Saturday, December 20, 2014

Album Autopsy: Norma Jean’s Redeemer



Disclaimer: The following piece is a super-in-depth look at one of my favorite records, and as such, it is riddled with personal opinions and praise for said record. This cannot be helped.


            As I’ve said myriad times before, I was hardly a fan of metal in high school. Punk and ska dominated my clunky iPod’s memory, and what little crevices were left I filled with the 90’s alternative I had only just begun to explore. It took me years to find a true handhold in hardcore music, and most acts in that genre were hard-pressed to get my attention before my later college years.
            Except for one.
            To my great fortune, engraved on that pivotal CD mix I received during my senior year was “The End of All Things Will Be Televised” by Norma Jean, and from the very first second, I completely understood the song. The heavy slamming guitars soaked in overdrive, the tumbling time signature changes, the gross amounts of dissonant noise—there was not an element that failed to command my attention. Within the first ten seconds I had cranked the volume on my stereo to near-deaf levels, not wanting to miss a single nuance in the violently heavy bass line or the desperate screaming vocals.
            My infatuation with this one tune led me to investigate the band, and within a few weeks I had procured a used copy of that song’s parent album, Redeemer. Tossing the disc in my CD player like a jonesing drug addict, I smashed the “play” button, and began a love affair with Norma Jean that continues to thrive as I write this piece. Years later, I have journeyed across this band’s entire catalog, but no other NJ record has come close to surpassing my intense captivation with Redeemer.
            The sound of Redeemer is laden with dichotomy and paradox at its very core, which is perhaps part of the reason why it completely overwhelmed me. Norma Jean is heavy, and Redeemer is a hardcore record, yet the production and equalization of that heaviness makes the album extremely accessible. The composition is rooted in time signature changes, dissonant chords, and drop tunings, but the arrangement of the songs with these tools feels wholly natural to the ear and the spirit. Furthermore, despite the relatively high production value on the record, every note feels as raw as a fresh wound and as meaningful as the first time a heart is broken—according to bassist Jake Schultz, the band members were encouraged to ignore mistakes and just “play it as hard as you can,”[1] so that no decibel of energy was lost. Every second of Redeemer is played with feeling and utter honesty, and that alone means everything.
            There are quite probably a million reasons why I love this record as a whole, but to truly process my passion, I feel each track must be set aside to shine in its own right. Every song is loaded with nuance and clever decision that should not be ignored, as each is imperative to understanding the truth threaded throughout Redeemer’s entire being.   


1.    A Grand Scene for a Color Film


            Kicking off the record with a haphazard intro full of feedback and shouting, “A Grand Scene for a Color Film” presents at full force the very essence of Norma Jean. Putman demands “Sit down!” while Dan Davidson smashes his toms and the strings crash against each other like hurricane waves. The tune alternates between 4/4 and 6/4 before descending into a pounding breakdown in 9/4, yet every change is so smooth it is almost imperceptible. Putman’s exclamation of “the great universal coma has arrived,” while curdling the blood, also introduces us to the metaphysical thinking that is a primary theme on Redeemer.[2] “A Grand Scene for a Color Film” quickly familiarizes the listener to the unrelenting energy and insanity of this band, kicking off the festivities with what Sputnik Music calls “train wreck inspired sound-offs [that set] the tone for the rest of the record.”[3]

2.    Blueprints for Future Homes


            The first pseudo-single released on the album,[4] “Blueprints for Future Homes” hardly lets the former track end before erupting outward at us. Driven by a punchy guitar riff alternating between 7/8 and 4/4, Norma Jean creates a musical catastrophe saturated with distortion, against which Putman laments the loss of “a drowning generation.” Despite the grueling guitar chords, much of the heaviness in this tune stems from Jake Schultz, whose overdriven bass snarls like a rabid animal about to pounce.
            “Blueprints for Future Homes” is laden with awesome moments, but no part is more brilliant than Putman’s lyrics. He sings and screams with a voice of terror and mourning, his images of dishonesty and confusion coalescing into a photo of a suffering world. Despite his visions of a reality where “hell is empty” and “the devils are here,” Putman decides to act rather than mourn, vowing that he “will never sleep” as long as his fellow man continues to drown.[5] Putman’s will to aid his fellow man is heavy and meaningful, and the vicious performance of Norma Jean across this song adds even more weight to this interesting and profound idea. 

