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Review: Dead To Fall - Everything I Touch Falls To Pieces
Dead To Fall
www.deadtofall.com
Everything I Touch Falls To Pieces

Label: Victory Records
Year released: 2002
Duration: 38:23
Tracks: 11
Genre: Melodic Death Metal

Rating: 4/5

Review online: January 9, 2003
Reviewed by: Scott Murray
Readers Rating
for:
Everything I Touch Falls To Pieces

Rated 2/5 (40%) (1 Vote)
Review


By far one of the most impressive debuts this year comes from a Chicago based metalcore band known as Dead to Fall, who push the boundaries of this overcrowded and popular genre.

Everything I Touch Falls to Pieces melds so many different influences and sounds; from melodic guitar riffs a la Gothenburg metal, the death growls and shrieks of agony bellowing straight from the soul of the talented Jonathan Hunt, crunchy and thunderous hardcore breakdowns which kick in and out with flawless transition, and thudding double bass drumming from Jon Craig (this guy is pure bliss on the ears).

The disc opens with a daunting and foreboding guitar track which paves the way for the assault of Memory, a suitable opener as it doesn’t put a particular emphasis on any one aspect of the Dead to Fall sound. Rather, it is an intelligent combination of everything you can expect to hear throughout the rest of the album, all in one powerful song.

From this point on the songs go all over the map each leaving its individual mark in one way or another.

Eternal Gates of Hell sounds like something out of the At The Gates playbook, with its catchy melodic riffs, while Cost of a Good Impression levels the listener with a spiraling guitar assault that leads to an all out brutal death bridge.

Other notables include the brilliant guitar trade-offs between shred maestros Bryan Lear and Seth Nichols on tracks such as Tu Se Morta, and the highly emotional and in your face album closer The Balance Theory.

Despite the quality production on this record, you are still left with an overall dark and provoking journey here with some forgivable complaints. These stem from the sometimes “too lengthy for their own good” and forced feel of the breakdowns, plus some overall repetitiveness which can cause this album to be a bit too much to swallow in one sitting.

The only break offered is Doraematu, a soothing classical guitar piece that seems a bit out of place but is a welcome breather from the action.

Dead to Fall’s broad appeal and undeniable talent make them a band to watch for in the future.

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