From Autumn to Ashes Albums (5)
What The Critics Say
Though the core of From Autumn to Ashes' sound is raw aggression, the first thing that stands out on Live at Looney Tunes is not the band's intensity (of which there is plenty) but the album's startlingly clear recording quality. Some of this can be attributed to the location of the performance (a small space as opposed to an arena or outdoor amphitheater), but it's still a surprise to hear a live recording that sounds more like a studio outtake, or perhaps a studio demo. The album's resulting intimacy is enhanced by a bare-bones approach to both tracks and external presentation -- there are no bonus tracks or special liner notes -- allowing the band's exceptional performance to stand on its own. It's also nice to hear a concert album where the music and lyrics are so clear; when the crowd comes in at the end of "Pioneers," they're enthusiastic but not overly raucous or distracting, a refreshing departure from live recordings in which the audience creates more noise than the band. Naturally, From Autumn to Ashes make plenty of noise themselves throughout the performance, but what makes Live at Looney Tunes special is their own excitement to be performing at a place they love. Throughout the set, the band refuses to hold back either energy or volume despite the cozy nature of the venue. In contrast, vocalist Francis Mark offers some gentle asides that are relaxed but not overly chatty. At the beginning of "Royal Crown vs. Blue Duchess," he explains his connection to Looney Tunes, the independent record store where the album was recorded, without turning the moment into an advertisement. (The store's logo does appear on both the CD and the case.) A few other anecdotes appear throughout the career-spanning set, which concludes with a rousing rendition of "After Dinner Payback." The track brings together Mark's banter, the cheering of the assembled crowd, and a powerful, punchy performance from From Autumn to Ashes -- tying together all of the elements that make Live at Looney Tunes an appealing album for fans. ~ Katherine Fulton, All Music Guide
'Holding a Wolf by the Ears'
Release Date 4/9/2007
Tracks 12
Label Vagrant
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What The Critics Say
From Autumn to Ashes has always thrived on the screaming guy/singing guy dynamic between Ben Perri and Francis Mark. Consequently, it was interesting to see what would happen following lead shrieker Perri's nicely timed 2006 departure, which occurred right before vocals were due to be tracked for Holding a Wolf by the Ears, the Long Island crew's fourth full-length. Instead of recruiting a new pair of lungs, drummer/vocalist/lyricist Mark decided to step out from behind the kit to take over all vocal duties and not just the melodic parts he'd previously been responsible for. Acerbic opener "Deth Kult Social Club" is almost shocking at how fully Mark just goes for the harsh screams, and though Perri's voice was a bit tougher sounding, he does a pretty impressive job taking over the guttural emoting; it's often indistinguishable that the lineup even changed. F.A.T.A. has become increasingly more melodic and accessible as their career has progressed, and that one song aside, Holding a Wolf by the Ears is no different. But that's not necessarily a bad thing, since the guys do still keep the heavy hardcore bottom end around. Super tuneful choruses, as in "Daylight Saving" and "Under Pass Tutorial," mostly drive the proceedings, yet F.A.T.A. never forgets the churning guitars and swirling rhythms (that all inevitably drop into a heavy breakdown) to deliver one tightly wound collection of songs. The newly configured band -- that actually sounds stronger than it has in awhile -- delivers the goods with enough emotional force and power that fans (especially ones who loved 2005's Abandon Your Friends) should eat Wolf right up. ~ Corey Apar, All Music Guide
'Abandon Your Friends'
Release Date 8/28/2005
Tracks 12
Label Vagrant
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What The Critics Say
Drummer/singer Francis Mark has been quoted as saying that From Autumn to Ashes is almost like "a band with an identity crisis." His point was that F.A.T.A. thrives on contrasts -- clean alternative pop/rock melodies are contrasted with the sort of screaming, tortured vocals associated with metalcore. Actually, F.A.T.A. does have an identity and it's an appealing one, even though The Fiction We Live (the Long Islanders' second full-length album) isn't quite as consistent as it could have been -- some of the performances are more successful than others. But when the band does hit its mark, F.A.T.A. has much to offer. F.A.T.A.'s basic concept -- melody and lushness meets brutality -- is a good, intriguing idea and it has the necessary equipment to pull it off. Mark provides the melodic, accessible, more conventional vocals, while Benjamin Perri provides the metalcore-like screaming. The Fiction We Live, however, isn't a full-fledged metalcore disc -- certainly not in the way that Brick Bath, Hatebreed, Rotten Sound, and Throwdown have provided full-fledged metalcore. For the most part, the playing isn't all that heavy -- and the hardcore/metalcore element has more to do with Perri's vocal style than with the actual musicianship. Take away Perri and The Fiction We Live wouldn't be all that different from a Smashing Pumpkins CD. But Perri's presence is definitely a plus, and his screaming is often beneficial because it adds emotional emphasis to the angst-ridden lyrics. There are times when F.A.T.A. should have used him more sparingly; some of the material would have been better served by less screaming from Perri and more of Mark's "normal" singing (whatever "normal" is). But despite its imperfections, The Fiction We Live has more plusses than minuses and paints a generally appealing picture of the Long Island alterna-rockers. ~ Alex Henderson, All Music Guide
'Too Bad You're Beautiful'
Release Date 8/14/2001
Tracks 10
Label Ferret
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