Crossfade "We All Bleed"

In 2004 their self-titled debut hit it pretty big with their single that was a little cold, but still managed to stick in the heads of many fans of modern rock like one would stick their tongue to a pole. There was a lot more to offer on that record than just the singles, so far away was one of my favorites, but there were many more good songs, and comparisons to Nirvana and Soundgarden. Soon after DJ/vocalist Tony Byroads decided to leave the current trio, and have them handle the vocal duties. Their next record was just as engaging as their debut, and was good soundtrack for those who felt that they were Falling Away from themselves. To be honest, though, I did not even hear these two records until I listened to their third release.
This record I did not see coming because I thought they had disbanded; I knew of them, but was not really a fan, and then I had figured I would check this new one out just for the heckuvit! I must say that it was a fabulous surprise, and is one record that will probably be overlooked, but should be given a chance. It took them five years to come to the realization that We All Bleed, and they start banging the doors open with this barrage of guitar riffage and his declaration that "I'm not holding on to dead memories of what I used to be/I found a way to make this I found me" as he nearly screams through the mic. It seems that this dream revealed in the lyrics of the following track has him obsessed with depression may be "Killing Me Inside" as well in this slightly droning, dreamy song with metallic flare, subtle strings and screeching guitar in the last minute of this track. The spacey sound of the keyboard accompanying the vocals and piano raindrops, then fade to this distorted bluesy guitar, and return to what began this song. As if that wasn't enough, the distorted drum bridge and final minute bring it all together, and just confirm that this is one of my favorites. I dare you to listen to it and not like it, and I dare to "Prove You Wrong." It's OK, you can laugh.The song seems that of a toxic relationship where things undone and done are causing erosion in said relationship. Next track begins with a beat in the dark and a dreary delivery of the Sloan which seems to bloom a little orchestral flower that dies soon enough; and again, Sloan seems on his own until a piano tip-toes in the dark. Then, a guitar assault blasts open the windows as he sings "Lay Me Down," but trapped in this darkness; the newly opened windows fill back in until the assault returns. He is now with some haunted harmonies and the piano which decides to make itself more prominent; it seems as all hope is lost until third time's the charm and the solo kicks one door open, and another, and another. It seems that they have one last time he will say it, and then done. The next song seems to be a ballad to his "Dear Cocaine," but is really a heart-breaking confessional of the damage done, and is a metaphorical reference to that of a relationship with the opening lines "Dear cocaine, I'm not your b*****/Dear cocaine, I'm not your w****... anymore." It has a slightly psychedelic chorus, bluesy tones and guitar, and metallic distortion as the song comes to a close.                                     The opening harmonies of this song nearly "Suffocate" me because it causes me to Imagine a time when A Perfect Circle would reunite. "I Think You Should Know" that this song is an anthem for those that feel that they are alone, and that no one understands what they deal with everyday; they might not go through the same things you do, or understand, but there are people that will try to understand. If you already didn't know, I could be pretty cheesy as well.The title track has an interesting, haunting, atmospheric rhythm that finishes with a good deal of distortion, tribal beats, and gang vocals. If you don't think that these guys cannot rock out, while also pouring their heart out at the same time..DAMN you need to "Open Up Your Eyes." They end the record with the ten minute-ten second epic that starts off with beautiful strummed acoustic rhythm that soon opens up to some spacial illusion a quicker strummed rhythm, soap-opera strings, before an attack of the metallic bob-your head rhythm that transforms again. Four minutes in, we have traces of latin groove before it metallicizes; what is underneath your skin? The ability to create gripping music? OK, I think halfway through I'm done. This song makes me realize that they can create epics that truly capture your attention, and aren't long just for the sake of being long.  I do believe that they can create epics that Tool is known for, but with purpose other than showing off? They still might need to "Make Me A Believer" when it comes to that.