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The Chariot, despite having something of a revolving door of members and an abrasive, downright noisy approach to metalcore, has managed to generate a lot of hype and move a lot of records. Clearly, there's still a burning desire for oddly timed guitar riffs and rhythms, screeching dissonance, and metallic breakdowns, and The Fiancée dumps some more fuel on that fire.
Sharing some qualities with Norma Jean's material -- not a surprise considering The Chariot's singer, Josh Scogin, previously fronted that band -- The Fiancée delivers ten songs and nearly 30 minutes of churning metalcore that's more urgent and chaotic (think Converge) than heavy. The record has a familiar approach and style, but it's relatively unrestrained, exchanging the standard fluff -- especially chugging breakdowns and blatant melodies -- for gritty, rocked-out parts, sludgy riffs, and borderline strange instruments and guest spots. A number of songs even feature a choir, a pairing that sounds as awkward in words as it does on the record. And even though there are some surprising combinations (a harmonica part, courtesy of mewithoutYou's Aaron Weiss, and guest vocals from Paramore's Hayley Williams), a lot of the experiments achieve a cool, distinct effect or texture.
Still, one of The Fiancée's biggest enticements doubles as one of its biggest drawbacks. This record is intentionally erratic and odd, and while that works for a lot of people, it's got to be frustrating for anyone who wants the gratification of fully realized, well rounded songs. Or maybe just some verses and choruses.
The Fiancée is intense and intriguing while it plays, but it's not the kind of record that'll pull everyone back for listen after listen.
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