Corpus Christi - A Feast For Crows

Album cover
Metalcore
Victory Records
Corpus Christi
A Feast For Crows
Corpus Christi - A Feast For Crows Review rating:
1.5
User rating:
Average: 2.5 (6 votes)

Over the past few years, a rather large amount of people have whipped metalcore with chains of vengeance. They're upset, not because the genre is conceptually doomed, but because so many bands have disgraced it withlackluster execution. As the genre strayed from its roots, the bands who domineered the style into a new direction simplified the musicianship and emphasized breakdowns. Later, some acts tried to keep their bite of metalcore pie memorable with clean vocals and melodic choruses. The perpetuation of these ideas, and the ultra-literal approach to the genre has only fueled the fire. The backlash continues, constantly intensifying as more people take part in this violent spectacle and as more people depart from anger and become outraged. So what could push these seething "haterz" into further inanity? Corpus Christi's A Feast for Crows, that's what.

Breakdown-laden songs blur together, rushing through uninspired choruses, which seem to be a breeding ground for forgettable solos to rise to the surface. These haphazard displays of technicality commit martyrdom in the name of the almighty breakdown. However, both components fail miserably, as these compositional flaws make the album perpetually boring, if not bothersome. It's easy to say that the album simply withers away in the confines of its own genre. But still, if the "so generic it hurts" philosophy doesn't make you feel a bit woozy, just a little bitter, and extremely tired then the execution of the trite, commonplace arrangements will.

The album's few samples, while arguably the best part of A Feast for Crows, carry some off-putting kind of pretense alongside them. A few relaxing melodies are found on this record, as well, but they're just as boring and pointless as the book the album's name is derived from. Also, the vocal department, handled by Jarrod Christman (awesome name) and Max O' Connell, is equally unimpressive, never straying from the sidewalk even the tiniest, tiniest bit. Still, execution isn't all that's hindering this album; concepts are completely dated and outrageously boring, too. "Windwalker," while, at first seeming like a change of pace for the album, quickly becomes a pointless interlude that would work much better as the introduction to "Broken Man." Album opener "The Red Horse Is Upon Us" has more potential than almost every other track on here - a longer time to allow its strong points to shine would have undoubtedly more interesting than the rest of this southern metalcore theatric. But instead of heartfelt, charming, or even just well-thought out or nicely executed, the album becomes a two-thumbs-down flick, hindered by safe concepts and over-simplification. The band's sophomoric release is so anti- technical it becomes more simplistic than a caveman and more tedious than Ben Stein's monotone, regardless of the attempts made on "Monuments" and the glimmer of proficiency found on "Blood in the Water." In spite of their efforts, both tracks aren't up-to-snuff; the latter of the two is jun-jun heaven, while the former's melodies come across as completely uninspired and boring. Perhaps, while the band injected their follow-up's sound with southern-flavor, they let a tedious miscreant in by mistake?

When axes aren't chugging away (which happens far too often), when they're not grinding and lurching (which doesn't happen enough), they're churning out Maylene and the Sons of Disaster-esque melodies, complete with a surplus of tepid blues-rock tinge. Raspy yells and mid-range grunts dominate the album, only resting when Christman takes a shot behind the mic. Too bad he's far too quiet for his croons to become soaring vocalizations. No, they're just as forgettable as the 2/4 and 4/4 drum patterns, the inaudible bass, and the putrescent odor of genericness, a stench which seems to suffocate any potential this album clutches to.

It's formulae they're extremely comfortable with, though. Their chug-chug riffs seem to sit well with them, as do their overwhelming clichés and uninspired solos. The vocalists seem far too lax to stand out or improve the quality of A Feast for Crows, and any potential either side brings to the table is squandered by entry-level mistakes and dated concepts. Still, Corpus Christi go about their sophomoric album with an air of arrogance. Samples, ambience, and structures are completely flawed, and their lyrics are executed in a trite, pseudo-introspective manner, leaving you to wonderwhether or not the band is just that ignorant as to how bland of a failure A Feast for Ctows is, or if they're just that nonchalant when it comes to metalcore.

1. The Red Horse Is Upon Us
2. A Portrait Of Modern Greed
3. Monuments
4. Betrayed Redemption
5. Little Miss Letyouknow
6. Windwalker
7. Broken Man
8. Blood in the Water
9. Invictus
10. (Seeing You Again) For the First Time
11. Shepherds in Sheep's Clothing

Corpus Christi, whose name has nothing to do with the Texas town and is a literal Latin translation for "The Body of Christ", is not to be confused with the black metal act Corpus Christii. Corpus Christi proudly plays Christian metal and hails from Cincinnati, OH. They are currently signed to the Victory Records artist roster and released their debut album, The Darker Shades of White, in 2009. In the summer of 2010 the band went back to the recording studio, re-tooled with 4 out of 5 new members. ... read more

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