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Track List
01) Dragging the Lake
02) Clear for Takeoff
03) Shall I Pay Them for You
04) All in Favor
05) Shadowcasting
06) Foot Slumber
07) God as the Architect
08) I Reserve the Right to Scream Bloody Murder
09) Match Made in Heaven
10) Believing in Ghosts
01) Dragging the Lake
02) Clear for Takeoff
03) Shall I Pay Them for You
04) All in Favor
05) Shadowcasting
06) Foot Slumber
07) God as the Architect
08) I Reserve the Right to Scream Bloody Murder
09) Match Made in Heaven
10) Believing in Ghosts
5:38
5:22
5:45
5:28
4:55
5:13
5:10
4:41
7:12
3:47
Data Complete
30%
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30%Total Rating
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Album Description
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The human scream is perhaps the most harrowing sound ever recorded. A good caterwauling howl will always display the pureness of pain, suffering and anguish with more lucidity than words can ever describe.
On Deadly Departed’s new album, Believing in Ghosts, singer Mike Mallamo showcases one of the sickest screams ever committed to tape. Yet it can only be heard in three of the album’s songs, a shame for such a talented wail. It’s an oddly sensual scream, rising up from the mounting tension of the band’s ethereal, glow-in-the-dark spookiness.
These dark dudes (ex-Inside, Tension, Scarab, and Helen of Troy) have definitely gloomed things up since their emo-pop for dummies debut, The Remains of Marianne Mayweather. The new album is deeper and darker for sure, but it still has a bit of a Betty Crocker taste to it. No competition for the Iron Chef as of yet.
The album opens with the schitzo “Dragging the Lake,” proves that frailty can hide fury, as the song rises from trickling ambiance to burbling adrenaline. “Shall I Play Them for You?” (perhaps their strongest song) provides the perfect combination of guttural vocals and baleful guitars as a backdrop for lyrics that conjure images of some hell-cursed angel (“allow your wings to settle down”). A graceful instrumental track, “God as the Architect,” approximates the pearly smooth sonority mastered by bands like Godspeed! You Black Emperor. But only on “Match Made in Heaven,” their most anomalous self-portrayal, does the band achieve the fullness of flesh missing from the rest of the album. It seems to come in bursts, like gushing wounds.
While the other songs on Believing in Ghosts muddy each other with similarities, its breaches in recipe are worth listening for. The album’s moments certainly deserve an honorable mention, but, like any good cook will tell you, it’s the little experiments and deviations that eventually land you the Blue Ribbon.
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Available in:
The human scream is perhaps the most harrowing sound ever recorded. A good caterwauling howl will always display the pureness of pain, suffering and anguish with more lucidity than words can ever describe.
On Deadly Departed’s new album, Believing in Ghosts, singer Mike Mallamo showcases one of the sickest screams ever committed to tape. Yet it can only be heard in three of the album’s songs, a shame for such a talented wail. It’s an oddly sensual scream, rising up from the mounting tension of the band’s ethereal, glow-in-the-dark spookiness.
These dark dudes (ex-Inside, Tension, Scarab, and Helen of Troy) have definitely gloomed things up since their emo-pop for dummies debut, The Remains of Marianne Mayweather. The new album is deeper and darker for sure, but it still has a bit of a Betty Crocker taste to it. No competition for the Iron Chef as of yet.
The album opens with the schitzo “Dragging the Lake,” proves that frailty can hide fury, as the song rises from trickling ambiance to burbling adrenaline. “Shall I Play Them for You?” (perhaps their strongest song) provides the perfect combination of guttural vocals and baleful guitars as a backdrop for lyrics that conjure images of some hell-cursed angel (“allow your wings to settle down”). A graceful instrumental track, “God as the Architect,” approximates the pearly smooth sonority mastered by bands like Godspeed! You Black Emperor. But only on “Match Made in Heaven,” their most anomalous self-portrayal, does the band achieve the fullness of flesh missing from the rest of the album. It seems to come in bursts, like gushing wounds.
While the other songs on Believing in Ghosts muddy each other with similarities, its breaches in recipe are worth listening for. The album’s moments certainly deserve an honorable mention, but, like any good cook will tell you, it’s the little experiments and deviations that eventually land you the Blue Ribbon.
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