L to R: Cory Elder (bass), Kellen McGregor (lead guitar, backing vox), Matt Mullins (lead vox), Joel Seir (guitar), Jeremy Grisham (former drummer)

Genre: Post-hardcore, metalcore, southern rock
Origin: Dallas, TX
Label: Trustkill

As post-hardcore and metalcore become increasingly popular amongst angsty teens looking to separate themselves from the safety of the indie scene, the music has become more homogenous. Add yelled or screamed vocals. Mix in some clean ones. Maybe not so much. Insert intricate yet uninspired fretwork, a few double-bass breakdowns and pray you've got the looks or the chops to make it big. So, when I came across Memphis May Fire's debut album "Sleepwalking" -- which released this passed July -- I was pleased to hear a new post-hardcore/metalcore band with a full, mature sound.

"Oh please, look me in the eye next time you stab me in the back."

Kellen McGregor is the only remaining original member of MMF.

That's not to say MMF doesn't utilize the edicts that have come to define their genre. All the basic parts I mentioned above are well represented, but their arranged in a clear, focused message: "Sure, we've got the gritty metal licks, soft reflective bridges, and mosh-worthy breakdowns, but we're also straight outta' the south." Guitarist Kellen McGreggor mixes rock n' roll styled overtones with heavy metal grit that would fit in as the opening track for a fist-fight at the local watering hole. "North Atlantic vs. North Carolina" starts with enough fire to start the fight and trudges along with enough diesel to fuel the brawl's aggression. All of a sudden the melee halts for a slow, bluesy interlude. But before the dust can settle, Matt Mullins roars his way back into the skirmish. The rancor reignites with a slow-burning breakdown and then ends abruptly.

"You're Lucky It's Not 1692" stands as the premiere track on the album. It sticks to the formula established by the opening track, but burns much brighter and with more raw aggression thanks to former drummer Jeremy Grisham's heavy-hitting, double-bass laden fills. Mullins wails and yells his scorn for a vicious past love and energetically preaches caution toward anyone considering chasing the same girl. The tension and rage builds throughout the song culminating in a satisfying metalcore breakdown at the song's end.

"She started a fire!"

"Ghost In The Mirror" clashes western style with aggressive power chords in each verse. The combination culminates in an epic-sized, melodic chorus with Mullins boasting the power of the conscience. The song ends strong with a slow, steady breakdown that lurches forward like a colossal, ailing machine. The ominous lyrics stand out as a staple of the song and bolsters the album's foreboding theme. It's no wonder "Ghost In The Mirror" managed a spot on the Saw VI soundtrack. The song is one of MMF's best.

After Chase Ryan's departure, MMF needed only Mullins' vocals to wrap up the recording of "Sleepwalking."

The latter half of the album maintains most, but not all, of its strength while switching up the song structures with varying success. Mullins' wail deteoriates into a whine during the choruses of "Quantity Is Their Quality" and the standard metalcore breakdown is absent in favor of a third chorus. Despite a compelling bridge complete with rolling toms and atmospheric guitars, the song falls flat. The title track starts ambitiously but ends up being the most easily forgettable track on the album. "Destiny For The Willing" delivers the album from its brief stay in mediocrity by reclaiming the metallic rock n' roll element. Grisham pumps the song full of lightning fast tom fills, keeping the songs energy at or near maximum. "The Face With No Name" ups the ante by adding the only real guitar solo on the album, allowing the rock n' roll style -- one of their strongest elements -- to ascend to its highest level. The final track starts with a bluesy opener and then proceeds to mount the hard rock horse it rode in on.

"I am the ghost, the ghost in the mirror that re-creates, painting your soul with every color you hate."

As a whole, "Sleepwalking" is a solid piece of work. Any band would be lucky to have their debut LP be this strong; however, there's still plenty of room for growth. Mullins' comes across strongest when yelling, wailing, and especially growling; he need not whine to get his point across. Grisham could stand to diversify his use of cymbals. Defaulting to riding the edge of the same sounding cymbals throughout the entire album gets old. I'd hit up craigslist and buy him a 19" china myself if he hadn't already left the band. I'm curious to hear what new drummer Eric Molesworth has to contribute. Hopefully his style is a little more diverse. Also, I really enjoyed McGregor's solo in "The Face With No Name." MMF could definitely add more skill credibility by integrating more solos in their work -- nothing too showy, of course. Their melodic cohesion is strong enough to not require minute-long guitar wankery.

Despite numerous lineup changes, Memphis May Fire has managed to forge a sound acclaimed by Kerrang Magazine with a track off their debut LP included on the Saw VI OST. Not bad. Most have done worse. So, if you like Underoath and/or Bullet For My Valentine, MMF is definitely worth a listen. Whether you're a post-hardcore fan or not, "Sleepingwalking" is sure to get your blood pumping. Just don't blame them for any adrenaline induced bar fights.

Memphis May Fire - "You're Lucky It's Not 1692"

Memphis May Fire - "Ghost In The Mirror"

Memphis May Fire - "The Face With No Name"

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more info: www.myspace.com/memphismayfire