Sparta – Porcelain
Since their 2002 debut, Wiretap Scars, I have watched Sparta ‘s career with great interest. Their debut was a very compelling mixture of punk and emo, which is actually more interesting than it sounds. Sadly, “Porcelain” fails to deliver the catchy hooks of its predecessor, thus it sounds like bland hardemo. However, there are some moments on the album that are worth mentioning: the album opener, Guns of Memorial Park, contains elements reminiscent of At The Drive In, with its swift drum kicks and quirky vocals over the top of swirling guitar that spirals around the other instruments; the third track Oceana Sleeps could have very easily been on “Wiretap Scars.” The song is a slow builder, an approach that works very well in showcasing their more than competent musicianship. Every member of Sparta is a skillful musician and songs like this develop this idea succinctly. Breaking The Broken (a sample of the song is available via their official website www.spartamusic.com) is the first single to be lifted from the album and it is a pretty solid choice since it is rather accessible and the lyrics are well written. If you were a fan of the first album you will enjoy Lines In Sand immensely. It’s a finely polished slow rocker, something that is quickly becoming a strength for the band. Lines In Sand is the second longest track on the record, clocking in at just over six minutes, but there is never a dull moment. The song provides an excellent transition into the second half of the album. Bad news – nothing good happens after it. This should have been the closing track, instead, it’s the halfway point. By the end of the album one may find themselves nauseous from the repetitive drone of Sparta ‘s recent outing, but to be fair, this is an average album. There are good songs, perhaps even great ones, but not enough to make this a solid effort. To put it bluntly, if you’re a fan of the band you’ll probably buy this, subsequently be disappointed, and wish that you had the chance to listen to the album first.
By John Mac
