Following admittedly brief stints in previous bands Emarosa and the short-lived Agraceful, many thought that frontman Chris Roetter‘s latest project Like Moths To Flames would again have a minimal lifespan. However, now onto full-length album number two ‘An Eye For An Eye’, it seems this time everything is working well in LMTF and, despite the undoubtedly mostly one-dimensional efforts presented in all of the band’s previous releases, ‘An Eye For An Eye’ sees the Ohio outfit pushing their boundries to achieve something more.
Indeed, what was made apparent as the biggest crutch on the band’s 2011 debut ‘When We Don’t Exist’ was the rather limited ideas at hand. Anyone who’d already latched on and found delight in the standard post-hardcore/metalcore scene ala the Rise Records roster would find comfort in LMTF as one of the better bands of the crop, but anyone else wouldn’t be mistake for thinking they were listening to by-the-numbers metalcore.
‘An Eye For An Eye’ still very much presents things that have already been done by a plethora of bands before time and time again. However, this time around, LMTF have expanded their already preset boundaries and have introduced much more melody and towering hooks that, though present on previous releases were far harder to find and latch onto. Album opener ‘You’ll Burn’ is a perfect example of this, and is a promising start of what is to follow over the remaining eleven tracks.
Lead single ‘I Solemnly Swear’ takes a similar route, providing more of the “dark pop” choruses (as Roetter likes to title them) and leaves a rather eerie end of the words “Does it give you a sour taste that you hate?”. ‘Deathmarks’ is another stand-out moment, delivering a formidable whilst still bringing enough hooks to latch onto and warrant repeated plays. Along with the clear increased amount of clean vocals throughout, a lot of what makes this record attract more repeated plays is the guitar work of Zach Huston and Eli Ford. Yes, there’s still plenty of chugging, but there’s a lot more thought throughout to deliver riffs that soar and weave to make for a more interested listen.
The back-to-back inclusion of ‘The Blackout’ and ‘In Dreams’ may be the album’s biggest downfall. Both tracks definitely unveil the band’s more melodic approach at its strongest, but ultimately both just sound a little stale and bland, and as such back-to-back make for a bit of a speedbump in an otherwise enjoyable album, showcasing LMTF beginning to reveal their potential, and there’s still a lot more to come yet.
Written by Zach Redrup