In my opinion, the most UNDERRATED album ever released on Facedown Records (technically on their former imprint, Dreamt Music). When Dreams Become Reality had some firsts for the label, as well. It was the first album released that was not associated with hardcore, punk, or metal. To my knowledge, it was also the first concept album released through the label. The album is based on Joseph of the Old Testament and, you guessed it, his colorful coat. The record is a modern classic rock album with influences by the greats such as Led Zeppelin, Pink Floyd, AC/DC, etc, all wrapped into one and it works really well. Some of the prettiest, most epic songs released via the Facedown catalog can be found on this record. I suggest checking out "Alone" and "Forgotten." Various members have gone on to join other projects such as The Used and Atreyu, so they're still active in their own right, however, this is the greatest album you've never heard on Facedown Records, and if you have an open mind, I highly recommend checking it out.
Another amazing debut, Time & Eternal was one of the more unique sounding metalcore bands on the label. I'm not even sure it would be accurate to label them as metalcore. The album combined aspects of hardcore and djent into their sound, but without leaning into either of the genres more than the other. Sprinkle in some great production value, a great sense of musical melody/riffs, but hold the singing vocals, and you have a unique heavy release. It's almost as if Life In Your Way and After the Burial had a baby brother. The album is surprisingly short (just over thirty minutes), but it packs a punch, and each song lives up to the name of the band. Tracks to check out are "Approaching the Throne," "Counterfeit Kingdom," and "Beacons."
Technically released on Strike First Records (Facedown's imprint for smaller bands), A Hope For Home released what has become a beloved album by many, and it still leaves its mark today. "The Everlasting Man" has a post hardcore approach with roots in early screamo and even some post-metal elements. Though the album spawned a cult favorite track with "Iniquity: An Offering," the magic is in the latter tracks where the band takes its time developing musical story arcs, crescendos and releases, and atmospheric moments that make the listener feel pensive and lost in their thoughts. The songs on the album contain a dichotomy between the screaming vocals (which dominate most of the songs), though the melodic vocals give the listener a chance to catch their breath. Lyrically, the songs explore a myriad of themes about being a human, the struggles that plague us, and our neverending quest for answers outside the One that really matters. Overall, this is an album you listen to as a whole, though the standout tracks to me are "Absolution: Of Flight & Failure." "Masada: The Spiral Staircase" (that bridge/mid section is just PERFECT), and "Redemption: A Grief Observed."
Deathcore perfected. At the time of its release, In the Midst of Lions was the only band in the spirit filled realm that not only had the brutal breakdowns that is standard in deathcore, but they could actually keep up with the guitar-shredding aspect that many deathcore acts could not produce. This made for an ideal combo for a wide variety of listeners and offered more than many of their counterparts could. This is what drew me to the band. Add an entertaining live show to match, and you had a recipe for success. The Heart of Man, to put it very simply, is just a really good record that any fan of heavy music would enjoy because it has something for everyone that is into the heavier side of metal. My favorite tracks are "Released," "Defiance," and "Opposition."
I loved this album when it dropped, and I love it now. Djent is a hit-or-miss thing for me, but the way this Twin Cities metal act approached it was as infectious as it was heavy. Lyrically, the words are straightforward, which, given the aggressive sonic nature of these songs, is appropriate and enhances the listening experience. The band's ability to stay on certain musical sections for longer than other acts typically might, namely their breakdowns, is an added bonus and fared well for their live performances. Frankly, they were one of the best live bands not only among the Facedown family, but in the genre as well. I'd never heard them make a mistake, and they were unimaginably tight from each drum hit, string pluck, and vocal delivery, all while putting on an energetic live show. Blake's ability to get the crowd going, and to be quiet during intimate moments of their live set, was the kind of control many frontmen only wish they could achieve. The album is still monstrous, encouraging, and is a must for any fans of the label. Recently, a re-mixed version of the song "Hope Era," which initially made its appearance on this album, was released, which made the song sound that much heavier. Other key tracks are the title track, "Atonement," "Not Fallen," and "Unseen" (which has a sweet guitar solo in it).
As time goes by, sometimes we question the status quo. As we get older, we begin to question what we've been taught, and begin our journey towards the truth. I'm not strictly speaking in a spiritual sense, as it can apply toward any facet of life. But in the case of My Epic's Ultraviolet EP, it tackles the difficult questions, the loneliness we may feel as we navigate those questions, and ultimately leading to the conclusion that we're not alone in questioning and it's okay to have those questions. Musically, Ultraviolet is one of my favorite pieces ever released through the label. The concept the band came up with in terms of staying away from their heavier side of their indie/shoegaze-ish style on this EP and to lean into it on the following release called Violence served the music superbly. The band somehow managed to make this short collection of songs some of their most intense work even with the limits they placed on themselves. Every single track is amazing, but my personal favorites are the ethereal "So Be It" and the electronic-riddled "In Absentia." Sheer beauty.
