Search - Norma Jean :: Redeemer

"Let's Break Out The Shotguns, We're Going To Town." [4.5 St

LeftManOut | TheCityThatNeverSleeps, FL | 09/12/2006

(4 out of 5 stars)

"Disturbing cover art? Yep. Song titles that have little or nothing to do with the songs themselves? You got it. Manically driven, chaotic music? Of course. All signs point to a new offering from southern starlets Norma Jean. After 2005's "O God The Aftermath" it seems the band wasted little time in writing and recording their explosive follow up. Enlisting the help of heralded producer Ross Robinson (At The Drive In, Glassjaw, Blood Brothers) to turn the knobs in the studio, "Redeemer" was promised to be one of 2006's most anticipated and interesting listens. And the question that it comes down to is, is it worth the hype? Well to that, I would have to answer most definitely. Following their typical musical direction, Norma Jean have crafted a record which sounds nothing like their previous efforts. That's what is most gratifying about the release. Those looking for a "Bless The Martyr..." pt 2 or a continuation of anything the band had previously been doing need not apply. "Redeemer" is a beast all its own.



While the musical style on "Redeemer" might lean a little more towards "O God, The Aftermath" than "Bless The Martyr...", it really is vastly different from either of the two releases. Where as OGTA sought to take monstrous sound of BTMKTC a bit further, "Redeemer" does a nice job of molding the chaos and competency. Most songs incorporate vast ranges of sonic dissonance, and yet small does of legibility which make a lot of the tracks sound more complete than OGTA. Take "A Grand Scene For A Color Film", the explosive album opener, for example. It starts off in typical tumultuous fashion, but throughout seems to slip into slight bits of coherence. This is the pattern with many song found on the album. But don't worry, most tracks are still overly crushing.



A big plus is that Corey sounds miles better than he did on the last record. The one main problem I had with OGTA was that his vocals were so monotonous and often indecipherable. This has been fully addressed on "Redeemer." Not only does Corey show off some nice range (a wide variety of screams, some subtle rough melody), but you can actually understand a lot of what he's saying! His screams are fierce and rough and sound perfectly in sync with the frantic atmosphere the rest of the band creates. He also manages to slip in a few nice moments of melody, although I'd hardly qualify it as "emo-singing" or selling out. Those familiar with songs like "Bayonnetwork" from the last record should have a general idea of what I'm talking about. And it works well. Very well as seen on tracks like "Blueprints For Future Homes" and "Songs Sound Much Sadder."



As for the rest of the band, they're still keeping up the intensity. Chris and Scottie continue to create discordantly crashing guitar riffs that are crushing, disorderly and catchy all at the same time. There's plenty of moments that recall the vintage fury of "Bless The Martyr..." and "O God, The Aftermath," but plenty that break new ground as well. Danny is still a force to be reckoned with on the drum set, although his patterns are much more focused on groove this time it seems. He does have a few impressive sections though. Jake doesn't see many points to shine on the low end, but in a few selected moments he adds a lot of depth and edge to a song.



I can always appreciate a band which is constantly willing to push themselves to the limit and try new things, and that's exactly what Norma Jean delivers with every record they put out. Is it their best record? Well that of course depends on your own perspective. I'll say it doesn't out do Martyr, but it might be ahead of O God. If you were able to stay with the band after the last release, then you won't have any problem diving right into this record. No one screams beautiful chaos quite like Norma Jean (except maybe Converge), and with "Redeemer" they continue to prove why."

Reedemer is Reedemed

S. Alix | NYC | 09/14/2006

(4 out of 5 stars)

"I have to be honest while I really enjoy this genre of music I find that too many of its bands get stuck sounding the same on every record and every song ends up being the same heavy guitar riff coupled with the inaudible screaming. So when Norma Jean surprised me with another record only one year after thier awesome sophomore record, O God The Aftermath, I was very skeptical and yet I wanted them to prove me wrong.



I really have to say they did prove me wrong. The screaming is varied. The song structures are alot more creative this time around and they do a good job of really making each song stand out on its own. While many of the riffs may sound a little familiar by the end of the song you will see how they managed to break the mold and truly give their fans a record worth owning.



The vocals are actually understandable at times which was something I really missed from the "Bless the Martyr" days. Usually I am wary of a band that releases another record so soon after the last but it doesn't sound rushed at all. The art work is cool but alot more subtle then on the last record. This record is a beast and should be in any fans CD collection.



Props to these southern maniacs for once again proving that all of the hype for this band is justified."

Yes folks, the south is on fire

V. Montoya | Fontana, CA | 09/20/2006

(4 out of 5 stars)

"Call it a new-found sense of direction, call it "selling out", call it another step towards world domination, call it the end of hardcore/metalcore, call it what you will, but in the end, Norma Jean's latest record (their 3rd, and 2nd in just over a year) still kicks, but, with a melodic twist. Some of you who liked "O God the Aftermath" will like this record, but for those who swear by "Bless the Martyr and Kiss the Child", it may be a little tougher to swallow, because there are good portions of melody within the chaotic confines of Redeemer that may not appeal to the diehards. Some of those diehards have already heard the album and cried "sellout!". Believe me, I was one of them.