3.    A Small Spark vs. a Great Forest


            Though many of Norma Jean’s tunes alternate between whispers and shouts, no song on Redeemer utilizes dynamics quite as effectively as “A Small Spark vs. a Great Forest.” Dan Davidson’s tumbling rim shots and Jake Schultz’ rumbling lows quietly introduce the tune before the band explodes into a tumultuous blaze. Throughout the entire song, the band toys with dynamics, keeping the vocals loud while the instrumentation backs off, before shoving the entire mess into the listener’s mind again. Between the slow build of intensity and the flaring lyrics that encompass the imagery of a sylvan landscape, “A Small Spark vs. a Great Forest” indeed takes on the sound of a raging inferno intent on consuming all in its path.

4.    A Temperamental Widower


            Loaded with energy, “A Temperamental Widower” teases us with a tame intro, but as soon as Davidson finishes the four-count, Norma Jean bursts outward like a runaway locomotive. The frenzied guitar riffs of Scottie Henry and Chris “Derr” Day ring reminiscent of 80’s hardcore punk, yet their signature noisy melody style still dominates the changes. The fast tempo and crashing drum beat provide a pulse so frantic that even when the band arrives at the heaving breakdown and Putman begins his chant of “You’ll put me in the grave,” not an iota of energy is compromised.[6] Angry and volatile, “A Temperamental Widower” takes the simplicity and speed of punk and crams it against Norma Jean’s noisy hardcore, creating a tune that tears headlong into our ears, screaming with abandon.

5.    The End of All Things Will Be Televised



            My initiation into the music of Norma Jean, “The End of All Things Will Be Televised” begins with a breath, followed by crashing chugs so heavy, they could be the footfalls of the Four Horsemen. This tune roils and rolls about without mercy, shuffling between 4/4 and 6/4 before diving into a coda in 13/4. Beneath every riff, the string section has also layered strata of feedback and noise, filling every sonic space with the chaos that is this band’s signature flair.
            Despite all the riotous instrumentation and brutality, Norma Jean keeps the song from feeling like a pile of ideas by deftly overlapping and recalling earlier sections, especially in the vocals. The song has multiple lyrical hooks, including the chorus-like “embrace your comforting company,” the chant of “Captain, the ship is sinking / Have mercy” in the coda, and of course, the shouts of “the south is on fire” over the arduous breakdown.[7] In “The End of All Things Will Be Televised,” Norma Jean carves their blend of syncopated hardcore to fit into a package that is as catchy as it is epic, and with each listen I give it, I remember exactly why I love this band.

6.    Songs Sound Much Sadder


            Co-written with Underoath’s Timothy McTague,[8] “Songs Sound Much Sadder” is perhaps the weakest point in Redeemer. The pop-driven songwriting seems is underwhelming when juxtaposed against the aggressive mania surrounding it, only made more confusing by the fact that the verses lack a downbeat, leaving the tune with a somewhat messy foundation.
            However, there is certainly hope in the chorus that is both catchy and heavy, as well as the outro that explodes like a landmine at the end of the tune. Putman’s got a few killer lines too, like “We are smashed men, still moving” and “death with a steady heartbeat,” certainly capturing the emotion the title promises.[9] Although lacking in some respects, “Songs Sound Much Sadder” still captures the essence of this record and so earns its place; plus, the music video is pretty kickass, featuring surrealistic stop motion and a collagesque images reminiscent of the design of the album’s liner notes.

7.    The Longest Lasting Statement


            To be blunt, this tune is HEAVY. With gallons of feedback, a beat like pounding war drums, and a juggernaut of a breakdown, “The Longest Lasting Statement” has more impact than an atom bomb. The structure of the song is simple yet interesting, beginning with a slow and grinding heaviness before jumping into a bridge of slash beats and dissonance, and finally returning to the first section, but in a slower, darker, and more pissed-off incarnation.
            Contrasting with the straightforward composition, however, is a remarkably complex lyrical idea that consistently makes my mind spin. With “The Longest Lasting Statement,” Putman subtly personifies those early Christians who decided to take Jesus’ body after he was crucified, and portrays their struggles in a contemporary framework. Furthermore, when taken in the context of the record’s larger metaphysical theme, the Biblical idea becomes a metaphor for the many generations of kids who grew up without a leader and who must now carry on without one. This deep if not literary thinking gives the song a fascinating and imaginative subtext that constantly prods my brain into the philosophical realm.

8.    Amnesty Please


            Scottie and Derr are the stars of this tune, mixing it up and down with chugs, slides, melodies, palm mutes, and thrashing, showing us virtually all the ways a guitar can make noise. There is a riotous feel to the intro which is only heightened by Putman’s megaphone-filtered vocals. However, when the beat drops into a remarkable groove under the lines “Burn this to ashes, ashes and framework,” this song takes on a soul.[10] The band loads tons of syncopated riffs in for variety, making “Amnesty Please” virtually danceable without sacrificing an ounce of the fury that is their core. “Amnesty Please” is a song that evolves from the first second of life to the last ringing note, adding layer upon layer of nuance that defines this tune as one of my favorites off Redeemer.

