The eighth installment from the project is no different, and brings together a fusion of melody, emotion and well oiled production to create a distinct highlight of the band’s career. The record delivers a polished sound that reflects each members individual contributions, and the end result is a smooth amalgamation of some incredibly talented musicians.
The Devil Wears Prada dropped their eight studio album via Solid State Records just a few short days ago, and if you’ve been keeping an eye on any revered publications – you’ll see it’s already causing a stir. Color Decay may not be the band’s heaviest endeavor, but there is no denying that they’ve pleased a wide demographic with the record’s release. It’s a good thing too when reflecting on the ensemble’s past releases, as a huge portion of their discography has been placed on a pedestal of critical acclaim – including the 2009 full length With Roots Above & Branches Below being rated one of the top 5 metalcore albums of all time via a poll conducted by Revolver.
Clearly designed for larger venues, Color Decay has a distinct ‘stadium rock’ touch throughout. Whilst the record’s introduction, ‘Exhibition’ has its strengths, there is no doubt in our mind that what was eventually chosen as the fourth track should have definitely been the opener. Realistically ‘Noise’ is also one of the highlights of the album in its entirety – it has everything you’d want in a The Devil Wears Prada track, in addition to that extra mile. When entering the recording process shortly following the release of Zombie II – the band took to remote locations to set to work on their latest addition, with keys player Jonathan Gering taking the reins as producer. It definitely sets minds racing as to exactly how much Jons influence has had over the end product, but regardless of measure the album has been a roaring success among fans old and new.
The first two tracks are fairly close contenders, but it’s the third stop in the tracklisting entitled ‘Watchtower’ that really picks up the pace. Big riffs, heavy drops and screams that hit home, this is a track that brings that signature TDWP flavor to the very center of its being. The entire record is emotive in its narrative, and it’s intriguing to wonder exactly what story is being told from the perspective of its lyricists. Our only real criticism however, is that by the time we reach track seven – the record still seems to be moving at the same speed. Each track is thorough in quality, but not exactly mind blowing.
Color Decay is a good album for sure, well recorded, well written and well thought out – but not the same mind bending feel good factor that comes with the bands earlier material. ‘Trapped’ takes a powerful stance on mental health and a soaring chorus that would make even The Amity Affliction slightly envious, but it’s the ninth track on the record that really brings it home. If you’re the kind of listener that likes to get slapped in the face with ‘the sad’, then skip right through to this particular number.
The ambience throughout ‘Twenty-Five’ pushes the screams onto a pedestal, and the intention within the dynamics pushes the track into its final crescendo to make this our favourite number on the album to date. ‘Cancer’ brings the album to a somber close, with the use of the acoustic element prior to its final notes adding a surprising touch. Whilst you may leave the listening experience slightly divided, one thing is for certain – This album will sound excellent in a live setting of any caliber.