Speaking of questioning the status quo, the doo doo boys in A Plea For Purging did just that. Their album Depravity was fantastic and loaded up the bases, but The Marriage of Heaven and Hell was the grand slam. The lyrics tackle the darker sides of religion, humanity, and breaking the mold of the norm. This album was ahead of its time. Prior to the big djent movement within the scene, Plea took elements from Meshuggah and other groove metal bands and gave it their own spin. The band went on to release one more record before calling it quits, but they're remembered fondly by many throughout the scene as one of the most consistent bands in the game, both live and on record. Key tracks are "And Weep," "Finite," and "Shiver."
The one that changed it all for me and made me a Facedown diehard. Admittedly, I'm not the biggest fan of hardcore music, so when this beast of a metal album dropped, I was instantly hooked. I remember the first time I heard "Collapse," the leading single off Eternal, and I was instantly a fan. The combination of shredding guitar work, catchy vocals, and punishing breakdowns was everything I could want from a band. Then when I received the physical copy of the album (I have the first pressing on purple marble vinyl) and listened to the record, it was game over. Every single song is perfect, and the album is in my top 3 War of Ages albums released. Furthermore, as you can see, it's in my top 3 that Facedown Records ever put out, too. Eternal was the bridge between their original sound and was a preview of what was to come with albums like Supreme Chaos and Void. My favorite tracks off the album are "Failure," "Eternal" (which features Sonny Sandoval of P.O.D.), and "Your Betrayal."
The album that helped guide me through the two most significant stages of questioning my beliefs and growth, Give Me Rest was the soundtrack to the conversations I would have with myself and God about faith. I won't get into too much detail about that here, but the album affirmed so much for me as I went through these two stages. From anger, desperation, confusion, and then joy, Give Me Rest leaned to it all. Hands had a different angle with their music, as it has more in common with post-metal bands such as Isis, Cult of Luna, Pelican, and If These Trees Could Talk than their peers on Facedown aside from A Hope For Home's more recent discography. Their sludgy, mid-tempo sound was their bread and butter. Many of the songs are slow burns, building and gathering tension before exploding into heavier moments, and the wait is always worth it and paid off. Aiding in the tension building would be the atmospheric, ethereal pieces within the songs. Even during some of the more fierce moments of the album, you could count on delicate textures to round out the sonic output these songs have, as heard on songs like the "2005" bridge section or "Restart" with its epic outro. Vocalist/primary songwriter Shane Ochsner's bellows and roars are immense, but his singing evens out the musical field for some intimate, vulnerable moments which is icing on this post-metal record's cake. While the whole record is very near and dear to me, for the sake of this write-up, I'll mention that the tunes you should check out are "The Helix," "I Will," and the monumental closer and title track, "Give Me Rest."
Anyone that may be reading this that happens to know me will see this as no surprise. Discovering Extol was and still feels like you have the keys to metal's best kept secret. Influencing an array of bands from The Faceless to August Burns Red, Extol is one of a kind and has always been ahead of their time. Their monumental self-titled record encompasses their entire catalog in terms of sound while combining their unique brand of prog and death metal which makes for a fresh listen, even years later. Guitarist Ole Borud (also of Facedown's Fleshkiller), vocalist Peter Espevoll, and drummer David Husvik have left a permanent mark on the metal world which was largely left void after the release of The Blueprint Dives. They mysteriously disbanded with little to no explanation and it wasn't until years later that they surfaced with a plethora of teasers of a documentary explaining their absence, history, and indicating that an album was to come. From start to finish, every song is a masterpiece and you can tell every note was crafted and perfected in their composition. Lyrically, it's far more poetic and articulate than the average band. Of the eleven tracks on the album (if we're counting the bonus track on the deluxe edition), nine of them read like praise songs (of the two that don't read that way, one is instrumental, and the other is still Biblically-centered). You read that right. This record reads like a worship album. Who would've ever thought a progressive death metal album would contain those kinds of words? Definitely not me haha. If I were to choose highlight tracks, I'd recommend "Betrayal," "Extol," and "A Gift Beyond Human Reach." If the band decided that this was their final offering, it would be a high note to end on and adds another legendary entry to their already highly-praised discography. Do yourself a favor and check this record out, especially if you're curious to hear what many modern bands have been greatly influenced by. Truly, this is one of my all-time favorite metal records, and my favorite Facedown Records release ever.
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Alexxander De Camino (Acoustic) - Single [Reach]
