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Alexisonfire’s first two albums firmly established them as cult favorites with rock kids of all ages and ‘Crisis’ should be just as well received. The band’s sound is that particularly American (though Alexis are Canadian) style of loud, aggressive rock and peculiarly schizophrenic vocals. Yes its that one-guy-screams – like - Kurt Kobain- with –a – sock stuck – down his throat/ another – guy –sings- melodically – like- a – choir boy –trying- to –impress- the new- vicar stuff. In Alexisonfire’s case yelping duties are performed by George Pettit, crooning and keening by Dallas Green. Guitarist Wade McNeil adds his vocals sporadically for the first time here. To this writer the singing parts of such stuff always gives an unwelcome reminder of the dreaded Papa Roach and Lincoln Park, not helped here by Dallas Green’s “the city’s full of ghosts/ from broken homes” on ‘This Could Be Anywhere In The World.’ Such a comparison is unfair on Alexisonfire though; they might prefer one with Thursday.
They certainly share that bands passion, sadly not quite their lyrical aptitude but thankfully their sense of melody. Indeed ‘Crisis’ is a very accessible album, easy to get in to after just a couple of listens thanks to the abundance of catchy hooks and guitar licks. The Pogueishly titled ‘Drunks, Lovers, Sinners and Saints; begins and immediately sets the tone with typically catchy, angsty chorus from Green, “Are you pretending/ are you been listening?” ‘This Could Be Anywhere in The World’ is one of the best things here. It’s built around a huge wall of sound guitar riff but the familiar melody is so tuneful and the two voices dovetail so effortlessly as to make ostensibly hard-edged stuff sounds as commercial as Britney Spears. If screaming is not to your taste…. well then screaming is not to you taste.
There are moments here where Pettit does sound like someone just gruffly muttering in a corner, like the start of ‘Mailbox Arson’. Those songs shows, however, that the singing and excellent guitar (almost Strokes –esque on ‘Arson) give the tracks shape and purpose. (Though the screaming still er rocks bad style, obviously.) The track listing is weighted toward the beginning and end, leaving a slightly sagging middle where the formula goes a bit stale and it’s all a bit flat and dreary. ‘Boiled Frogs’ is very good though, more of a straight up rock/emo track in the Alkaline Trio mode. Towards the end ‘Keep It On Wax’ is visceral rock with another power chorus, ‘To A Friend’ features very fine guitar indeed and the best is saved for last, ‘Rough Hands’ a piano laden epic ballad. Overall? Definitely no crisis here we feel.
