I was pretty sure Strangers Only was an attempt to bury this record. It also has screaming and singing, but it’s so determine to not be Metalcore. It’s vulgar. It has Hip-Hop rhythms. It crushes most Nu Metal and finds the best way to say ‘Bullshit’. Looking at this album’s title and their name, there’s no way this can be anything other than generic Metalcore that sounds big and that’s it, right?
“A New Breed” is a really good song. It thunders and the chorus is both melodic and aggressive. It uses big words to tell the world the lead singer is going to do whatever he wants (or so I think. You can’t really make sense of it). All is generic and ordinary in Metalcore-opolis until you get to “The Truth Changes if We Both Lie”. The melody is really good. The musicianship sounds as epic as it should and there’s no screaming.
My Ticket Home aren’t really trying to make metalcore. They listened to the bands, noticed what they’re trying to achieve and aimed for that. Metalcore, with its breakdowns, serious attitude and poetic, nonsensical lyrics can be good at sounding epic and big. It may not end up as meaningful as Neon Genesis Evangelion, but it sure makes you want to rewatch it with it blasting in the background.
So the band’s aim is not to provide breakdowns and catchy hooks. It’s to provide an epic atmosphere, and they add what suits it and leave out what doesn’t. It works on “A New Breed”, but if they’ll have to only use clean vocals (“The Truth Changes”) or those atmospheric guitar lines Screamo bands like (the beginning of “Beyond”) they’ll use it.
In a way, this brings My Ticket Home closer to the overblown Post-Hardcore of A Skylit Drive and Hopesfall. They don’t go their fully. They lack the quirks and the spontaneity. These bands had big fun with the structures. My Ticket Home stick closer to the traditional thundering guitars and stadium melodies. Their softer moments sound like they took a soft from a Metalcore song and extended, which is great.
This approach makes this one of the more interesting Metalcore records around. It makes me wonder why I haven’t bothered with the genre more. It only backfires on them on the aggressive track. Aggression needs chugging riffs they can ride. They need a steady groove. After all, they exist for moshing or headbanging. “Beyond” and “Motion Sickness” aren’t sure whether they’re Pianos Become the Teeth or Parkway Drive. The band doesn’t decide. It doesn’t stick to the melodies buried under aggression of Pianos, and it doesn’t want to just slam like Parkway Drive. The result is just a lot of noise.
Melody is the dominating force here, and it always sounds like the big budget film Hollywood will never make because they’re too stupid. The lyrics can be nonsense – “How can you heal if you don’t have any scars?” but Sean sings them like they’re the culmination of a lifetime. They’re also less loyal to the structure. Most Metalcore bands keep the screaming in the verses and the singing in the chorus, but the band puts everything everywhere. It’s an approach that’s more reminiscent of Nu Metal. It’s no surprise they went there eventually.
This almost makes me wish they’d continue this path. Metalcore is rarely interesting. Either the bands lean closer to Post-Hardcore (A Skylit Drive) or they’re Trancecore (I See Stars). Anyone else tends to sound like a Nu Metal without the fun factor. Just listen to Of Mice & Men’s terrible first album. Then again, the slightly different approach hints at the brilliance in Strangers Only. Although that one is the better record, this is still worth hearing if you have a tolerance for Metalcore.
3 cures out of 5