aaamusic | On 09, Apr 2012

One might assume that all music that inspires any strong reaction in someone must be fiercely unique. It makes sense, My Chemical Romance wouldn’t have developed one of the most hardcore cult followings of all time if they hadn’t released The Black Parade and been the only band around looking like a gothic Sgt Peppers Lonely Hearts Club Band and sounding like Queen circa 1973 covering Mellon Collie era Smashing Pumpkins. However, one must never underestimate the power of subtlety, look at Joni Mitchell, look at Laura Marling, never ones to make a song and dance out of what they do but still two of the most captivating songwriters of their time. Unfortunately, it works the other way around as well, Black Veil Brides wouldn’t be so indescribably hateable if they didn’t look and sound like the Glee cast doing Marilyn Manson, and Auburn, on only their second album in thirteen years, are pretty much just as infuriating and are as subtle as they come.

It doesn’t help matters that front-woman Liz Lenten can barely hold a note, hurtling past “smoky” and straight into “weak and reedy”, it’s at it’s worst on album opener Shame On You, where she doesn’t seem to be singing any melody that syncs with the (already vacuous and non-descript) song, but it’s something that pervades the whole record, especially in the likes of Strong and the title track. It does level out as the record progresses, the cod reggae of Day Dreamin’ just about registering at “Pleasant”, but it’s something that comes part and parcel with the absolute worst problem the record has, the abysmal lyrics. The aforementioned Shame On You is the worst offender, what I hope to all that’s holy was envisioned as an attempt at a “seize the day” message comes across simultaneously as clunky, preachy, condescending and, above all, extremely annoying. This doesn’t level out as the record goes on, Free Spirit is an embarrassing attempt at a love song and All Comes Back To You, while probably having Lenton’s best vocal on the record, awkwardly forces in nostalgic references without any meaning whatsoever.

All in all, a lifeless, vapid waste of time for all involved. Removing Lenton’s vocals and lyrics (although those, it must be said, came with help from guitarist Mark Gustavina), would only leave limp, soulless jazz-lite muzak, proving that genuinely hateable music can be of absolutely any genre or style if it’s done as badly as this. Please, check out Dave Ellis and Boo Howard, a group who do a similar style of music but miles, miles better, before going anywhere near this tripe.

★★★★★

Will Howard