The red chord clients zip

Whereas Fused Together was a frantic mix of time signature changes and brutal breakdowns, Clients is geared more towards the "breakdown crowd" of metalcore; that is, the songs are more rhythmically oriented, structurally simplistic, etc. However, interestingly, there are very few actual breakdowns to be found on the album, which is both a minus and a plus.

They were overused on Fused Together, but are nowhere to be seen here. Most of these tracks are verse-chorus-verse in style, which works well for the brevity of the album, but doesn't do justice to TRC's talent. The first album was chaotic but just structured enough to make sense, and this goes unfortunately overboard.

Still, it's hard to notice when you're enjoying the music so much. TRC is an "album band," so to speak. They take a lot of time to make sure that all their records are a monument in their catalogue. The lyrics, art direction, and everything are very organized with TRC, and Clients is no exception. It's mainly about "characters" that vocalist Guy Kozowyk met during his tenure at a drug store, most of them insane or needing heavy medication So, the lyrics are incredibly twisted, and the album artwork is as well.

Unfortunately, after "Hospice Residence," the album takes a downward spiral in terms of lyrical content and songwriting. Dragon Wagon, notably, is pretty lame. It stands on its own, and if you're looking to get into The Red Chord, try this album first, then pick up Fused Together to compare. The huge number of bad reviews on this site is undeserved for the most part. Buy it. If you have heard anything from these guys in the past, you already know that The Red Chord is both highly creative and undeniably heavy.

On "Clients", their first offering for Metal Blade, you'll hear a fantastic array of influences from this talented quintet. Disjointed rhythms that sound like Voivod on crack meet weighty grooves, stuttering polyrhythms and torrid blasts as this band proves themselves to be among the masterminds of metal melding on the scene.

Powerhouse percussionist Brad Fickeisen propels the band with a standout performance on "Clients", throwing in plenty of rolls across the rack and kick drum bursts that fuel the entire operation of merciless orchestration.

His technique is nothing short of brilliant on the grinding title track, ending the affair with an insane flurry. Both Kevin Rampelberg and Mike McKenzie are highly skilled axe wielders with an affinity for crafting dramatic guitar passages the takes The Red Chord's music in unexpected directions the harmonic tones in "Hospice Residence" squeal as the band's rhythm section tears through a ripping beat.

The shocking speed of the instrumental technicality on 'Black Santa' is markedly relentless and the unrestrained ferocity of "Upper Decker' will leave you on the floor, wondering what hit you. The stop action work in this track's chorus is very progressive for this style of metal, showing that the axemen are very thoughtful in their songwriting.

The slam-inducing "Love On The Concrete" is anchored by Gregory Weeks' rapid strikes on the four string, the song includes a rest where his skills are placed center stage. You can attribute much of the impact of "Clients" to studio wizard Zeuss who turns in a commendable job of knob turning, bring out the sheer fury behind the band's songs consistently throughout the record.

As one of the most schizophrenic acts which combine metal styles, The Red Chord score big with this violent slab of musical destruction. Unabashedly aggressive, brilliantly textured and determinedly stimulating, this is certainly one of the most notable metal releases of Every other review so far for this album says the following: "Their first record was amazing, but now they're a metalcore band and this one sucks!

It's pretty much the best metalcore album ever, but I want them to play technical death metal again! Change is bad. I'd heard "Fused Together" once or twice before hearing this album, and it was good, but didn't really make a strong impression with me, especially considering the hype it had received. This one, however, hit me like a sledgehammer to the face. The vocals are not generic metalcore or generic death metal - the vocalist has created his own throaty yell that sounds pretty unique and recognizable to me.

The riffs and drumming strike a good balance between technicality and catchy metalcore-inspired stuff. I think breakdowns can be effective as long as they're not used as a crutch in every song: this album really shows how they can work to help a song progress instead of being the predictable shit hardcore has been passing off for a decade or two. Technicality has a place here - it is used for a purpose, not just for endless pointless tech noodling a la Beneath the Massacre. They really combine elements of grindcore with elements of metalcore, which for some reason seems to alienate fans of both.

But c'mon guys, just listen to how effective this stuff is! The later songs "Hospice Residence," "Dragon Wagon," "Love on the Concrete," and "Blue Line Cretin" are also good, but they tend to blend together a bit in my head, which is the main weakness of this album.

The guitar harmonies in this track are spot-on and it's a perfect end for an overall impressive album. So, for all the people who hate this album - go listen to "Fused Together" if it's so perfect. I think this album is a clear progression for the band and I look forward to their next release. The Technical Grind-influenced Metalcore that we love. This album is just quite calm, compared to their first.

Just generic music. You cannot tell when one begins or ends. The album just flows, quite badly. Now, on to the song ratings, even if they might be short… Fixation on Plastics - The beginning of the song starts to be promising, but then leads onto generic Metalcore.

