BTBAM gets colorful

By Eric Jaen
Collegian Editor
October 3, 2007

Classifying any band under the genre of “metalcore” or “death metal” can be an immediate turn-off for many people. Tuned-down guitars, throaty ghoul-like vocals and sheer unadulterated chaos come to mind as listeners quickly find themselves cleaning out their ear canals. However, Raleigh, N.C.’s Between the Buried and Me deliver an interesting twist to the style that even the least ardent metal fans can tap their lukewarm feet to. Along with the aforementioned elements, prog, jazz and classic rock are more than likely to appear somewhere on a record.

Despite several line-up changes over the years, Between the Buried and Me still managed to put itself on the map of modern day American metal. In 2005, the band discovered its niche with the groundbreaking opus Alaska, and introduced itself to even wider audiences with The Anatomy of…, which included renditions of classics by artists ranging from Metallica to Counting Crows. Now, more than two years after Alaska’s release, the quintet is poised to continue its evolution with its newest effort for Victory Records, Colors.

The album opens with a somber piano number, entitled “Foam Born (A) The Backtrack,” which features vocalist/keyboardist Tommy Rogers in full clean vocal mode, only to send listeners plunging back into a grotesque off-time guitar onslaught with “(B) The Decade of Statues.” As per usual, the percussion delivered by Blake Richardson is phenomenal, ranging from tribal drums (“Informal Gluttony”) to Gatling gun blast beats, analogous to the sound of nuts and bolts being thrown in a blender, as heard in numerous tracks including, “Sun of Nothing.”

Both “Sun of Nothing” and its successor, “Ants of the Sky,” are must-hear tracks for any music fan. They best exemplify Between the Buried and Me’s knack for birthing complex, textured music that shifts moods quite frequently, yet stays consistent and feels organic nonetheless.

The transitions throughout Colors are unpredictable, as six minutes of traditional death metal easily becomes another seven of free jazz, Radiohead-like alternative rock, Mr. Bungle breakdowns, a dabble in country, and even accordion-laced polka (“Prequel to the Sequel”) before guitarists Paul Waggoner and Dustie Waring decide to shred the gnar once again.

Alaska was quite a delectable treat, but unfortunately Colors makes it sound like standard songwriting. The album is epic, powerful and explores new grounds in metal without being considered too “weird,” despite the band describing it as “new wave polka grunge.” Clocking in at 64 minutes, Colors is an album that needs to be heard straight through in order to appreciate the beauty and effort put into it. With consistent solid releases that seem to get better each time, it’s exciting to imagine all the possible tricks Between the Buried and Me have up its musical sleeves for future records. Perhaps these guys will try their hands at creating Bossa Nova-core? One can only hope.

jaene1@lasalle.edu