The first song I heard from the album was "Blueprints for Future Homes" off of Norma Jean's Myspace page. Yes I listened to it when it was streamed after midnight sometime in late July. I heard it, listened to it, again and again...and it wasn't a slam dunk to me. I knew it was a change, but...I was worried that the guys were gonna go soft, and I was especially worried that the fellows from the Jean, for some of the punishing songs that they've done before, would commit a whole album to this kind of melody. However, when "The End of All Things Will Be Televised" was released later on via Myspace, I was quickly vindicated. Yes, a heavy song, tempo changes, and somehow they made melody work within this song...yes! I then heard "A Small Spark vs. a Great Forest"...another winner, a bit more melodic than "The End..." but it showed me that these guys somehow pulled melody and menace together quite wonderfully.





Then I went and bought the album at Best Buy for just over 8 bucks two days after it came out. This album, for the most part, delivered what was promised by the songs that came out before the release. The guitars may not be as heavy as the previous two albums, but they still can explode out of your car speakers, plus the feedback from the guitars lend a deliciously noisy effect, but at the same time, can be melodic when needed to, especially in songs such as "Songs Sound Much Sadder". The bass still kicks throughout, even if it doesn't stand out as much. The drums hammer out plenty of grooves, even if they don't pummel as much as "Bless the Martyr..." The real standout is Cory's vocals. I can finally hear what the hell he's saying in his screams now. Not only does he hit those high screams, but he gives a couple of good low bellows that shocked the hell out of me when I heard them. Lastly, he pulls off more clean singing that demonstrate that Cory isn't all "yell yell yell".





That doesn't mean the record is perfect. I'm still trying to figure out why the drums don't sound as good here as before. I know Daniel (the drummer) isn't pummeling as hard as before, but at least give the drums a better sound, one that doesn't sound as choked. Also, a couple of the songs could have stood out a LITTTLE more. Plus, track 4 "A Temperamental Widower" does seem like filler that is just occupying space between the awesomeness of the tracks that sandwhich it. One more thing: no epic song. WTF? and the album is the shortest NJ album, but still, 41 minutes is better than no minutes, right? Here's my review for each song:



A Grand Scene for a Color Film - a good opener to start the album off. Usually NJ doesn't disappoint in opening up an album with a kickass first song. This song does a pretty good job with the screaming. I also love the "Let's break out the shotguns, we're going to town" refrain.



Blueprints for Future Homes - more melodic than usual. This one will puzzle the diehards, and I was a little perplexed too. But, I'm growing on this song. Plus Cory's scream is still here.



A Small Spark vs. a Great Forest - a blending of sing-song harmonies and screaming dissonance. One of my favorites on the album. Plus, the intro is awesome.



A Temperamental Widower - not a favorite. A bit punk rock like, but really just seems like filler. I'll still listen to it because of Cory's screams, and the next song it leads into...



The End of All Things Will Be Televised - the best song on the album. Bar none. This is a new classic. Like I said before, tempo changes, dissonance, melody (not much here), screaming. Also the "epic" song of the album by default, at only 5:11...for shame NJ. Well, at least it's the longest because it is the best. Plus, the chant "Tonight the South is on Fire!"...everybody's gonna repeat that. Definitely a future concert favorite.



Songs Sound Much Sadder - a shorter song with definite melody during the...yes...chorus (what? they have choruses in their songs? Yes) I like the singing amidst the screaming. Doesn't hurt to have one of the guys from Underoath help write this song.



The Longest Lasting Statement - Ironic title because it's the shortest song on here. But, it's one of the heaviest. Definitely one that could have been an outtake from Bless the Martyr. Tool-like feedback? Check. Punk rock mid-section? Check. Bellowing from the gut? Check. Love the end when Cory goes from midrange scream to low end bellow. Awesome.



Amnesty Please - a bit like the last one, but with a constant rhythm. Guitar riffs are heavy, which is good.



Like Swimming Circles - not a bad song, but the "don't you dare insinuate me" refrain isn't quite as fist pumping as "Tonight the South is on fire!". Plus, it seems as though this song and the last one almost sound

like one long song.



Cemetary Like a Stage - stands out a little more, but mostly because it's more brooding, and darker, especially when during the section where only the bass is played and Cory starts intoning the lyrics about death (he says the song is about his father's death).



No Passenger, No Parasite - this is the slow-down song of the album. But, here, it works well because it's the last song (track 7 off of Bless the Martyr didn't work quite as well), and very few lyrics to this, surprisingly for a nearly 5 minute song. Slow, droning, and almost dream like, this song ends the album on a somewhat melancholic note (even if the last minute is mostly guitar and screaming).



Verdict: a good album, definitely worth the 8 bucks. So get it. It's worth it."