Review: “Colors” (Between the Buried and Me)

Though I intend to keep the reviews on this blog mostly restricted just to new releases, I do intend to occasionally post a review of an album I consider to be among the best. These are albums the either define genres or transcend them all together. These are albums that I consider to be “perfect”, meaning I don’t think they could be any better than they are.

I start this series of reviews with “Colors”, a 2007 album by the band Between the Buried and Me. Anybody following the band knew that they were capable of great things. From their 2002 self-titled debut it was obvious that they were unique, with influences as varied as Pink Floyd and Pantera. Each album grew progressively better and by the time they reached 2005’s “Alaska”, with amazing tracks like “All Bodies”, the title track, and “Selkies: The Endless Obsession”, it was clear they were something special.

However, all of their previous albums pale when put up against “Colors”. Even the band themselves seem to be conscious of the fact they have put together a masterpiece, with the lyrics stating that they “will be remembered for this”.

“Colors” is unique in the fact that it is actually one song. One 64 minute song that was broken down into 8 tracks on the CD as to not intimidate listeners. The tracks mean nothing though, one flows into the next without pause.

The first two tracks serve as an introduction to the piece, as well as show the wide range of genres that the band incorporates into their music. The first tracks starts with a solo piano and clean vocals, and gradually builds up. The track seems vaguely reminiscent of Muse, this comparison is thrown away however as the second track begins, arguably the heaviest section of the album. The listener gets a hit with a wall of heavily distorted guitars and death growl vocals that may throw new listeners off guard, but those who have followed the band will recognize this as being more in line with their first three albums, death metal with progressive tendencies. Once one gets past the heaviness however, they will find what makes Between the Buried and Me so great; which is complex compositions that make sense due to the bands talent in songwriting.

If the first two tracks serve as an introduction the piece, the third track “Informal Gluttony” is where the the album really goes into full gear. Beginning with a haunting drum line and eastern sounding guitars, the band launches into one of the most instantly accessible parts of the album, with a wonderfully catchy, clean chorus in the middle of what sounds like orderly chaos. In fact, orderly chaos is a great way to describe the band. Every song is overflowing with riffs and ideas that in the hands of a less talented band might sound like pure chaos, but due to the skill of Between the Buried and Me, they manage to craft these ideas into a song that flows and feels natural.

The next three tracks of the album serve as the climax of the album. The beginning of this climax is “Sun of Nothing”. The track is very strong lyrically, describing the story of a man committing suicide. Once he is too close to turn back from this self destruction, he realizes that his life wasn’t terrible and that suicide was a mistake. However with all of this band’s work, the music is the focus. This track boasts a lot of variety, from calm mellow pieces thrown in the middle of the intensity the band is known for.

“Sun of Nothing” flows right into “Ants of the Sky”. The song continues the intensity of the previous track for the first 10 minutes or so before calming down with about four minutes remaining. Near the end of the track bar sounds are introduced, and what sounds like a traditional Irish pub song kicks in. The band then comes crashing back in with their trademark fist pumping ascending arpeggios. Though it sounds strange in writing, the band makes this flow seamlessly and provides both one of the most memorable sections of the album, as well as arguably the climax of the piece.

“Prequel to the Sequel” continues the momentum that the end of “Ants of the Sky” provided. The first minute and a half of the song can be described as nothing more than epic. The song eventually settles down and really places the band’s incredible technicality on the table.

“Viridian” serves as a breathing point before the album’s final track. It is a calm track, featuring only a clean guitar and bass. It gives the listener a chance to catch their breath all the while being mesmerized by the amazingly reflective track.

“Viridian” builds up to the album’s final and longest section; “White Walls”, which reaches close to 15 minutes. The lyrics reflect on the band members thoughts on music in general. They muse on mainstream pop music (“Monotonous expression/a forced replica of a tired sound/…the same charade as the passing years”), as well as reflect on the album itself (“It’s what’s left of us when we die/We will be remembered for this”). Musically the track can be described as nothing but breathtaking. The album ends with incredible guitar solos before coming back to the solo piano that started the album, giving the whole piece of a sense of continuity.

One will most likely come away from their first listen a bit overwhelmed, especially if “Colors” is their first album by the band, as it was for me. However, with each listen the album begins to make more and more sense,  and eventually it becomes clear that this is by far the best album of 2007, and most likely the best album of the 2000’s so far. It is a masterpiece in every sense of the word. The band manages to expertly craft all of their influences together to create an album that flows and transitions and that is uniquely their own. It is genre transcending, no traditional label is 100% correct. As with their previous releases, the tag “progressive death metal” most accurately describes it, though at times even this is not true.

“Colors” is emotional, it is breathtaking technically, it is inspiring and it is an album that will be incredibly hard for anyone to top. Though this album has little mainstream appeal, because of both its complexity and it’s extremeness, anyone with a passing interest in metal or progressive rock owes themselves to listen to this album. They may never be the same again.

Release Date: September 18th, 2007

Track Listing:

1. Foam Born (a): The Backtrack   (2:13)
2. Foam Born (b): The Decade of Statues   (5:20)
3. Informal Gluttony   (6:47)
4. Sun of Nothing   (10:59)
5. Ants of the Sky   (13:10)
6. Prequel to the Sequel   (8:36)
7. Viridian   (2:51)
8. White Walls   (14:13)