Album Review: We Are The Fallen - Tear The World Down

After Rocky Gray and John LeCompt followed the lead of Ben Moody in making a departure from Evanescence in 2007, the wayward members reconnected, deciding that they wanted to continue down the path that their former band had attempted to go in. Recruiting Marty O'Brien on bass, the group was left to find a new singer. Ultimately, they settled on American Idol finalist Carly Smithson, who was in the midst of recording a post-Idol album. Having made an instant connection, Moody, Gray, LeCompt and O'Brien recruited the Irish singer, and We Are the Fallen was born.

Now, their debut album Tear The World Down has just been released, and it shows a band not so much making a statement as reclaiming their musical identity. If Tear The World Down sounds like it has a bitter tone to it, that's because it does. The group's name itself comes as a backhanded swipe at Evanescence's 2003 effort Fallen, and this offshoot sounds as though their prime objective is to assert ownership of a musical style that helped propel Evanescence to the top of the charts.

However, critics have already pegged the overwhelming similarities between We Are The Fallen and Evanescence. At the forefront, Smithson's vocals bare an uncanny resemblance to those of Evanescence singer Amy Lee. With a powerful and impressive range, Smithson's arena-filling vocals are being utilized in the same manner as Lee's, and so it would stand to reason that the music must stand as the difference here. Unfortunately, most of the songs on Tear The World Down tread the same ground as Evanescence, with driving, anthemic metal songs tempered with Smithson's harmonies hanging delicately overhead.

This isn't necessarily a deal-breaker, as many of the album's tracks do succeed on standing on their own. "Burn" begins with a syncopated metal riff paired with a drumbeat intent on beating you over the head. With murky, down-tuned guitars reminiscent of Korn, the song is intent on putting the chops of this new band on full display.

"Through Hell" also offers something of an anomaly. With its minor key synth riff, Smithson sings her heart out, with impeccable harmonies that manage to liven up some of the more exhausted guitar progressions.

Meanwhile, "I Will Stay" shows the group exploring more delicate melodies, with focus aimed more at the piano/cello orchestration than the guitar/drum onslaught.

Unfortunately, the album as a whole doesn't show a band rededicating themselves, but rather one that is hellbent on reclaiming a sound from the past. Lead single "Bury Me Alive" is the perfect example. With the aforementioned blend of overdriven guitars, dramatic orchestration, smashing drums and vocals that sound vulnerable and fiery at the same time, it could as easily be mistaken for the latest single from Evanescence.

While this ultimately could be a good thing for We Are The Fallen's band chemistry, it is something that, if not remedied, could ultimately hinder the promising young group.

Justin Starling for Citadel Digital © 2010