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The Black Maria I was so stoked when this CD arrived at my house. I am pretty rabid when it comes to Victory Records releases, and this one was no exception. I had seen The Black Maria on bills at random Chicago shows and never paid much attention. Then, when I saw they had signed to Victory, I became more interested. And, anyone with eyes couldn’t miss the plethora of print this five-piece has gotten in the last month. The wait is over, let’s get our review on.
I am so in love with “The Lines We Cross.” Soft, and slow, piano infused fluidity, oozing emotion. A very short song The album then goes straight back into the rocking. "Ash" brings backthe piano, but flows more like spoken word than lyrical vocalizing. "Rats in the Prison" is just abrasive. This is current hardcore; loud, fast, choppy, screaming, more unforgiving. This fifty some minute disc is chalked full of intelligent lyrics and is very picturesque. At points, it gets repetitive, however remains catchy without being annoying. Overall, this is a good listen. Anyone who is a Victory aficionado would dig this CD. Beware pop-rock/pop-punk fans, this disc may be too grown up for you. This disc will keep you guessing. This is for fans of Senses Fail, AFI and Sivlerstein. The Black Maria sprang from the loins of the Grade, another historic Victory rock group. Bands like the Grade don’t disappear, they regroup. Now, if only Student Rick had a spin-off, all would be right in the world. I highly anticipate seeing these guys live. XROXX ALBUM RATING: XXXX (Four X's out of a possible 5 X's) Jayne*Star
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The initial thought I had about this disc was that it is more mature than most screamo/emo in scene right now. There is little whining and more distinguished layering. "The Memento" intros with this old hi-fi sounding melody and then erupts into fast-paced awesomeness. Two songs later, we hear the track "Organs." Organs always remind me of Eighties B horror movies; the use of an organ in such excess in a song like this is a nice touch. The organ is really an instrument you don’t hear very often in modern music. "The Distance From the Bottom" is like Nineties rock; aggressive and choppy, very in your face without regret. The song is about looking in the mirror, seeing what is wrong, and longing to make a better life. “When you wear failure like scars, and your dreams landed way off mark, and you know you want to make things right, for the first time in your life.”
lyrically, but miles long in meaning. This ironic harmony haunts you like distant screaming that you strain to hear just to prove it is real. The drums enter the scene and pulse, and in one instant the song takes on this darker, more retrospective demeanor. “Save us from the killer’s eyes, save us from the lines we cross...”