Atrocity Solution -Tomorrow’s Too Late

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Atrocity Solution

Tomorrow’s Too Late - Tent City Records

They often say you can’t judge a book by its cover, but that’s generally wrong. Normally, you can easily judge a book by its cover – particularly in the case of the music industry. While it’s far from a full proof plan, after looking at thousands of different CD covers, I can see specific elements of art that suit certain bands and therefore can often take a guess as to what they would sound like. Most of the time I’m right, but there are a few times where my initial impression about the album is way off – and this is one of those times.

When I first saw Atrocity Solution’s Tomorrow’s Too Late, I kind of shrugged it off. The artwork was boring, it had reddish-pink writing scattered across the top that I was too lazy to read, with a nicely handwritten band name layered on top while the bottom half consisted of a shadowed cut out of the band. A quick glance, it looked like a generic pop/emo album cover and so it fell to the bottom of my pile. A few weeks later I pulled it out again and finally gave the seven song EP a chance.

The instance the few chords of The Protest Song rang through the speakers, I knew my impression was wrong. With a slicing guitar riff, Atrocity Solution begin to  build up some anticipation before the agitated and indecipherable vocals come blaring through with piss and anger. It was like Jorge Herrera from The Casulaties was there but standing in front of a punk band that had some melodic, Bouncing Souls-like tendencies in them.  Its an odd contrast – but one that succesfull capture’s the listener’s attention and shoves off any pre-conceived notions about what the band may sound like.

Afterwards, Atrocity Solution begin to show their ska side of their sound as Tomorrow’s Too Late transforms into a ska-punk album with a dash of hardcore. Change The Channel hints at the ska sound, with some nicely place upstrokes and bass riffs alongside vocals that mix The Johnstones with Left Alone; but its on Carpe Diem that the full ska sound comes to fruition.  Still using a punk base and tempo,Carpe Diem is a ska-punk song that can easily hold its own against any of the top ska bands around. It’s one of those songs that feel so familiar, like you’ve heard the song before and yet you know you haven’t.

They slow it all down with a reggae introduction on Scales of Injustice and use a straight forward ska upstroke as the backbone of Down The Alleyway and sound more like a Star Fucking Hipsters song topped off with Scott Sturgeon influenced vocals.

As the EP moves on, the songs start to feel more natural – everything begins to fit. The odd mixture of venomous vocals with upstrokes become the norm, tempos switchups are expected, melodic breakdowns and softly placed background vocals push the songs forward. So while I may have written them off initially based on bad artwork, the band more than made up for it when I finally gave the time of day and I can’t help but say that anyone who’s ever enjoyed a Scott Sturgeon song (be it with the Star Fucking Hipsters or Leftover Crack) will surely love Tomorrow’s Too Late.