Music

Memphis May Fire: Unconditional

Despite a tighter focus and compelling theme of faith, Memphis May Fire still wallows in the mediocrity of the faux-hardcore.


Memphis May Fire

Unconditional

Label: Rise
US Release Date: 2014-03-25
UK Release Date: 2014-03-31
Label website
Artist website
Amazon
iTunes

If there was any question that Memphis May Fire isn't a Christian band, there won't be any longer. Their latest release Unconditional is, top to bottom, crust to core, a Christian record. As recently as last year, the band has acknowledged a Christian faith in at least some of their members, and that it has influenced their songwriting, but denied the Christian moniker. There'll be no denying it anymore.

And you know what? Awesome. It's only natural for a deeply-held belief to manifest itself in your art. The band has a right to make this shift.

Unfortunately, that's the only shift the band has made. Their sound is still middling somewhere between the pure metalcore and the pop-punk/post-hardcore hybrids that clearly influence their sound. Songs are samey and the record lacks variation. Lyrically, the band has sharpened their focus, but the sonic palate at work here doesn't make any sense.

The first five tracks are all interchangeable faux-metalcore tunes. There's almost nothing remarkable about their structure, melody, instrumentation or arrangement. You've got the medium-loud verses set apart by a full-volume chorus, which begins with a momentary pause, augmented by guitar feedback or glitchy, digitized effects that are there to tell the listener, "Here comes the drop, it's gonna be big, get ready!" But it's an overused trope of the genre, and doesn't count as actual dynamics. There were few noticeable breakdowns and I can say for the first time I wanted more of them on a metalcore record.

Musically, the bright spots are the ballads. "Speechless" and "Need to Be" feature electric piano and trance-like beats, with mellow singing from the very capable Matty Mullins. His voice shines when Memphis May Fire takes things down a notch. More of these refreshing respites wouldn't go amiss.

The rest of the record is exhausting -- and confusing.

Consider the opener "No Ordinary Love". The song's message is of redemption and unconditional love -- from which we presumably get the album's title. The chorus here is sung from the perspective of Christ, who provides the clean vocals against the aggressive metal screams of a struggling Christian, who yells "I've just failed so many times / Is there any way that I could make it right?"

It's a warm, picturesque lyric, and an effective visualization of how the Christian God pursues his children.

Two tracks later on "Sleepless Nights", bleak, despairing lyrics are delivered against the same backdrop: "I stare deep down into the eyes of my nightmares / As they come to life."

"The Answer" follows directly after, a track praising God for rescuing the powerless from sin: "Now I see it's not about the things I've done / But what you've done in me."

"No Ordinary Love" sets up this genius framework for hardcore music to express the darkness and struggles of the Christian life. The screams are the doubts, the human nature rebelling against truth. The cleans are the voice of reason, or even the voice of God himself, calling after his troubled child. Memphis May Fire tells a beautiful story on track one, only to break its rules on tracks two through five. It's a mess. There are cleanly-sung vocals about desperation, loneliness and fear, and then there are screams and wails of joy and gladness. The record is inconsistent with itself, and lacks fittingness.

The only other time things seem to fit is on the record's best track, "Pharisees". It might be Unconditional's heaviest moment when the band thunderously, percussively bolsters the lyric, which cries "Hypocrite!" at those who spread hate in the name of God. The behavior of these modern-day pharisees infuriates many, and this song is massively cathartic.

A couple oddball tracks -- "Beneath the Skin" and "The Rose" -- are worth addressing as well.

"Beneath the Skin" sets out to be an edgy tune for the Christian set, reminding us that there are those in plain sight marginalized by the trivialization of our culture. Unfortunately, it's marred by cliche; a girl cuts herself because she can't live up to society's impossible standards of beauty: "Is our generation too blind to see / True beauty lies beneath the skin? So ignorant!" The sentiment has been delivered a hundred times before, and better.

"The Rose" is even more confusing. A follow-up in essence to "Prove me Right" off of Challenger, this song rails against the music industry at large, criticizing those who forgot or underestimated the otherwise-humble Memphis May Fire: "Now I won't take all the credit / But you sure don't deserve an ounce."

It's the only song on Unconditional ostensibly not about Christianity, and it's a self-aggrandizing tirade that would be unpleasant on its own, let alone how awkward it feels followed up by a song that asks “How can I need more when I’ve already won?” How indeed.

There is a place in this world for hardcore music. There's a place in this world for Christian music. There's no reason why hardcore music can't also be Christian music. Unfortunately, Memphis May Fire didn't find the right way to bring those two worlds together.

4

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

Keep reading... Show less

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

This week on our games podcast, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

This week, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

Keep reading... Show less

Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

Keep reading... Show less
3

Gabin's Maigret lets everyone else emote, sometimes hysterically, until he vents his own anger in the final revelations.

France's most celebrated home-grown detective character is Georges Simenon's Inspector Jules Maigret, an aging Paris homicide detective who, phlegmatically and unflappably, tracks down murderers to their lairs at the center of the human heart. He's invariably icon-ified as a shadowy figure smoking an eternal pipe, less fancy than Sherlock Holmes' curvy calabash but getting the job done in its laconic, unpretentious, middle-class manner.

Keep reading... Show less
5
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image