Sounds from Far Away Places

Busy in the studio every two years, August Burns Red reconvened in 2015 with Found in Far Away Places, their sixth full-length record since the band’s inception in 2003. Unsurprisingly, their sixth LP builds from the foundation of their fifth record, Rescue & Restore, which aimed to create an alternate take on the complacent metalcore genre. Likewise, Found in Far Away Places makes this quest its manifesto as well, but whereas Rescue & Restore might have managed to fool casual listeners into thinking it was just another metalcore album with singles like “Fault Line” and “Spirit Breaker,” the banjo breakdowns and surf-rock inspired sections included in Found in Far Away Places cause listeners to do a double-take: “Wait, this is August Burns Red I’m listening to, right?” Yes, indeed, my metalhead friend.

Found in Far Away Places [Deluxe Version] (2015): 14 songs, 65 minutes

Overall Impressions

To be completely transparent, I think this is musically one of my favorite ABR albums to date. Like JB, I enjoy the progressive tracks immensely[1]. “Martyr,” “Everlasting Ending,” “Broken Promises,” and “Vanguard” are definitely my sonic regulars, featuring unique clean parts, vocal styles, and overall instrumentation. Lyrically, the band still visits the age-old classic themes, however they have also incorporated a lot of societal issues into the lyrics of this record; primarily the influence of rhythm guitar player Brent Rambler.

Musical Analysis

As I mentioned, this is one of my favorite musical metalcore masterpieces that ABR has released, so here’s a track-by-track list of my favorite pieces of each song. The lead guitar droning section in “The Wake” serves to break up the brutally heavy song, while the powerful, slow rhythm of “Martyr” pushes the record forward at full-force. “Identity” features a unique solo following the surf-rock breakdown, which I find quite tasteful. The restrained section of “Separating the Seas” reminds me of the Robert Downey, Jr. Sherlock Holmes soundtrack and the anthemic vocal style of A Day to Remember’s Jeremy McKinnon on “Ghosts” has a potent effect on listeners. The western-style riffs of “Majoring in the Minors” flow ironically well with the heavy song. Dustin Davidson’s John Mayer inspired soft section on “Everlasting Ending” is glass smooth and a refreshing change of sound for the record, but every interlude of “Broken Promises” drips with intricacy and beauty. The stark contrast of the peaceful opening riff and the punishing breakdown of “Blackwood” gets my adrenaline pumping, while the Davidson acoustic piece at the conclusion of “Twenty-One Grams” settles the listener in for the epic conclusion of “Vanguard,” displayed prominently in the innovative piano ending.

The creativity is blatantly evident on this record. From Jake Luhrs’ new vocal style incorporating different pitches into his yells and screams to the restrained masterpiece in “Vanguard,” this effort is no mediocre attempt at a progressive record; it sets the standard. The lead work performed by JB Brubaker is incredibly proficient and fitting and Rambler’s rhythm work is no slack job either, shining on “Separating the Seas.” Nevertheless, there is always room for improvement. Greiner’s drum work is impressive, but overall lacks something that Rescue & Restore captured. Likewise, Davidson’s bass work really has not changed at all since Leveler, though Found in Far Away Places is the best showcase of his talent, in my opinion.

Lyrical Analysis

As I mentioned in the Overall Impressions section, there’s a theme of societal issues in this record. “The Wake” approaches humanity’s apathy toward preserving the environment, a lyrical theme ironic for the track’s aggressive nature. I do believe that humanity has a responsibility to steward the beauty of the earth God has given us (Genesis 1:28, 2:15), but it’s important not to disregard humanity, the crown of creation, in this endeavor. The next social issue ABR visits is in “Identity,” which according to the band was originally about a family member of the band revealing to his family that he was gay. The song calls for unconditional love for all people, with which I wholeheartedly agree. Where the lines begin to blur is when the band calls for unconditional acceptance; and there is a monumental difference. I can love a gay person, but disapprove of their lifestyle; there is no contradiction in terms here. I think this is something the band has failed to realize, but it’s an important distinction. The plight of the homeless is featured on “Ghosts,” and McKinnon’s haunting vocal contributions are very convicting. It’s a good reminder.

Jake and Matt have also written autobiographies of themselves into the tracks of this record. “Martyr” visits Jake’s story of his calling to help others, but also to recognize that he has issues that he needs to overcome, even in the midst of helping others with their struggles. On the flip side, Matt features his former battle with a speech impediment on “Everlasting Ending.” He makes it clear that though he overcame that struggle, there are still ways that he can improve, as all of us should also recognize.

They also have lot to say to prominent people who have turned their backs on the truth. “Separating the Seas” reprimands a former role model for generalizing with no basis in fact. However, the lyrics go a little too far in my opinion, seeking due justice to the point of revenge. “Broken Promises” touches on the gritty truth that those you love will hurt you and turn their backs on you, while “Blackwood” brutally condemns a successful pastor who seems more interested in making money than shepherding the church. In its harsh reproach of this man, the lines “if a rich man can’t get into heaven” are a little bit misleading. Jesus’ exact words on this are “it is easier for a camel to go through the eye of a needle than for a rich person to enter the Kingdom of God (Matthew 19:24);” impossible for men, but not for God.

The rest of the songs are familiar territory for the band. “Majoring in the Minors” encourages us to look beyond the small inconveniences and trials in life, as they often help us to grow. Covering thoughts of doubt and their ability to shape us by questioning the status quo is visited in “Twenty-One Grams.” However, its line “we don’t owe anyone repentance” is vague and false for Christians. We owe God repentance when we’ve done something wrong. It derails the meaningful message of the song. The few lines in “Vanguard” consider the purpose of life and putting the needs of the next generation first. Finally, “Marathon” is a manifesto to truth, ending with an anthemic “I will climb this mountain . . . to find you.”

Final Conclusion

This record is hard to sum up in a few words because it covers so much ground in 65 minutes. The progressive efforts by ABR are worth celebrating, but certain places on the record are lacking, such as most of “Twenty-One Grams” and the bass work throughout the ensemble. However, the innovation and creativity is at work in the minds of the quintet, as evidenced by the unorthodox interludes and the wide range of lyric writers on this album. The lyrics are wishy-washy on this record; fantastic in songs like “Martyr,” “Vanguard,” and “Marathon,” but distasteful in “Separating the Seas” and “Twenty-One Grams.” If ABR is able to bring lyrical consistency to the next record, while maintaining the ingenious sonic appeal of Found in Far Away Places, they will have achieved the next level of excellence. 8.3/10.

[1] Much of the information about the band and album were gleaned from Found in Far Away Places (Commentary), available on Spotify.