Prey for Eyes

I remember seeing The Red Chord open at Mayhem Fest 08; I thought to myself holy shit these guys rule. I looked over to my friend to see if he thought the same, apparently he didn't because he showed a disgusted look. He then turned to me and said, "What is this" and I responded "this is awesome that’s what it is". Then later that day the last band Slipknot played I stood there in complete boredom as my friend was standing on the chair bouncing like a maniac. Anyways, the next I went to Best Buy and got Prey For Eyes.


So I got home gave it a spin in my stereo and braced myself for what was to come. The first track plays "Film Critics and Militia Men" a short grind track with sweet riffs and drum tracks, the rest of the tracks follow in a brutal, insane but unique death/grind formula. That's all stopped with the strange instrumental track "It Came From Over There", it starts off with a killer riff followed by drums, but it is soon over lapped by an adventurous keyboard riff, then about midway it hits you with a solo, and when its over it repeats the beginning riffs. Then after songs like "Intelligence Has Been Compromised” and " Open Eyed Beast Attack" continue raising the bar of insanity with monstrous death/grind riffs. Tracks like "Birdbath", "Bone Needle", and "Seminar" close out the album in an outstanding death metal fashion.


The album has a superb production and an interesting (true) concept. It’s about Guy's encounter in a prison with a long forgotten figure that's in prison and was impacted by something called "The Birdbath". The figure writes the message "Pray For Eyes" in his own blood. The lyrics tell the story in the same way the liner note does but in a more metaphorical and epic fashion.


Anyways the album lyrically and musically has you on the edge of your seat the whole time. From start to finish an insane mix of death/grind rapes your ears not METALCORE!!!!!. This is a collection must have if you are into grindcore or death metal. With that said can't wait till the next Red Chord release and how great it is.

Let's face it, the only reason they are loved so much by deathcore kids is because of a breakdown in a breakthrough song of which brought them to where they are now. I'm almost unsure about buying and (obviously) wearing a T-shirt bearing The Red Chord's name. Don't get me wrong here; as much as I am impressed with this band's unusual style of death/grind. You could say that I am in fear of because some deathcore kid would compliment said T-shirt. I strongly disassociate myself with that group, as a purist and death metal elitist. Then again, I should also feel flattered as an elitist and overall listener of this revolutionary genre. Seeing as they are enjoying some real death metal/grindcore. Whether or not they know it? Truly beyond me. This may not be "Clients" or "Fused..." but rather, innovation done right.

When I say "usual style," I am talking about the mellow/groovy intros, verses choruses (i.e. 'Tread on the Necks of Kings' and 'Birdbath') followed by the impeccable pummeling of blast beats and face splitting guitar riffs. Like in jazz and prog-based music alike, the drum beats (and much more) are often discordant to the guitars or what have you. This is the skill they show in their songs such as their title track. You'll also find very quasi-atmospheric tendencies this band is very much capable of pulling off with some class of the progressive rock persuasion. I heard something odd in 'It Came From Over There.' As far as TRC's music goes, it is quite odd indeed: Keyboards. Enough said - not overused, yet not underused.

Speaking of the drum beats, I think the most interesting thing about them are the clicks you can clearly hear in the bass drum. However, they are not obnoxiously high-pitched. Actually, they are mixed with a rather deep and rich sound like they, as any other crisp sound to the bass, should be.

The vocals of are both hardcore and death vocals. In fact, they are a mix of both. The lyrics are still lucid and demented; explaining Guy's seemingly bone-chilling work with mental patients. To be frank, I'm sure not many would expect people to be hearing of the most bizarre things that humans with disabilities are capable of. There is much more than you think. Unless you're a psychology scholar, you didn't know shit. It all boils down to this: the lyrics are something that really make you think. TRC could easily pass off as progressive death metal, but only on a technicality of certain minutiae. I won't preach it, it's just how I interpret this album and it's other fine predecessors.

"Ah, a new album from Boston death-grinders The Red Chord!", you're surely thinking. "Clients was so fucking awesome, I'll bet this one's even better!" Well, fork over whatever you wagered, because Prey for Eyes does little more than make you wish you were listening to Clients.

Not to say there isn't a heaping helping of what The Red Chord do present on their third full-length; the seemless fusion of Atheist-esque death-prog and abrasive hardcore in the vein of Agnostic Front is present throughout the record and is probably technically much better than on its predecessors. It's the magic that's gone. I know I've picked at that word a lot in my reviews: magic. It drives me crazy when bands with the chops to write some of the greatest shit ever recorded in whatever genre they so choose decide to throw a record together that is, while undeniably theirs, doesn't possess that intangible quality which makes them great in the first place.

But I digress. Certain songs on the record are almost as good as the best moments on Clients: minute-long grind opener "Film Critiques and Militia Men", blastbeat-showcasing lead singles "Dread Prevailed" and "Send the Death Storm", anti-canine euthanasia protest song "Bone Needle", and semi-instrumental closing epic "Seminar". The problem is, these songs all recall songs from Clients, and don't really even do them justice. "Film Critiques" is "Clients" lite, "Dread Prevailed" is "Fixation on Plastics" lite, "Send the Death Storm" is "Black Santa" lite, "Bone Needle" is "Dragon Wagon" lite, and "Seminar" pales in comparison to its amazing counterpoint "He Was Dead When I Got There". If anything, the lyrics are sillier and the songs are much, much less catchy.

If you want to hear an album that faux-death metal kids everywhere will be worshiping (almost as good as the new Job For A Cowboy!), buy Prey for Eyes. If you want to hear The Red Chord at what may sadly prove to be the best album of their career, spend about five dollars less and get the brutally fantastic Clients.

The Red Chord's forthcoming record “Prey For Eyes” is a difficult creature to classify. Sure, the album is unquestionably extreme metal, but what kind of metal? Death, grindcore, hardcore and spastic jazz-grind are all traits the group fuses together into one cohesive unit. The crossbreed nature of this beast of a record is what truly makes “Prey For Eyes” an enjoyable listen.

Beast is an apt metaphor because, like any dangerous predator in the wild, “Prey For Eyes” is unpredictable and readily changes moods and tactics. The group charges with a ferocious onslaught of blast beats and chainsaw-grinding guitar riffs, all led by roaring death vocals and steadfast hardcore vocals that resemble Phil Anselmo. Other times, The Red Chord dons a lighter tone, going off into lengthy jam sessions and melodious solos. Its music can appear gentle and harmless, like a snoozing bear, but it's only a matter of time before it sinks its metallic claws into your flesh.

Simply stated, “Prey For Eyes” was created through brilliant songwriting. The band took one tasty riff and juxtaposed it atop of another catchy one, bridging the gap with changes in style and tempo. Most tracks feature helicopter, hair-twirling death metal guitar chugging that bleeds onto the floor from being smashed by cinder-block heavy, mid-paced mosh rhythms. Wicked whammy bar and sinister, string-bending solos bring a certain technical and melodic element to the mix, drawing parallels to Morbid Angel’s Trey Azagthoth in style and atmosphere.

“Prey For Eyes” is not a record with a bunch of influences haphazardly thrown together. The styles mesh perfectly—each and every note is unique and memorable, showing that the band carefully shaped and molded the tracks until it felt they were something special, something timeless. Midway through the year, we can honestly say this is one of the best albums of 2007.

originally published on www.blistering.com