Burnt by the Sun - The Perfect Is the Enemy of the Good (2003)

First things first: listen to The Perfect Is the Enemy of the Good on Bandcamp.

Some albums change the way the listener looks at and hears music.

Ten years ago, Burnt by the Sun released The Perfect Is the Enemy of the Good to...some acclaim?  Obviously, it's been a while and my memory is less than perfect.  I also wasn't nearly as connected to the underground as I am now (still, I'm not on the cutting edge or even within shouting distance of it).

For example, take the release date.  Relapse gives it as 9-23-2003, but I remember the album being released two weeks later, 10-7-2003.  I was in college at the time in Boston and actually got on the T to go to Newbury Comics (on Newbury Street, no less) so that I could get the record on release day.  It might have been the 23rd of September.  Who knows?  If I were better organized, I would have kept the damn receipt, because this was an important album to me.

Looking back, 2003 wasn't that bad of a year.  It was hardly a year with the most numerous albums that made it into my collection, but the quality was there, for the most part.  It was a hell of a lot better than what I've seen in 2013.

Anyway, prior to listening to this one, I was deeply ingrained in the long-form version of songwriting.  To me, any song that went eight minutes or more was the most viable way of going about it.  There was more territory to explore and as such the riffs could really develop and turn into arrangements more unusual than those you'd see in shorter songs.

So as you'd expect, BbtS really turned that thought process upside down.

The Metal Archives describes their sound as "metalcore with grindcore influences".  It's not the most likely combination and a weird way to describe a band.  Then again, when you've got the caliber of musicianship that you see in BbtS, it's not too much of a surprise.  But the music does take some weird turns.  I attribute most of that to the six-string bass (get a better sound system or pair of headphones to really feel it) and John Adubato's Rickenbacker.

Ask anyone familiar with guitars about Rickenbacker.  Specifically, ask them which bands are most notorious for using that brand.  You'll likely get three answers: the Beatles, R.E.M., and the Byrds.  The phrase "polar opposite" is just barely applicable in describing the difference between them and Burnt by the Sun.  But it's to Adubato's credit that he was able to use that instrument in a context that was almost completely foreign to it.  I'm no metal historian, but the instances of Rickenbackers being used in metal can't be more than five bands other than BbtS (he says, waiting to be proven wrong).

At any rate, none of this nonsense would matter in the slightest if the record wasn't filled with great songs.  And this is one of those rare records.  That said, it's not a "perfect" record.  "Patient 957" (a reworking of a riff from the split EP with Luddite Clone) is not a good track.  It doesn't really go anywhere and the riff, while interesting, doesn't quite stack up to the rest.  And "2012" has a hell of an intro, but the rest of the track doesn't pop in response.  Other than those two, you've got a group of tracks filled with acerbic wit and crushing riffs.  Dave Witte's drumming, as expected, carries a massive weight and machine-like precision.  Vocalist Mike Olender is clearly on top of his game in all aspects.  He has one of the more unique shouts in metal, one that never really gets old or loses an iota of impact.  Even ten years on, the key lines in "180 Proof" or "Pentagons and Pentagrams" remain charged with anger and are unforgettable.

The band was also doing some experimentation with samples that results in an intro track and a couple interludes throughout which provide some breathing room from the intense aggression.  There's also the last track, a 40-minute emergency broadcast system ringing.

Sadly, the band imploded shortly after the release of the album.  Thankfully, they got it back together to record Heart of Darkness, which I've already reviewed here on NHC.  Those two albums by themselves create a fitting legacy for a band that pushed limits and explored previously trodden territory with a fresh twist and exuberance to spare.