REVIEW- Sirens by It Dies Today

                                       

ALBUM: SIRENS

BAND: IT DIES TODAY

RELEASE DATE: OCTOBER 17, 2006

Hey everyone! It's me again, because just as much as you hate seeing my name, I ENJOY YOUR SUFFERING.

Totally joking. ANYWHO, since it's 2016 and most of my favorite records came out ten years ago, I wanted to review the album that guided me in the way of the mosh.  I'm talking about the one, the only, the almighty Sirens, from Buffalo, NY's own emo version of Bury Your Dead, better known as It Dies Today.

For those of you who were around the ages of 12 to 16 in 2006, you know what I mean.  From the very first melodic riff of "A Constant Reminder", It Dies Today shows us that they haven't forgotten their roots, but are more than content with making the album leaps and bounds more melodic than its 2004 predecessor, the Caitiff Choir.  Furthermore, the album seems to depart from the single concept theme of Choir, while still feeling like a continuation.  For example, the title track actually begins with the closing riff of the last song on Choir (called "The Caitiff Choir: Defeatism"), seemingly continuing the narrative of mythical romance and desperation, while acknowledging the episodic feel of Sirens, including references such as lyrics talking about "these timeless fables". 

Made up of vocalist Nicholas Brooks, guitarists Chris Cappelli and Mike Hatalak, bassist Steve Lemke, and drummer Nick Mirusso, It Dies Today proved to us with this album that heaviness and emotion are not mutually exclusive.  Throughout the twelve tracks of Sirens, the band soars high over their peers with melodies straight out of In Flames' best work, breakdowns so southern you can taste the sweet tea, and choruses so damn catchy you'd swear a mosquito bit you and infected you with song. Perfect examples of this are songs like "Reignite the Fires", "Sacred Heart", and my personal favorite off of the album, opener "A Constant Reminder".  Songs like these are where the band's songwriting is at its strongest, and Cappelli and Hatalak weave in and out of each other, swapping shredding leads with beefy, downright dirty rhythm.  Unlike their previous efforts, the two indulge much more frequently in solos, some of which sound like Lynyrd Skynyrd themselves wrote them.  

Songs like "Sixth of June" and "Black Bile, White Lies" are guaranteed to make you break out your air guitars. 

Furthermore, Lemke and Mirusso have defined what melodic metalcore rhythm sections should be- they work perfectly in sync while having enough technical prowess to often have "duels" themselves. They weave in and out, pairing bombastic Arena Rock drums with riffy, low tuned beatdown bass lines, melding the two into their signature brand of metalcore. They especially shine in "Sacred Heart".

But what is a band without a singer? If the band is a book, then Nicholas Brooks is by and large the perfect author, pouring his blackened and torn heart on every page, every syllable more gut wrenching than the last. Throughout the entirety of the album's nearly forty minute run time, Brooks screams, bellows, and belts his way through the listener's ears, telling tale after heartbreaking tale of loves lost,chances never taken, and near suicidal depression, all while retaining a snarky, bitter first-person persona.  Whether it be the title track, where he pens "The Fates have spun the noose it seems, please Sirens, set me free" (which is a reference to Greek mythology, so IDT get major cool points for that), or his romantic, open-hearted love note to Ailenn Wuornos, titled "Sixth of June", Brooks lets loose with his full range, hitting notes that will pierce your heart and leave you broken, begging for more.  However, let it not be said that Brooks is a one-trick pony.  For every tearfully sung line of love lost, there is a deep, bellowing scream to drive home the pain of heartache.  Songs like "Through Trees, Over Bridges" and "the Bacchanal Affair" see him scream and shout his way through his anger, building the listener's rage at exactly whoever it is that left them all alone, to mend their broken hearts.

It Dies Today defined the genre with the Caitiff Choir, but with Sirens, they perfected it.  Melodic Metalcore was full of copy cats and clones, and It Dies Today were one of the chosen saviors.  If you haven't listened to this record and feel like having a nice cry, well, You know what to do,

RATING:Five out of Five Hot Topic belts

FFO: Killswitch Engage, Bury Your Dead, As I Lay Dying