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Every Time I Die – Ex Lives Album Cover
Author's Rating
Vocals 8.5
Musicianship 9
Lyrics 9
Production 9.5
Creativity 8.25
Lasting Value 9.75
Reviewer Tilt 7.75
Final Verdict: 88%
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Every Time I Die – Ex Lives

Reviewed by: JordanKTM (02/28/12)
Every Time I Die - Ex Lives
Release Date: March 6, 2012
Record Label: Epitaph


Every Time I Die are back and better than ever with a follow to their 2009 record, New Junk Aesthetic. The following a track by track review.

"Underwater Bimbo’s from Outer Space" is obviously intense as fuck. It sounds like Hot Damn came back from the dead wearing New Junk Aesthetic’s skin. Lots of levels; guitar lines and backing vocals that go unnoticed the first 30 times. Such depth and power; the perfect opening track that is going to make crowds go more insane than you comprehend.

"Holy Dilemma" is a break-neck display of Ryan Leger’s talent. Although reminiscent of earlier, angrier ETID efforts this track is totally new and by far the fastest intro they have ever made. It’s gone before it even begins though.

"A Wild, Shameless Plain" is Dilemma’s chunkier, slower older brother. It’s hanging discordant is reminiscent of "Roman Holiday".

"Typical Miracle" displays the well thought-out riffing much like Bimbo’s. An instant classic which, along fits in with the feeling of Ex-Lives with it’s non-stop barrage of vocals however it doesn’t feel a million miles away from New Junk Aesthetic.

"I Suck (Blood)" features those more down-played clean vocals and switches from relentless speed and smooth grooves, like Gutter Phenomenon ramped up.

"Partying is Such Sweet Sorrow" starts off sounding like the (I mean the biggest, since a lot of ETID has that party swag) party song. The banjo at the beginning totally caught me by surprise. If I Suck was Gutter’s successor, this track feels like Big Dirty vocals over a sped-up Hot Damn song. Keith’s full power and range is on display here and the twisted song-writing builds up and up as the album progresses, especially the disturbing note it ends on.

"The Low Road Has No Exits" smashes through the wall and grabs you by the throat once again. This album is like being forced to headbutt a table covered in thumb tacks over and over again. And then when you wake up you’re in the Twilight Zone.

"Revival Mode" takes the album in a totally different direction all of a sudden. This track is somehow the immediate favorite and it takes a few listens to “get”. It’s like ETID do The Damned Things, better. As always, crescendoing until breaking point.

"Drag King" is a riff-happy heavy swagger through ETID’s history. Another immediate stand-out track among the beautiful headache that is the album. Culminates in a beautiful moment that everyone will be quoting/singing along as a small choir of vocals hides underneath the pounding.

"Touch Yourself" is a punch in the gut. The second half of the album sounds like the band saying “remember when we sounded like this? This is what it would be like if we made those records now”. It’s not old but it’s not uncharacteristic.

"Indian Giver" slows down to a melodic pulse which is something ETID has never really done; although still with the trademark Ex-Lives darkness. A very different, haunting track that leaves you feeling abandoned and wanting more.

Overall, the best tracks are all of them. Dark, angry, venomous, and awesome.
 
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