It should be no mystery at this point what's in store with the new full-length from Florida's Poison the Well, seeing as it was the most anticipated record this year. And also, that each and every one of you will probably have it by now. So what can I even say to do it justice that it hasn't already done itself? Well, I can give a basic description and how this thing plowed me down upon hearing it. Not only is there a much darker tone to this whole mass, but also a much stronger sense of rock going on in the form of Hum or Failure-esque walls of melodic thickness. The chords grind so strong the sound will plaster your walls like molasses oozing down the side of a tree. The singing (as well as screaming) has progressed by leaps and bounds, and has a much more focused and solid approach. And thankfully, in terms of the singing, it hasn't gone in the direction of cheesy whining. But instead it is a powerful drone which soars and disturbs amongst all the tumult within the music. And shit, you want to talk breakdowns? Don't worry, they got you covered in spades. "Opposite Of December" may have had some intense moments. This just magnifies upon those unbreakable mosh jams. Don't worry, if you are one of the three kids out there who doesn't have this yet you will not be disappointed. Oh yeah, and this is one of the most amazing layouts I have ever seen. Shit, I'd get this just for the package.

Blazing noise-core act Poison the Well and its accompanying second album, Tear From the Red, illicit starch anger on a first listen. On a second, it yields full-blown tears - sobs for its pulverizing melancholy, chokes for its suicidal sadness, cries for its brutal honesty. This grinding album ratchets up the intensity with machine-gun guitaring and acidic screams, yet has the peculiar audacity to fall back on art-deco choruses from 80's mantelpieces (Chicago, Flock of Seagulls). Noise, noise and more noise is just the beginning for this immortal classic, which few people will ever hear. Smack dab in the middle of the raging 30-minute pool of depression are full body massages - one slow song ("Horns and Tails") and a sampled bit from Apocalypse Now's Col. Kurtz (Horror is your friend, he says, "if not than it is your enemy"). With exception to those tidbits though, the genre-defining Tear From the Red is comparable to rolling in broken glass. In this case, it feels good.

After their magnificent and very well received "the opposite of december" full-length, I was curious how this still rather young band would deal with the high expectations of their follow-up album. Like you may expect from a band like this, a lot of attention is paid to the artwork of this album. And that's exactly one of those things that make this band so special, because Poison The Well is more than just good music. There is a certain poetic atmosphere and vibe around everything these young men do. Add to this the fact that they are very good musicians who can write very well structured and built-up songs with lots of dynamics plus the fact that they always put on a killer live show with their whole hearts and soul and you know what makes this band so good and popular. The kind of music PTW play, which from one second to the other can change from very heavy and metallic hardcore to very sensitive, vulnerable and light emo/indie, together with the beautiful poetic lyrics, has brought and still brings hardcore and indie/emo kids closer to each other than they have ever been before. A great album from an unique band that will always stand out from all those other bands that are trying hard to imitate their sound! How crazy is that by the way that a band of which at least some members I believe were younger than twenty at the time their debut full-length came out, have inspired and led to a large number of bands who try hard to have a similar sound. Well kids, just forget about that, because you can never copy the masters of this style of hardcore!

It is not often that a band gets the chance to redefine a genre. The only bands to do it in the last few years havebeen Slipknot, Korn, the Deftones, Hatebreed and Rage Against the Machine to name a few, but there is one you've probably never even heard of. Poison the Well formed in Florida back in 1997, where this hardcore spark plug started off very small and has grown into one of the biggest and most respected hardcore bands in the world. With a huge underground following and little or no radio air play they still have managed to shake the very foundations of hardcore music and change the way that this genre of music is looked at. Poison the Well have managed to do all this within a span of 4 years and three classic albums.     The band came out of nowhere with such a unique sound that people had to stop and listen. They melded together the ferocious sound of the Dillinger Escape Plan, the beautiful melodies of the Deftones, and the dynamics of Hatebreed. Many copycat bands popped up all over America almost overnight, but none were as good as the original. They were one of the only hardcore bands that could cross over to other genres and still be accepted at a time when music was more divided than it is now. After numerous tours across the US, with bands such as Hatebreed, their fan base grew to the point where they were no longer a secret.      In February 2002 the band released their second full-length album on Trustkill Records aptly named "Tear From the Red". Many consider this album to be the light at the end of the tunnel. An instant classic and one of the most anticipated releases of the year. The entire album is a good indication to where heavy music is going. Very few bands have such a vision of where things should be going, instead of where they went. The album has gotten some serious radio play, praise from critics and has sold extremely well, beyond expectations, a direct result of their hard work and originality.     When it comes to song writing, although young in age, Poison the Well are as mature as they come. The bandseems to place more thought on song structure, melody, and quality than most hardcore bands. Most of the songs are a pure journey of the soul as the lyrics are some of the most passionate lyrics you'll ever read. Most of the songs read more like a love letter than a hardcore song. Jeff (vocals) seems to place a lot of thought on what he writes, as he gets deeply personal on every song. This is one of the many things that draw people to the band. On "Lazzaro" he screams, "But now you can't see, What you adored in me, Kill me again and again, so I can relive every moment with you". This is a classic example of a Poison the Well lyric. It will mean something different to everyone, the exact point of music in general. The point that a lot of bands miss today.     The intricate guitar work of Derek and Ryan has been a huge factor in the bands success. The signature laid back style is what really makes their parts work. Some of the lead work brings out heavy shades of Snapcase at times, either Derek or Ryan will be keeping the rhythm in the background while the other is going crazy on some of the catchiest leads in recent memory. This adds depth as well as color to the songs. They also are not afraid to show a more sensitive side, as they pulled out the acoustics on the ballad "Horns and Tails". This song shows that they have more inside them than the normal hardcore act. It took a lot guts to include this song on the album because of their hardcore roots, hardcore fans are usually the first to burn albums at the first sign of a band selling out. They took a gamble and it paid off, the song is a nice suprise, and could easily be mistaken for any of latest Staind singles, God help me.     After releasing the cult classic "The Opposite of December", many thought there was no way Poison the Well could top it, myself included. From "Botchla", the albums blistering lead off track to the eclectic finisher, "Parks and What You Meant To Me", "Tear From the Red" draws in you in and does not let you go. In many ways "Tear From the Red" is better: in song writing, overall quality, maturity, and melody. As "The Opposite of December" was a release of anger as well as being a thing of beauty. The albums are just about equal and they make for up for what the other is lacking. In short, both albums are masterpieces in their own right.     Non-stop touring has helped Poison the Well finally start to get noticed for what they really are, one of the best bands out there right now. The bands set at HellFest 2000 is still talked about as one of the best hardcore sets in recent memory, check out the DVD of the event to see what I am talking about. Poison the Well is just waiting for something to happen. After recently seeing them live I can say that with a major tour they will blow up. I'm not quite sure if that is what they want, but they do deserve it. Along with Hatebreed and Will Haven, Poison the Well are helping bring hardcore back to the forefront of the publics attention. They have their best days ahead of them and I am looking forward to hearing more from them in the future.

