"Colors II" (Sumerian Records; 2021)

Reviewed by Snidermann

I reviewed Between the Buried and Me (BTBAM) back in 2012 and, from what I can remember of them, they have not changed that much since then. The name of this recording is "Colors II." I really don't know the significance of that title, but one thing I do know is that this recording kicks fucking metal ass.

From the first note of music, you know you are in the presence of something special. It starts with a simple piano melody and gets hard and heavy from there. I guess you would call the music "progressive metal" because the band uses keyboards and multiple singers along with a shitload of attitude and killer music.

I don't like to put a label on music or put it in a category. I like what I like and it matters not what kind of label the music industry has put on it. This music is fun and easy to listen to. This band has been around since 2000 and with 20+ years under their belt, they know how to put out some really good music. Check out the band members online for a close look at this really talented band.

One thing I really like about this recording: There are twelve songs and an hour and twenty minutes of music. When BTBAM puts out a recording, there is no bullshit and no filler; just one great recording that is well worth the time.

Hard and heavy, at one moment blistering and then soft and back again with every musical expression well thought-out along the way. BTBAM's "Colors II" is one awesome release.

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"The Parallax II: Future Sequence" (Metal Blade; 2012)

Reviewed by Snidermann

Some bands have names so cool, you just know their music is awesome. Between the Buried and Me, for example. And their new album, "The Parallax II: Future Sequence," proves the point.

"Parallax II" is in-your-face from beginning to end and I know there is a storyline in there but I'm pretty sure I missed it on the first few spins. The great thing is that I can't wait to get back in there and try to figure it out.

The music stretches in different directions from cut to cut and keeps your mind exploring and following. It's irresistible, dynamic and ... well, interesting for lack of a better word. But it's that "interesting" aspect that holds your attention from the first note to the last. Throughout "Parallax II," Between the Buried and Me delivers in spades.

Check out and you will look into the mouth of the tiger. This is what metal should sound like.

"Colors" (Victory; 2007)

Reviewed by Mike SOS


North Carolina's dextrous metal act, Between the Buried and Me, return with another head-spinning array of songs with their latest presentation: "Colors." 

This eight-track offering is laden with the kind of prog rock enormity that fans of Dream Theater drool over, yet also matches up to the metalcore wallop from any band thrown on the second stage at Ozzfest (a space where BTBAM dominated when they appeared in 2006). 

Armed with a number of epic songs (three out of the eight here clock in over the 10-minute mark) whose rich textures and seamless dynamic shifts consistently and cohesively discover adventurous musical fronts, each boundless arrangement manages to dazzle with dizzying musicianship while keeping the listener fully engrossed. Add in a vocalist whose feral growl and smooth deliveries gracefully work with one another and a limitless supply of musical influence rising to the surface on cuts like the world beat-esque "Informal Gluttony," the majestic shape-shifting qualities of "Ants of the Sky" and the Dillinger Escape Plan freakout that starts off "Sun of Nothing," and "Colors" not only showcases this band's commitment to carrying the prog rock flag, but actually demonstrates a band whose progression can be marked by leaps and bounds, making their new album a must-have for those who appreciate heavy music and have written off mainstream music as a vacuous wasteland. 

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"The Anatomy Of" (Victory; 2006)

Reviewed by Mike SOS


Between the Buried and Me are an odd lot, hence the covers of Motley Crue, King Crimson, Queen, and Sepultura on the band's cleverly titled cover song collection, "The Anatomy Of."

Unlike the band's own songs, which simultaneously glisten while leaving scars, some of these choices are clunkers, like the sterile cover of Pantera's "Cemetery Gates." Yet, despite the spottiness of this 14-track release, these shape-shifting musical juggernauts do pull off some impressive covers, like the punishingly accurate version of Faith No More's "Malpractice" and the strikingly gorgeous rendition of Pink Floyd's "Us and Them" that gives BTBAM enough reprieve for the awkward moments of this CD.

If you're a fan who marvels at their versatility, this one is a must own. 

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"Alaska" (Victory; 2005)

Reviewed by Mike SOS


How a band hailing from North Carolina comes up with "Alaska" as an album title is perplexing, but not nearly as head-scratching as this schizophrenically sonic, 11-track sojourn. 

Between the Buried and Me confidently displays all of the dastardly metallic devices needed to blow your head clean off with tracks like “Roboturner,” but it’s during songs like “Selkes: The Endless Obsession” (where the band gets all Opeth-meets-Genesis-on your ass) or on the acoustically-led Caribbean feel of “Laser Speed” (when you can actually see why this band is one of the most brilliant on the extreme music scene today). 

Lose your inhibitions (don’t fret, tough guys, there’s enough testosterone here to fill your most violent urges) and soak in the progressively pummeling beauty of "Alaska." 

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"The Silent Circus" (Victory; 2003)

Reviewed by Christopher J. Kelter


I'd heard a lot about the wide spectrum of musical influences that Between The Buried And Me brought to their brand of almost-anything-goes metal style. The band's Victory Record's debut, "The Silent Circus," presented me with the perfect opportunity to hear for myself what others were saying about this particular outfit.

Not even halfway through "The Silent Circus" it becomes readily apparent that Between The Buried And Me are incredible students of all that metal has to offer. At any given moment Between The Buried And Me can go from sounding like a modern hardcore outfit to playing death thrash, grind, melodic post-hardcore, near-emo-esque quietude, and Opeth-like passages. It's a lot to absorb, but the effort required to take it all in seems to have been matched by the band's desire to create something equally challenging.

As I write this I fear that I will slip into ridiculous hyperbole (which would render my review worthless), but I will try to soldier on. I will say this -- Between The Buried And Me have successfully merged many metal styles into a cohesive whole. Some of the transitions are a bit jagged and uneven, but for the most part Between The Buried And Me makes genre-skipping a walk in the park.

"The Silent Circus" may just be one of those few records that actually pulls together die-hard fans of many genres to a general consensus that may proclaim Between The Buried And Me the ultimate cross-over kings. If only more people could hear what Between The Buried And Me have created we could all put that theory to the test.

"The Silent Circus" is the sophomore effort from Between The Buried And Me. I can only guess that the band's first record is anything like this effort -- which means that it, too, must defy categorization. And don't call Between The Buried And Me a metalcore band either.

"The Silent Circus" was produced by Between The Buried And Me and Matthew Ellard.

Between The Buried And Me: Tommy Rogers on vocals, Paul Waggoner on guitars, Nick Fletcher on guitars, Jason King on bass, and Mark Castillo on drums.

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Rating Guide:

A classic. This record will kick your ass.

Killer. Not a classic but it will rock your world.

So-so. You've heard better.

Pretty bad. Might make a nice coaster.

Self explanatory. Just the sight of the cover makes you wanna hurl.

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