Emmure, Goodbye To The Gallows

Teenaged-boy angst is nothing new; heck, it’s been sung about for as long as there’ve been instruments, I’m sure. With Goodbye To The Gallows, though, it sure feels like Emmure’s put somewhat of a new spin on the idea. For one thing, I’m pretty sure I’ve never heard songs of bitter recrimination and youthful agony done in sludgy, deep-as-the-sea doom metal. Jesus, what the hell do these guys tune down to, drop-A? Opening track “A Ticket For The Paralyzer” kicks the door down with crushing, distorted bass tones that make me feel like my freaking chest is vibrating (even when I’m listening on headphones), and just when I think it’s as bottom-heavy and snarling as it can get, they throw in a bit where it sounds like they’re detuning while they’re recording.

The rest of Goodbye generally follows the same track, thick, doom-laden, grindingly bassy metal with vocals that swing from “straight” sing/yelling (singer Frankie actually sounds like The Paper Chase’s Jon Congleton at times) to Cookie Monster roaring to screamo shrieking. Tracks like “10 Signs You Should Leave” and “You Got a Henna Tattoo That Said Forever” trudge along like a tyrannosaurus rex, destroying everything in their path. Emmure’s not into the solo noodling, either, but simply want to stomp you with primordial metal fury.

There are little twinges of industrial noise here, too, which adds a nice bit of color to the proceedings (I keep thinking of a dark, deep blue when I hear this disc; take that for what it’s worth). “When Keeping It Real Goes Wrong,” in particular, features kick-drums that come off like a robotic heartbeat thwacking along beneath the sludge. Then there’s also the eerie instrumental “Travis Bickle,” which is a murky bit of illbient atmosphere with weird footsteps/breathing and dark synths. (And no, I’ve got no idea what the Taxi Driver connection is.) And, naturally, what would teen angst be without at least a teeny bit of melody? For that you get “Rusted Over Wet Dreams” and “Sleeping Princess In Devil’s Castle,” both of which are somewhat akin to Killswitch Engage at points.

The melody can’t disguise the angry, tortured confusion of the lyrics, though (not that they’re real comprehensible when you’re not reading ’em). I’m not absolutely positive, but I think Goodbye To The Gallows is basically a concept album of sorts that traces the downward spiral of a kid whose love life’s fallen to pieces — loses the girl, doesn’t want the girl anyway, hates the girl, misses the girl, life sucks, wants to die, wants to get back at everyone around him, yadda, yadda. Ever feel/felt that way yourself? Uh-huh. Just make sure you don’t end up like the narrator of the album eventually does (not to give it all away, but the album title’s a bit literal, if you get my meaning).