The Current guys of Thousand Foot Krutch:
Trevor McNevan-Vocals
Jamie Aplin-Guitar
Joel Bruyere-Bass
Steve Augustine-Drums

The first song that I heard, and the one that was pre-released for download on the bands sites is “Absolute”. The opening guitar line goes by quickly despite it’s almost coffeehouse jazzy intentional feel, but that creates a perfect distraction, as soon Trevor McNevan’s whipser and lull the listener into a safe haven of softness while the relaxed guitar equally tricks the listener into the safety of security from harsher things. Until the chorus that is, where Trevor gets all aggresive, ranting against an undefined group who refuses to give them the absolute truth. During the chorus Trevor comes as close to a scream as you’ll probably ever find him. For some reason he only shouts and never lets that pent up aggresion that is often show through the lyrics out in an authentic style. And speaking of the lyrics, they’ve matured alot since we’ve last met with Trevor and the gang, unfortunately on this track they’re a little too clearly sung out and they’re ridicolous simplicity shows through pretty starkly (Think almost a simplier version, if you can, of Linkin Park’s lyrics, without being so relatable). But I have to say that I enjoy this song, probably the most enjoyable and fun track on here without being completely braindead. In contrast the abrasive rocker “Hand Grenade” is most noteably recognizable to a previous work of theirs,“Rawkfist” off their previous release, “Phenomenon”. It starts out innocent enough, with a recognizable collision of instruments, but then Trevor’s vocals come into play, in this case a tired, bored delivery against a suddenly un-trendy use of Jamie Aplin’s guitar. The booming intro music returns with a vengeance in the chorus, where Trevor’s voice is too high and the lyrics are, most probably, intentionally retarded. (Anyone remember a certain line from “Set it Off”? “It’s the Krutch brotha’s gettin’ mad retarted”). “Watch me get wicked and drop like a hand grenade” comes Trevors higher vocal portrayal behind a screaming solo guitar that fits the mood well, but since the listener is never really comfortable in that position anyway it isn’t the thrill ride it should be.

But everything on here isn’t as reckless as some of its brothers by collection. A smart display of that is “Slow Bleed”. It immeditaly opens up with a bumpy route of guitar and drumming. Trevor’s lyrical ability here isn’t as faltered and is well used to a point, before you let them sink in as Trevor’s insecurity leads him to ask “If I don’t turn out perfect will you be a friend of mine?” During the bridge Trevor resorts to some more high pitched notes, though this time it is more noteably controlled and properly used. In the end, it helps mantain the strong opening trio of songs that keep this record’s head above the water that it will eventually fall down into. The title track, is overall a good barometer of the growth in style in between the previous record and this one. The whole song has a mature composure about it, which in turn gives off a fairly good vibe off before the song has to work hard to impress you. Steve Augustine’s drumming is the strong backbone for the mounting wall of sound, with pure momentum used as an adhesive to keep evem the most weak parts from falling away from the rest. Everything, save the bass, is artfully played even if the guitar could have used a different timing pattern to go a little from the norm, but it stays in place instead of risking to take everything else out of sync, which works just well enough.

I’m not really a huge fan of “Stranger”, a tricky play on the instruments and Trevor’s all too familiar pleading vocals don’t work too well with me. It all meshes together at times, with little to set the verses apart from the chorus, which doesn’t say much for the whole song. The bridge is nice, if not a little predictable and not so impacting. Trevor’s shouts of “It’s so hard ’cause I’m a loser / Heaven help me feel O.K.” roll off you, and at times it’s hard to make out exactly what he is saying but that helps the conception of Trevor’s lyrics of being a stranger and no one understanding him, or maybe it’s just poor production/vocals and I’m looking too deep into it. “Move” is highly akin to another previous TFK song,“Bounce”. Like that song, it’s got a tantalizing entrance with a single sharply played lone note guitar and then breaks out into heavier, more complex riffs. The lyrical theme of “Bounce” was self described by the title, and the same is pretty much done here. During the verses, where demanding drumming prowess along with the semi-twisted ironic guitar looming in the background eventually give way to the, the song seems to have a higher purpose, but when the chorus breaks out you just realize it’s just another rock out song, for the purpose of rocking out but for the exception of some one line truths to be found in the dig into the lyrics.

Continueing with simple one-syllable titles is “Go”. But don’t be decieved by the song titles lack of imagination as just another excuse for a party track. But on the same hand don’t expect an emotion laden rock gift. From the opening guitar riff, and the crashing of the drum sticks on the cymbals you almost know that this is going to be a cheesy song. The songs lyrical agenda is Trevor praising his girlfriend (I assume so anyway) with lines like “I love the way you dress / The way you’re so mysterious / We’ll have to stay in line to let you know we’re serious”. Er, okay it works just barely because of Trevor’s slightly infatuatied feelings through his voice, but the chorus interrupts the slim good thing and the riffs that fly into the verses from the mundane chorus is what kills the song in its baby steps toward sincerity. For completely new fans to TFK the album’s closer, “Breathe You In”, will most likely be taken as a stripped down light rocker that has christian pop radio written all over it. But for those who have given a listen to “Set it Off”, they may make a connection to a couple songs on there. For those familiar with it, consider this song a clean cut hybrid of “Small Town” and “Lift it”. Overall, that’s not a problem with both songs above average, especially the latter as soft worship tinged ballad. The only problem with the finishing touch on the album is that it is a little too similar in style and structure, at times acting like just re-done versions with different lyrics. But there is no denying it’s emotion, and thw whole open hearted approach as Trevors vocals are more deep throated and rougher, which adds a nice desperate glow to it all. The guitars cuts are light, as the drumming is noticeable for the force it pushes the song along with. It’s for all intents and purposes a worshipful song, as the lyrics alternate being directed to God in praise to Trevor having a small informal conversation with him about problems: “The laughingstock I’ll never be / Because I won’t let them take me”. Overall, it’s quite pogaint and problem free.