Fires fervor fights furiously

By Ray Porreca
Collegian Staff
March 29, 2006

Newark, Del.’s very own Boy Sets Fire is back and ready to rock with its new album The Misery Index; Notes From the Play Years.

Didn’t know the band was still around? Well, that’s almost understandable. After making a huge splash with 2001’s After the Eulogy, released on Victory Records, the group began to tour with the likes of Snapcase, The Bouncing Souls and others.

Boy Sets Fire soon went on from Victory to Wind-Up Records, a move which came as a shock to fans. It did not bode well for the band. The result was one album, the lackluster 2003 release Tomorrow Come Today. The album was widely viewed as a disappointment, and the band’s beliefs clashed with those of the record label. The two parted ways soon after the album’s release.

Boy Sets Fire moved on to Equal Vision Records, a label that is deeply rooted in the punk/hardcore scene and perfect for the band. The result of this union is The Misery Index.

The album features everything that BSF fans have come to expect from the band. It is a return to After the Eulogy for sure, with the band’s trademark mix of hardcore and emo, and fans will be glad to hear it.

The Misery Index opens with “Walk Astray.”

An acoustic guitar kicks in as Gray asks, “Where were you the day they stole our innocence, and arranged a sacrifice for everyone in town?” From then, on the band puts together a terrific album.

“Final Communique” and “A Far Cry” are pure hardcore songs: loud, angry and heavy.

One stand out song is “So Long… and Thanks for the Crutches,” which is an ode to Wind-Up Records. Gray spews venom at the label when he says: “Just enough freedom to forget you’re a slave. Just enough anger to make sure we get paid. Easy does it baby don’t lose your head, ‘cause we both know that ideals don’t sell.”

It is traditional BSF anger with a trombone. Yes, they use a trombone in the middle of the song, which only adds to the power of the chorus which isn’t fit for print.

While the hardcore songs are great, they don’t dominate the album as they had in the past. The band features more emo-esque songs on The Misery Index than it did on previous albums.

Songs such as “Requiem,” “Empire” and “The Misery Index” are slow and melodic. Gray’s lyrics focus more on hope for the future than anger.

The lyrics are a call to unite. Gray has never been shy about espousing his political beliefs in the past, and The Misery Index is no exception. Gray questions the government throughout the album, calling for freedom and equality. These tracks also bear a strong anti-war message.

The five-piece band also tries out something new on the album: ska-core. “Deja Coup” features ska guitar and horns, definitely something new for BSF, and it’s pulled off well.

Gray is backed by guitarists Josh Latshaw and Chad Istvan, bassist Rob Ehrenbrand and drummer Matt Krupanski. With the exception of Ehrenbrand, the band has been playing together for close to 10 years – and it shows. They write music perfectly adapted for Gray’s exceptional voice, and can clearly handle playing at a higher degree of difficulty than many of their peers.

All aspects of The Misery Index combine to make a triumphant return for Boy Sets Fire, and a record that any band would be proud to call its own.

porrecr1@lasalle.edu