REVIEW: August Burns Red - Guardians [2020]

Artist: August Burns Red

Album: Guardians

            So far, 2020 has brought us a boatload of incredible music—and if you follow this site (or my writing) in particular, you’ll notice that we’ve had the pleasure of covering a lot of it. Of all the artists I’ve had the pleasure of working with, and all the records I’ve had the joy of reviewing in the year’s first quarter, not one of them defies the need for an introduction more than Lancaster-based metalcore giants August Burns Red defy the need for introduction.

            They’restill going to get one, though.

            Eruptingfrom modest beginnings to take the underground by storm before dabbling in more“mainstream” endeavors (you know, like being nominated for two Grammy awards), August Burns Red are a staple for many heavymusic enthusiasts, old to new, young to old. The band’s ninth studio album, Guardians follows the overwhelmingsuccess of Phantom Anthem, a recordthat made even skeptics of the group (like me) fans in a single listen. Builton the same unshaking firmament of furious metalcore with elements ofprogression, aggression and atmosphere about, Guardians sees August Burns Red continuing to blend passion withpunishing heaviness refined by a sharp metallic edge. The real question isthis—does three years in the oven leave Guardianstasting as sweet as its predecessor, or does it fall flat?

            AugustBurns Red’s notoriety stems from the fact that they intricately—yet seamlessly—blendprogressive elements into a backbone of bold, relentless metalcore in a fashionthat satisfies the prog-obsessed elite within the genre as aptly as itsatisfies those just in it for the breakdowns. Guardians doesn’t disappoint on either front, be it the ruthlessaggression within “Defender,” or the jazz-influenced atmosphere abound in “EmptyHeaven” and the closing portion of “Extinct by Instinct.” In short, much of Guardians sees August Burns Red doingwhat they do best. Percussionist Matt Greiner—one of the act’s remainingfounding members—is constantly entertaining, bewildering the listener with fasthands and fleet feet on “Defender,” “Bloodletter” and “The Narrative” whileusing more subtle displays of skill throughout “Lighthouse” and the record’sclosing cuts. Greiner’s skills are in top form throughout, with bouncy, funfootwork giving Guardians an upbeatand energetic cadence for bassist Dustin Davidson to add heft and density to. “Bloodletter,”alongside “Bones” are brilliant examples of this—as Davidson’s bass adds asense of weight and power to even the more ethereal elements present withineach track. “Extinct by Instinct,” on the other hand, sees Davidson dialingback on the more aggressive low end and adding a sense of catchiness throughbouncy, elastic groove. This same dynamic—the one between brutish bass and moreelegant work—defines the efforts of guitarists John “JB” Brubaker and BrentRambler. Brubaker and Rambler—the remaining founding members—are able to createsongs with sections that hit like a fifty pound sledge that flow smoothly intosections that caress and soothe the listener. Take “Three Fountains” or “EmptyHeaven” for example. These songs see Brubaker’s riffs and leads working withRambler’s, and together weaving hither and to, dropping devastating breakdownsin a meshwork of metalcore brilliance. With that said, the duo—and August BurnsRed—aren’t spot on all the time.Songs like “Lighthouse” or “Bones” feel somewhat flat and unremarkable when putagainst “Defendant” or “The Narrative”—two examples where August Burns Red roaron all cylinders. This isn’t to say the band’s pitfalls are catastrophes; theyare simply weaknesses in the otherwise mesmerizing experience that is Guardians.

            Phantom Anthem saw August Burns Red’sinstrumentation not only take a colossal leap forward, but it also saw immensegrowth on the part of frontman Jake Luhrs. Luhrs went from a somewhatmonotonous—albeit powerful—vocalist to one with a broader range and intensifiedability to emote. Where the same magnitude of growth is absent going into Guardians, Luhrs surely hasn’t lost histouch. From the onset of “The Narrative,” Luhrs uses August Burns Red’s latestrelease as a podium to speak on social and environmental injustice, as well aspersonal struggles—all in the setting of a more grandiose tale—making Guardians one of the band’s strongestrecords to date in the lyrical theatre. Where “Defendant,” “The Narrative,” “Bloodletter”and “Dismembered Memory” see Luhrs at the top of his game, dominating with araw mid range yell that dives into grisly lows effortlessly, “Lighthouse” and “Bones,”alongside much of “Paramount” once more fall relatively flat. The chorus of “Lighthouse,”while lyrically poignant, is one of the only truly skippable moments Guardians puts forth, while the closingsection and intensity of “Paramount” only just make up for a relativelylackluster majority of the cut. These sections are isolated and ultimatelyforgettable, but in the context of August Burns Red’s prior success, they feelalmost glaring despite their otherwise innocuous nature.

            Overall, Guardians is a righteous testament todiversity within metalcore. It boasts heaviness, catchiness, bounce, emotion,groove—you name it, it’s there—but it simply lacks the staying power that made Phantom Anthem such an outstandingrecord. While August Burns Red’s 2020 release isn’t a whole step backwards, itfails to continue the incredible trajectory and, in many ways, halts the band’smomentum, feeling like a record that—with just a little more refinement—could havebeen another star-studded entry in the band’s ever-evolving discography.

8/10

For Fans Of: Invent Animate, Currents, Killswitch Engage,Fit for a King

By: Connor Welsh