The Chariot – Wars and Rumors of Wars Review
The Chariot are a live band. Every record since the Chariot’s inception six years ago (after Josh Scogin’s departure from Norma Jean) has been an effort in successfully capturing their famous chaotic performances. I would argue that every record has been successful at doing just that – and Wars and Rumors of Wars is no exception.
You can call it metal, noisecore, punk, hardcore, but when it comes down to it, Wars is just loud and heavy. Like past albums the band has released, songs revolve around Josh Scogin’s indescribably powerful and emotional roar. Appropriately, the very first thing you hear is Scogin’s scream (if anyone knows the first two words he screams I’ll buy you a drink) and the band even tones down the volume of the rest of the band in “Daggers” to isolate the sheer power of his voice.
It’s immediately clear that the Chariot have bumped up the heaviness and intensity, and Matt Goldman’s unparalleled abilities as a producer once again shine. The album manages not only to recreate live performances within the songs, but the transition between songs makes you feel as if you’re at one of their shows. The Chariot have little to no banter on stage, and likewise, there is no time wasted for any sappy introductions in this album.
Wars is bigger, heavier, and more intense than any previous record – and that more or less summarizes why this is their most accomplished release to date. The songs are chaotic and seemingly spontaneous in sections, but it comes off as fluid and natural, from a band that has mastered the craft of intensity like few others have. Like when labelmates Underoath released Define the Great Line , this album is likely to give the Chariot full access to the metal crowd and widen their appeal among headbangers. What’s impressive is that they haven’t lost any of the noisy, spastic elements that make the Chariot, the Chariot.
The breakdowns still have mathy rhythms and are laced with ear shattering guitar squeals and screams. The energy doesn’t get lost, except for one appropriate change of pace, an appropriately titled dark and sombre track called “Abandon,” which is quickly remedied with “Daggers.”
The lyrics as always are somewhat cryptic, but they’re easier to grasp when you understand the Christian reference, which is that men are always either fighting wars or preparing to fight one. In other words, it’s fairly appropriate subject matter for music with this kind of intensity. Without even knowing the lyrics, it’s clear that the Chariot’s sound screams with urgency that something is wrong – as opposed to metal bands the Chariot may find themselves sharing the stage with who arguably glorify war’s splendour.
With their newfound heaviness, I can’t help but wonder if this was the follow up to Bless the Martyr and Kiss the Child Norma Jean fans have been waiting seven years for. Slowly but surely, its starting to make more and more sense why in 2002, Josh Scogin chose the Chariot as his new home.
Evolve by The Chariot
Daggers by The Chariot
Tags: album, chariot, heavy, josh scogin, loud, Metal, noise, punk
