Album Feature: Memphis May Fire's "Sleepwalking"
Chris Jr. 
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.