The Hammer of Thor

Memphis May Fire - The Hollow

Album: The Hollow
Band: Memphis May Fire
Label: Rise Records

Review:

Memphis May Fire has flown under the radar for far too long.  They caught my attention when my former housemate told me to check out their debut full-length album Sleepwalking.  I was drawn in to their southern seasoned brand of hardcore that they mixed tastefully with clean vocals and infectious melodies.  I thoroughly enjoyed their melodic sensibilities and the fury they could load into their breakdowns.  Sleepwalking became one of my favorite albums.

News came shortly after they released their Between the Lies EP that they had signed to Rise Records, which led many to assume they would be sure to assimilate into the cut-and-dry, expansive, and increasingly unoriginal genre some are calling “chug-chug-core” that is inundating Rise at the moment.  I firmly held to the belief that they would manage to keep a unique sound even under the influence of the conformity present in Rise at the moment.  MMF released a preview of their Rise-debut album The Hollow, and while I could see how other people could accuse them of “selling out” or “conforming” because they lost their signature southern sound, people need to listen more in depth and not dismiss them at face-value.

The band released the first single/first track of the album entitled “The Sinner” and I immediately knew they were on to something.  In one fell swoop, vocalist Matty Mullins usurped the top spot in the hardcore vocalist genre, and what really sets him apart is his versatility.  His clean vocals rival the likes of the now-defunct Jonny Craig while his screams pack in an extreme sense of urgency, fervor, and emotion ranging from pure unabridged anger to pleading desperation.  I originally thought the clean and screaming vocals were done by two different people, but now that I know Mullins does both, my respect for him has grown exponentially.  Beyond the impeccable vocals, the instrumentation shines as well, and not just the guitars, drums, and bass.  Yes, the guitar tone is nearly perfect, and the chugging breakdowns synchronize perfectly across the board in as good and tight of production I’ve heard in a while, what piqued my interest and sets MMF apart in a crowded genre is how they use the instrumentation beyond the core instruments.  The orchestration is exceptional, with strings, synths, piano, tubular bells, glockenspiels, electronic and glitch drums, and thick pads and luscious choirs filling out the sound beautifully.  I imagine fans of Woe, Is Me would find a lot to like in The Hollow, but that isn’t to say the bands are carbon copies of each other.  Far from it.

There are several standout track on this album.  The first truly standout track for me is “The Abandoned.”  The use of organ at the beginning of the track is extremely clever, and the subsequent chugs layered over the arpeggiating guitar and fervent screams leads into an addictive chorus that ranks among the best on the album.  Mullins belts out an addictive melody before the song reverts to the breakdowns and arpeggios again.  Front to back, the song is one of the strongest on the album.

“The Burden” is an interlude, but it’s a proper interlude.  A lot of people will probably pass over it, which is a shame.  Most interludes you’ll find these days are a minute and a half, maybe two minutes tops.  This track is a full-featured 3:17.  It showcases exceptional programming abilities and tasteful, haunting piano.  The background of the track sounds like a recorded fight between a couple, and the random explosions of emotion you can make out actually add to the track, with numerous shouts of “I DON’T CARE!” and pleas of “I’m doing the best I can, what do you want from me?”  It gives an emotional charge, which is amplified by the somber instrumental track.  The orchestration shines here again, with full strings and choir layered over the electronics to finish a lush canvas of sound.  As someone who thoroughly enjoyed “Vaulted Ceilings” from their last EP, I found a lot to like in this track too.

The last three tracks are all home runs.  ”The Haunted” tells a story of betrayal and pain caused in a vindictive relationship where Mullins expresses his regret for ever giving the other person the time of day, hoping he can forget everything about the mistakes that were made.  The song features one of the best breakdowns on the album, which hits after an energetic build into a “bombs away” synth track.  Mullins roars “I SAW RIGHT THROUGH YOU! YOUR INTENTIONS WERE POISON!”  I get goosebumps every time it hits.

“The Reality” shines in its instrumentation again.  It is one of the more hard rock-leaning songs on the album, and some traditional MMF lead-lines come through in the guitars.  There are certainly heavy sections as well, complete with bass-bombs that are ever so prevalent throughout the album, but I’m most addicted to the guitars and orchestral and choir backing present in the instrumental section around 4:14.  The sound is so thick and full.

“The Redeemed” is appropriately the most hopeful track on the album, and it makes sense that it’s the closer as it wraps everything together nicely.  Another feature about it that I am fond of: it’s 6:32 long.  I like the fact that the shortest track you find on the album is the aforementioned 3:17 in the interlude, and the album average is over four minutes.  MMF doesn’t rush their execution, as so many bands seem to these days, capping their songs at 3:30 and often holding them under three minutes.  Mullins reminds that “these bones are only temporary” and that “you’re on your own but not alone.  You’ll never be alone.”  The bridge that leads to the outro is another moment that rises on this album, with exceptional harmonies and layering in the vocals.  It is a great finisher for a spectacular album.

The album features track after track of high-energy expositions laden with passion, anger, honesty, regret, exasperation, and ultimately hope.  It is one of the most volatile, vicious, yet overwhelmingly spiritual albums I have ever heard.  Memphis May Fire is not afraid to sing about mistakes, loss of hope, desire for revenge, words of warning, and ultimately the faith they have in Jesus Christ that holds everything together in a world where things seem made to fall apart.  There is so much earnest emotion filling each track that you could never suggest they’re faking it.  I have to say, I wasn’t sure they would dethrone Emery’s We Do What We Want for album of the year 2011, but they’ve taken the throne with authority.  The Hollow is a grand slam and will hopefully solidify Memphis May Fire as one of the unique, original elite in a crowded, overdone, tiring genre.

The Verdict:

6 out of 5 stars

I haven’t given this obnoxious of rating since Emery’s …In Shallow Seas We Sail, but I insist that this album deserves the superfluous star.  It is seriously near perfect and I pity anyone who doesn’t give it a listen and a purchase.