I The Mighty has always been an extremely interesting band to me. In the eight years that they have been a band, they have changed their sound multiple times, but it always sounded like I The Mighty. In their third album, they switched up their sound and vocalist Brent Walsh got incredibly introspective lyrically. They didn’t drop their post-hardcore sound that they had introduced in their label debut album Satori and honed in Connector, but some of the songs are stripped down musically.
Would you regret all of the things you said?
The opening track to the album, “Degenerates” mixes electronic sounds with a peaceful, yet jumpy guitar melody well. Once it hits the chorus, the I The Mighty that you’re familiar with, Brent belting behind energetic instrumentals. The song has multiple breakdowns and stylistic changes that keep the song entertaining. “Pet Names”, the second track, took a lot of listens for me to enjoy, but now it’s one of my favorites. Brent singing in falsetto for the chorus threw me off. Musically the song is basic, but it fits the feel that the album was giving off. The same can be set for track number three, “Chaos In Motion”. I will say that I really enjoy the treble the bass player Chris Hinkley uses.
“Where The Mind Wants To Go”, is probably my favorite song off this entire album, and simply for the fact that it reflects a relationship I had just gotten out of. Personal interest aside, the sound this song has is reminiscent of their previous album, which I loved. WTMWTG also had Brent screaming again for a bit in the bridge, which I’ve always been a huge fan of. Blake Dahlinger’s drum fill going into the final chorus of this song is absolutely brilliant. I could honestly write an entire post about this song alone, but I digress.
Instrumentally, “Symphony of Skin” is my favorite. Everyone blends so well in this main riff and verse of this song. Chris dances around the syncopated beat Blake lays down perfectly while guitar player Ian Pedigo plays a beautiful tapping melody with heavy prog rock influences.
I’m just a sleep walker, waking up!
“Sleepwalker” brings us to the half way point of this album. Interestingly enough, the blending of the acoustic guitar with the electric guitar is quite good in the chorus. The arpeggios in this song were well fitting and really accentuated the song along with the piano. “Escapism” seemed really nostalgic to me, and then I realized the pre chorus melody is the same as “Hero/Heroine” by Boys Like Girls. The verse has a really open clean guitar sound that I absolutely love and it really fills out the song. 111 Winchester is a departure from the rest of the album lyrically. It tells the tale of a group of friends going into a haunted house, and what they experience. Once again, Ian’s funky guitar tone and approach to this really open the song and really gives Brent space to stretch the phrasing of certain words.
“The Sound Of Breathing” brings Brent back to the relationship that spurred this album lyrically. This is one of the most sparse songs on the record, instrumentally, up until the final chorus. It was kind of a let down as a whole though. Moving forward to the final two tracks “Silver Tongues” features Tillian from Dance Gavin Dance, a spectacular addition to the song. His vocal range sounds very similar to Brent’s, and I found that confusing at some points, but he was an interesting addition.
The final song on this project, “Where You Let It Go”, is a response to “Where The Mind Wants To Go”, from the first half of this album. It was a weird way to end the album. I like the way it referenced the content from a previous song, but it didn’t really have the grand finale feel to it that I felt the album needed.
It is no surprise that heart break, confusion and loss are huge themes in this album. Clearly, someone broke and shattered Brent’s heart and he’s using music as his tool to get his emotions out. The content was well done, but I felt he could have delivered a bit more vocally to some songs. In The Sound Of Breathing, there was a lot of emotion being poured into the song, but the vocal delivery was netural. That certainly does not take away from the musical integrity of this album, especially the lyrical content.
It’s a beautiful project where Brent bears his soul for the world to hear in 11 tracks. The band may have shed their post-hardcore sound in this album, but make no mistake, they have bag of trick up their sleeve. Blakes’ drumming really controlled the feel of a lot of these songs, holding back in some moments to really add tension, while in others, letting loose along with fellow rhythm keeper Chris. Ian’s guitar work really accentuated the gut wrenching parts of this album as well, tying in the project really nicely.