Between The Buried and Me
Colors

Between The Buried And Me are smart guys. In fact, excluding the superfluous cover work "The Anatomy Of" released at the end of 2006, they have always significantly characterized the albums they released, making every time substantial and substantial evolutionary steps. And considering that they were already very advanced since they debuted with the self-titled album and keeping in mind that "Colors" is their fourth work, it's not difficult to understand how the band from North Carolina should be counted among those adding added value to the music world. And I'm not exaggerating when I say that, precisely because of the decision, which in my opinion is not convincing at all, made by the last Dillinger Escape Plan, one could look to Between The Buried And Me as that sound reality capable of offering a sound where technique, creativity, variety, power, intelligence, and generic transversality manage to coexist and appear credible without having to invent improbable glitch mirrors to climb, not knowing which solution to find to bring out something new.
And this is where the difference lies between the BTBAM of "Colors" and the DEP of "Ire Works"; while the latter seem almost forced to step out (I don't know with how much or what kind of conviction) abundantly outside the sowed field and betting on the "schizophrenic pop" card, the former demonstrate that even staying within certain boundaries (not even too narrow), it's possible to be proactive and convincing. The eight tracks follow a line of development that is constantly changing, but one that remains coherent and fluid in the sequence of musical events described, with extreme attention to detail and to the connecting works that link the various parts, to such an extent that one hardly realizes that the long journey taken with Between The Buried And Me allows us to visit classic metal, progressive, death, hard rock, metal-core, the boldest rock avant-garde, thrash, the articulated song form, post-metal, and countless other nuances (be they electronic, "theatrical", folk and even country), but avoiding writing constraints.
And this is an element of supreme merit, because you sit at minute zero and get up after 64' and 14" aware of having participated in a unique discographic journey, so great that only time will allow you to grasp in all its wonderful immensity.