9.    Like Swimming Circles


            Similar to “A Small Spark,” “Like Swimming Circles” is another song from Redeemer that gives voice to a disaster, albeit this time at sea. Dan Davidson’s pounding and astounding beat in 6/4 is reminiscent of crashing waves (his drums were apparently recorded in live takes to capture his intensity)[11], while the driving guitar and bass create the impression of a maelstrom raging overhead. Putman utilizes much water imagery in the song, painting in our subconscious a study in the chaotic movements of water, while the swirling section under the line “Don’t you dare insinuate me” truly sounds like the score to a typhoon.[12] If the ship is sinking in “The End of all Things,” it is the livid ocean possessing every note of “Like Swimming Circles” that takes it down and swallows it whole.

10.  Cemetery Like a Stage


            My absolute favorite from Redeemer, “Cemetery Like a Stage” holds in its voice more despair than a mourning mother who has lost her child. Every second of this song is imbued with pure, unadulterated sadness, every note painted with the deepest grays and blues. The main riff in 7/8 writhes in the throes of desolation, while the chorus and bridge wallow in negative space. Jake’s howling bass owns the spotlight in this song, setting up an awesomely awful progression for the chorus and introducing a bit of tremolo in the funereal bridge. The sounds he captures with his instrument in “Cemetery Like a Stage” are the primary influence on my own bass tones, simultaneously heavy, graceful, dolorous, and irate.
            One of my favorite aspects of this tune is how seamlessly interconnected the many elements feel. Putman’s rhythmic screaming is locked to the 7/8 groove in the verse, and the pure rage in the chord progression is an impeccable backdrop to his wailing declaration: “I joined the avalanche just to feel alive.” Similarly, Norma Jean is nowhere tighter than in this song’s chorus; the moaning lines “We’re broken here / We’re ruined here” are the perfect echoes to the biting guitar progression.[13] In “Cemetery Like a Stage,” there is no noise that is not authentic, because Norma Jean unloads every ounce of their being into it, making it impossible for me to do anything but respond in kind.

11.  No Passenger : No Parasite


            Because of its mostly-instrumental nature and simplistic shape, “No Passenger : No Parasite” is a gentle but emotional coda to a record that is simultaneously manic and depressed. The string section provides a strolling and panoramic environment while the syncopated and polyrhythmic drum intro evolves over the course of the song, taking on a life of its own and pushing the composition towards an emotive climax. Putman’s sparse lyrical contribution allows his voice to become more of an instrument, tingeing the atmosphere of the tune in a manner rarely seen outside of jazz. Despite its relatively uncomplicated existence, Norma Jean, as usual, gives to this tune everything they have, summing up their entire record in the last few seconds by charging headlong to the very end.


            Fans of the genre might argue that Redeemer is fairly tame as far as hardcore goes, especially with its layered Christian undertones and intermixing of clean vocals. However, with a close listen, I feel there is nothing really tame about this record; in fact, quite the opposite. There is an entire universe of chaos, dissonance, and brutality engraved on this disc, especially in the instrumentation, but it is the tasteful and intelligent presentation that makes that noise so enjoyable and accessible. Norma Jean spends no time preaching, but rather places a layer of Christian subtext in their music, which the listener can choose to ignore or indulge. Similarly, the choices to leave the low end to the bass guitar and incorporate distinguishable melodies into the hard vocals gives a fresh, vibrant take on the tropes of hardcore while keeping them at a level digestible for the uninitiated.
            One of the reasons this record immediately grabbed me was because of how easy it was to like the sound of Norma Jean. While the dressing and presentation of the music is versatile and attractive, the band still sounds goddamn vicious as they pummel their instruments. Each member of Norma Jean really tears every scrap of sanity from themselves in attempting to make this record, and leaves not a speck of their being out. In the words of Daniel Davidson, producer Ross Robinson “encouraged us to get back to the real reason why we got into music…He told us to write this record ‘like it’s your first record and like it’s your last record. Give it all you’ve got.’”[14] Every time I spin this record, it feels like the end of the world, because Norma Jean sculpted their music to sound like a true apocalypse.
            Within all the heavy and the raw and the chaos that revolves around Redeemer, the music contained on this disc is honest and passionate, and that more than anything is what pulls me back to it every single time. Every noisy and pandemonious note from Norma Jean sounds both unique and heartfelt, as if it holds the secret meaning of life within. The urgency with which these five musicians play inspires me to throw myself at each endeavor in the same way they threw themselves into making this record, and so when I need to give myself a shove, you can be sure that Redeemer will be sounding off behind me. 


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