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To say that A Flair For The Dramaticwas underwhelming is an understatement: it was an average-at-best, mundane-at-worst attempt at ripping off All’s Well That Ends Well(seriously, I was waiting for Vic to metamorphosis into the more talented Craig Owens). What makes the summary predicatable? doesnt make sense This album is about as predictable as this summary. Truly, I wanted to be blown away by this, but I was once again left disgusted and unimpressed. But the fact that PTV ultimately regressed rather than improved between the two records drags SM down heavily. Honestly, if it weren’t for Dramatic, this wouldn’t have been as bad. Lyrically, the band mainly sings about sex (though you won’t really be able to understand them over the pitchy noise that the microphone admits), and their immaturity more than shows in their constant complaining about just how terrible their lives (adored by girls, whom they seem to seek attention from) are. Nobody really declined in quality, but the improvements made by the lead guitarist and the vocalist just cannot make up for this overly-average album, an album that repeats almost every trick that AFFTD thought it had. Honestly, “Besitos”, “The Boy Who Could Fly”, and “I Don’t Care If You’re Contagious” are the only tracks truly worth your attention, mainly because of the satisfying guitar sections. “The New National Anthem” is a horrible ballad that pales in comparison to “Falling Asleep”, which was one of the only songs worth purchasing off A Flair. In addition, the amount of pop gloss and dramatic lyrics that pervade the song make it a miserable experience that you should desperately avoid. In addition, “Fast Times At Clairemont High” is a horrible enough attempt at swing-style music, without Vic practically whining and crying all over it. “Caraphanalia” is honestly saved by the howling throat of Jeremy McKinnon, who frankly woke me up halfway through this droning, boring, and ultimately useless song. Lyrics are still a problem, but we can get to that later. Though Vic isn’t quite piercing eardrums this time around, his whiny, pitchy voice will surely grate on the listener at least once or twice. Gone are some of the random sonic interruptions found in tracks like “Currents Convulsive”, though there are still some awkward sections (“Caraphanalia” is glaringly schizophrenic, and not in a good way). In comparison to its predecessor, SM does seem matured, though it’s overall much worse than its predecessor. There’s some nice moments from the drum and bass section, but not enough to truly carry the album. Sadly, the rest of the band really doesn’t show up. Vic also covers rhythm guitar, but not much can be said for his more-than-expected power chord and octave bashing. Yes, most of his sections sound generic, but there’s no denying that he has talent in playing them. Guitarist Tony Perry seems also to have upped his game for this record, leading tracks like “Besitos” and “The Boy Who Could Fly”. As for the screams and spoken word sections, they again sound ripped straight from Chiodos or The Used, so not much to note there. He seems to have adopted his own style a little more, but he’s still overshadowed by Mr. Yes, Vic Fuentes deserves some credit, as there’s obvious vocal maturity between AFFTD and SM. Is it much better? No, it might even be worse. My experience with the record left me ultimately unsatisfied and unfulfilled, and honestly not too excited for Selfish Machines. When PTV wasn’t ripping off Chiodos, they were trying to cram way too much into the music, giving the listener a serious case of boredom and ADD. 'Million Dollar Houses (The Painter)'Ħ/5 - Bakersfield, CA - KRAB Rockin' Roots FestĦ/26 - Mountain View, CA - Shoreline AmphitheareĦ/30 - Las Cruces, NM - NMSU Practice Fieldħ/2 - Houston, TX - Showgrounds at Sam Houstonħ/3 - Dallas, TX - Centerħ/5 - St.Review Summary: This album is about as predictable as this summary. It's just there and always will be inside all of us."ġ1. It's about that 'evil' thing inside of us that is really not evil at all. "We all have natural tendencies to want, love and take. "In no way is this a negative thing, it's human," he said. In an official statement, Fuentes also revealed that the album title refers to how human nature involves being selfish in some way, shape or form.
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