It’s not too common for bands involved in the metal / hardcore music scenes to have such an extensive back catalogue that shows so much progression over time but The Devil Wears Prada have just unveiled studio album number six, ‘Transit Blues’. Having started out way back in 2005, the Ohio outfit have progressed and developed their sound a lot over the past decade. With their roots firmly embedded in metalcore and “screamo”, TDWP have matured and ‘Transit Blues’ confirms that almost immediately.
Opening track ‘Praise Poison’ kicks things off with its almost military marching drum clicks that lead into a thrashy and pummelling guitar riff topped by vocalist Mike Hranica’s venomous howls. ‘Daughter’ is the first single to be taken from the album and it’s relentless. Overflowing with hard hitting and off beat time signatures this is surely TDWP at their most vicious.
There’s clearly a lot less synth and keyboards being used since the departure of keyboardist James Baney but they’re not gone entirely, there’s still some underlying parts throughout the record that only add to the atmosphere and ambience rather than dominating their tracks like earlier releases. That said, there are some slightly poppier areas explored on ‘Transit Blues’ such as the choruses of ‘Worldwide’ that are incredibly catchy and cleanly sung albeit a bit cheesy lyrically.
It’s tracks such as ‘Lock & Load’ and ‘Detroit Tapes’ that reveal the darker side of the album. Faster, more aggressive and thunderous these songs are a perfect example of how the band has progressed over time. ‘Detroit Tapes’ does seem to end far too soon and contains some bizarre Jimi Hendrix-esque guitar sounds, but these two songs also begin to explore some slower paced, more ambient ideas.
‘Flyover States’, ‘The Condition’ and ‘Submersion’ show the biggest signs of change as they create and develop large soundscapes and walls of noise that flutter between amplified guitar sounds and electronic noises. At times these ideas have been executed perfectly such as the crescendo part way through ‘Flyover States’, but unfortunately the addition of the harsh vocals can often be distracting and sound a little messy which spoils the overall dynamic.
‘To The Key Of Evergreen’ is the both the second single and longest track on the album. initially it’s fairly straightforward with dynamic drums and guitars until there’s a sudden change. There’s a moment of almost total silence before being thrust up against an enormous wall of sound that’s entirely unexpected. It’s here that the emotions conveyed in the song are the most believable, a crescendo drenched in desperation and anguish. Sadly, the placement of this song on the album means that the effects of the beautiful ending are short lived. The same thing happens with ‘Home For Grave Pt. II’ which is by far the most experimental song on ‘Transit Blues’. Haunting synths lead this almost spoken word style track as it plods along as if being told as a story.
‘Transit Blues’ is interesting, and an album that grows on you with each listen but some of what would otherwise be stand out tracks seem to get lost in amongst the similarity of the other tracks. Overall it’s a marvellous effort even if it is a little rough around the edges and if TDWP continue to refine and perfect these newly explored ideas they’ll be unstoppable.
JAMES DAVENPORT