The Chariot

[4/5] From the book of Revelations to Mel Gibson’s latest directorial effort Apocalypto, inspired Christians have created some of the most memorable catastrophic visions in history. Little wonder, then, that the Chariot are so comfortable growling about plagues and cleansing fire in songs like “Two Dead Boys.” Along with seven other songs, the tune’s title forms an extended reference to a poem filled with violent, clever contradictions-like the band themselves. They’re down with Jesus, and singer Josh Scogin (ex-Norma Jean) does the demon-roar thing, but they have a sense of humor, too. “We built this city on rock and roll,” rails Scogin, quoting possibly the worst pop song of the ’80s, then concluding, “It’s my only regret.” No, Josh, you did the right thing. The rock is what makes The Fiancée such a catch.

The Chariot’s Everything Is Alive, Everything Is Breathing, Nothing Is Dead And Nothing Is Bleeding took the scream-roll-riff-repeat style of brutal metalcore as far as it needed to go. On The Fiancée, they move in a more spastic direction, mostly via algebraic guitar outbursts that grate, screech and spark like metal-on-metal friction. But the disc’s real impact comes from unpredictable soft moments-a sampled string section, a mournful harmonica and a Southern Baptist choir-that sweep in from nowhere like so much grace. (SOLID STATE) D.X. Ferris

ROCKS LIKE:

Norma Jean’s Redeemer

Converge’s No Heroes

The Dillinger Escape Plan’s Miss Machine