The Casting Out – Self Titled

“I wanted to take the opportunity to welcome a band that needs no introduction, a band that has changed the way we listen to music, a band that has changed the way we sonically experience the beauty of the written note… here’s The Casting Out.”  Now here’s a band with confidence and humour.  Most likely intended as a satire, Deleware’s The Casting Out open’s their self titled Eyeball Records debut with promises of musical enlightenment, only to launch into an explosive combination of conventional gruff punk meets poppy hardcore.  It’s not terribly profound, but the accompanying hooks have really grown on me.

After a few listens I was surprised to learn that The Casting Out was actually the new project of former Boysetsfire frontman Nathan Gray.  I never really warmed up to anything the political pop punk band poured out, but I have grown partial to Gray’s new work.  Gray started Boysetsfire when he was young and ambitious, which translated into a rather obnoxious sound.  But with The Casting Out, Gray seems to have matured past the spastic tendencies of youth, comfortably embracing his identity as an aging punk rocker.

The Casting Out might be a young band, but their sound fits alongside many veteran punk acts.  I haven’t pulled out The Bouncing Souls as a reference point in what seems like years, but upon hearing the thick, amped up bass in “Everybody Down!,” the former Epitaph Records outfit seems like an appropriate starting point.  The remainder of their sound couldn’t be farther from the Souls, but these baselines sound as if ripped straight out of 1997.

Those familiar with Gray will undoubtedly notice how much more ragged his vocals have become.  He now shifts loosely between the clean mid-range draw found on “Say It…”, and the shouty melodic New York styled hardcore of tracks like “Let It Bleed.”  In both cases Gray sounds fairly strained (inviting another subtle Bouncing Souls reference), but retains a warm, welcoming quality.  Backing and support vocals pop up from time to time, with something from the power pop family-accompanying Gray in the “The Kids Have Spoken?” and “Before We Die.”  The support is unnecessary but effective, although at times probably a little whinny for the overall style.

I’m hesitant to bring up one final comparison because of its minor role. However, it remains fresh in my mind, so I’ll throw it in anyways.  On “All The Best” and “Headfirst” Gray actually comes across as if Franz Nicolay took over for Chuck Ragan on Hot Water Music.  The effect doesn’t happen often, but is just one of many subtle nuances making The Casting Out a worthwhile listen.

And lastly, where Boysetsfire was a political band, The Casting Out couldn’t be further removed, instead they have a good humour about themselves.  Take “Run Like Hell” for example.  The track opens playing like a soundtrack to some serious advice between friends: “ brother you don’t have to like it/but you’re going to hear me out/she ain’t worth all this frustration/just trying to warn you now.”  Rather than following up with profound advice, Gray bursts out and repeats the catchy line “Run Like Hell!”, quickly becoming the track’s grin inducing tagline.

Overall, The Casting Out caught me pleasantly off guard.  Their jokingly pompous intro grabbed my attention immediately, and the rich vocal variety and thumping basslines maintained my enthusiasm for the album’s remainder.  For the past month I’ve been playing The Casting Out between reviews whenever I get the chance, but even now with this review being written, I doubt that will change.