Path, because their new album is coming out next month, and that album was a relatively straightforward metalcore album that had a great balance between being catchy and heavy. Manic is exactly like that, but a little bit better. Manic does indeed have a plethora of catchy hooks, breakdowns, and riffs, but they add in a little bit of other flavors, including some nu-metal-ish sounds on the title track, where vocalist Briton Bond does his best Jonathan Davis impression throughout it, and some more hard-rock flavors on other tracks. “Slow Burn” is a good example of a song that is mainly a hard-rock jam, but it does get a bit heavier towards the end. There’s a pretty cool breakdown in it, I’m pretty sure, but the album does have its fair share of hardcore bruisers, such as one of my favorite cuts, “Deathroll.” That has my favorite riff and breakdown on the album. It’s more or less a song for the moshpit, but it’s a good one. Most of the tracks here, though, have that delicate balance, and I love it for that. The thing is, too, clean vocalist Cody Quistad, who’s also their rhythm guitarist, is a very good singer. I’ve always loved his vocals, because he’s one of the rare metalcore vocalists that doesn’t have the generic “clean chorus guy” sound that a lot of bands have. There’s a name for it, it’s that prevalent. It’s a name for whiny, flat, and boring singers that add nothing to the album, only to forcefully add a clean chorus when they don’t need one. This band makes that sound natural, though, and I love it. Their breakdowns and heavier riffs are great, too; they’re nothing special, but at the same time, they sound interesting and fresh. I wish I would have heard this last year, it would have been one of my favorite records of the year. It’s such a fun, energetic, catchy, and heavy listen. The hooks are memorable, the riffs and breakdowns make my face scrunch with how nasty they are, and the lyrics are surprisingly solid, too. The only real “issue” I have with the album is that it is kind of generic, but not all albums need to be something experimental or push the boundaries of anything. You can be a great band or have a great album and be straightforward or generic. It’s not a bad word, but people have taken it to mean something negative. It only means something bad when the music itself isn’t executed well, or there’s no sense of personality in it. There’s a lot personality here, and honestly, this might be their best album to date. It’s a nice refinement of everything they’ve done before this, and it’s a great introductory album for newcomers. It’s rare that metalcore bands get better with time, especially ones as big as this band. These guys are surprisingly huge for a metalcore band, but in the post-Myspace and “crabcore” world, where a lot of bands are utilitizing more hard-rock / radio-rock sounds to appeal to more people, it doesn’t surprise me too much. The key difference as to why I really enjoy this album versus Of Mice & Men’s new one is that this album has that dose of energy and personality, as well as making each song stick out in some way, whereas Echo was a boring, lifeless, and forgettable album that didn’t do anything to distinguish itself from their other albums, especially their early albums. That’s what it tried to sound like, and it just didn’t work as well for me as I hoped. Manic, however, takes their early sound that was more or less straightforward metalcore with good hooks and injects the hard-rock sensibility that Pressure added onto it a few years ago. This album just really works for me in all the best ways. If you haven’t heard it yet, and there might be some people haven’t yet, you need to get on it. It’s a good one.

#wage war #manic #metalcore #metal #heavy metal #rock #hard-rock #fearless records #of mice & men #attack attack #memphis may fire #pierce the veil

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