The drum fills, guitar riffs and bass lines just turn into…crap. Black Santa - Blastbeats galore with other drum fills that are all right. Just do the death vocals! Not today--not tomorrow. Come sit down. Antman - The first single that was released to the public. This sounds like something that Hatebreed would make, but a lot more technical.

Upper Decker - This is also not that bad of a song. The problems with it are the vocals. The interlude in the song is calm. Drum rolls on the tom drums and soft guitar playing. Hospice Residence - Generic Metalcore and he talks a little bit, again. It makes me think of how All That Remains would sound, if they were a little technical. A little better job, this time.

Well, I can say the same for you. The song is not special. The lyrics are crappy. This is not his time to shine, either. I think that the light bulb was smashed, when coming up with this. He was Dead when I got There - The longest song on the album, at a time of So, to me, this song just sounds dead.

I shall say that it sounds like a tribute to someone, which is just all right. Also, it has a nice recorded message in the end.

Maybe they just had money issues, and had decided to take this route I don't know I just hope that their next attempt at an album will be as good as their first. Wow, what the crap? Okay, this album isn't bad. However, this is The Red Chord here. Yeah, with this random direction to go in a more melodic-hardcore direction just isn't gonna completely cut it for fans of their first LP.

Though, I must say, there are some awesome things about this album. Fixation on Plastics and Upper Decker kick quite a bit of ass, for metalcore standards.

There are some great riffs strung about here and there, and they know how to play melodic metalcore here. However, I say again, this is The Red Chord. You know for a fact that they can do way better than this. Their riffs, though most good, are not very creative, technical, and brutal as before. A lot of the stuff on this album has turned generic.

The vocals are hardly as cool as they were previously. Even the lyrics are crap compared to the masterpiece that is FTiRD. Drums, just plain basic. Almost as good as the previous album, but you get the idea This album is a large letdown, and I know they could've done better. However, it does have it's moments Fixation on Plastics, Upper Decker.

A lot of the other songs would've been awesome too if they still kept the classic FTiRD mix intact. I seriously hope that Red Chord doesn't go on making albums that're generic like this. I just know they're capable of it. Although they primarily toured with hardcore and metalcore bands The Red Chord were far from your run of the mill band.

With brutal vocals, speed and technicality they quickly became hyped as the next big thing in metal and fans immediately began to await their next release. Well it's finally here, only three years later. This is a very interesting album. On one hand its clear they've gone for a more metalcore approach to this album and abandoned some of the brutality that got them so many acclamations. The crazy riffs and blastbeats that filled their past work is no longer present.

Instead they go for a more melodic theme, in singing and with instruments. While it is far from bad it isn't The Red Chord we all know and love and it certainly isn't anything to be overly excited over.

The album kicks off with a handful of forgettable songs. It isn't until track six, "Upper Decker", that the album takes a turn for the better. However they soon return back to the formula that made the beginning of this album so uninteresting. The range in vocals is all but gone and that was such a huge selling point for their older work. There really isn't as much to say about 'Clients'. While it is still a decent album it isn't The Red Chord and it isn't anything that hasn't been done before.

While it is much better then your Headbangers Ball metalcore, it still isn't nearly what they're capable of. Do you know the Red Chord? You know, that band that released "Fused Together In Revolving Doors", an album that mixed metalcore with grindingly technical riffing?

That band that used to be pretty brutal and maintain being original? Well, I'd hate to say it, but that band is no more. I was highly anticipating "Clients" ever since it was announced. I was expecting them to evolve further more. I was clearly disappointed. The sheer technical precision the band was known for is no longer there.

The satisfying range of high screams and low growls are gone. The overall original sound of this band is gone. Instead, they really seemed to have become a run of the mill metalcore band. It's a shame, because when listening to their debut, one will know what this band is capable of, and it's all been thrown away. The album kicks off with a metalcore song, and runs like such the whole way through. But metal does have its lunatic fringe, which is where you will find the totally ferocious sounds of Red Chord.

Clients , the Massachusetts residents' second album, doesn't pretend to be the least bit subtle. Combining the grindcore style of death metal with metalcore, Clients is a sledgehammer of a CD -- a nasty, harsh, truly unforgiving effort that goes for the jugular and makes no bones about it. Between Guy Kozowyk 's lead vocals which combine death metal's guttural growl with metalcore-style screaming , Red Chord 's use of maximum density, and their frequent tempo changes which are done in a very nervous, spastic way , makes Clients an exercise in sensory assault for the sake of sensory assault.

But those who do have a taste for extreme metal will find Clients to be brutally exhilarating and, by extreme metal standards, a great success for this New England combo. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying.

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