Feedback summons the squealing demons that the Chariot exorcises in this 27-minute assault. Although the squeals in the first song are questionable, they are used musically, in the vein of the ever-tasteful Converge. They constantly indulge in finger work and have breakdowns that are noticeably more clever than most. They've got the same fuck you attitude and terrible off-key sing-screams that made Every Time I Die famous. The vocals range from shrill squeals to tough barks in addition to the previously mentioned screams. The dynamics definitely create a feverish atmosphere throughout the record. "And Then, Came Then" demonstrates their active advances, beginning with a low, crawling intro into heavy duty mosh, followed by epic keyboards. They use Botch rock riffs to make for some extremely crushing cacophony, manipulating tension and intensity with gut dropping hangs, matching up-tempo chaos with slow, punishing stabs. A charming banjo sample and unexpected epic keyboards are just two of the sonic eccentricities used to lighten things up. It's got a lovable dance groove and madness to contemplate two important characteristics of a quality recording.
(Solid State)The Chariot
Everything is Alive, Everything is Breathing, Nothing is Dead, and Nothing is Bleeding
BY Jill MikkelsonPublished Jan 1, 2006