Every once in a while, there's a record that is so good and makes me so happy, I find it virtually impossible to write a review of it. There's all this pressure to somehow convey in the space of a hundred or so words how goddamn good a record is. To convince YOU that this record will move you as much as it did me. So I hem and haw and write all my other reviews around it until I have no choice but to face my fear and go for it. So here it is. The new record by Florida's Poison The Well. Up until now, I've been a fan, and definitely enjoyed their records. But 'Tear From The Red' is such a colossal leap from their last record. Ostensibly a 'metalcore' record, it manages to encompass so much more: rock, emo, hardcore, death metal, even pop. The heavy parts, even when the vocals are howled, are somehow as catchy and heart wrenching as any Get Up Kids weeper, if not more so. And then when PtW -do- go for it, and break it down and get all mellow and sweet and emotional it's just devastating. And the playing on this record is so phenomenal. The riffs are so thick and huge they just smack you upside the head, but you just kind of bob along, oblivious, banging your head and spitting out teeth and letting this wave of furious emotion watch over you. The songs shift from crunching near-death metal, to wild free-metal, to stuttering stop-start rhythms, to spacy almost Voi Vod-ish melodies, and dreamy shoegazey bliss out parts. Halfway through the record they break out with just vocals and acoustic guitar, but the melody is so odd, and the voice is so impassioned and the chord progression is so unexpected that it ends up being just as intense as any of the heavy stuff, and not cheesy at all. And track three! What can I say? If you could wear out a track from playing a cd too much, I would definitely need a new one by now. Track three has the absolutely most punishing part of almost any song I have ever heard, where the kick drums, guitars, and bass all stutter then stop, over and over. Huge and unbelievably heavy. I was listening to it in my housemate's truck, and when that part came on I had to turn up the stereo so loud that I could SEE the beat making little waves in the rear view mirror. We have been getting a little worn out on this whole metalcore explosion, but Poison The Well have stepped up to the plate with not only one of the best metalcore records ever, not just one of the best emo records ever, but one of the best records I have heard in a long time. Period.

A long time coming this one…and you would have to be in a coma to be unaware of the hype and anticipation Poison The Well hath wrought. Any long-time reader of PunkROCKS knows darn well that we here at the site found 2000’s ‘Opposite of December’ to be one big fuckin’ masterstroke. The band would be hard pressed to rise above such a lofty predecessor. But as we all know by now, expectations can ruin an experience in a heartbeat, so it’s best to listen as though you’ve never heard the band before. So what I gather from ‘Tear From the Red’ is conceptually identical to my experiences with the last AFI record. And no, Poison The Well aren’t bashing out Misfits covers and getting all comic book ghoulish and shit. But, like AFI, they have hit that high water mark that will undoubtedly see the band leaping to headline tours and opening stints for Incubus and The Deftones. As I reasoned in the AFI review; there just comes a time when we must forego our preoccupation with a band circulating in the underground, and cut the cord. Poison The Well have gelled into a fucking monster that will have every Deftones fan inking their left butt cheek with the bands’ moniker, right next to the ‘White Pony’ logo. By no means does this suggest that this new record blows chips. Quite the contrary, ‘Tear From The Red’ is a beautiful and dramatic piece of work that is head and shoulders above the metalcore shit-factor that is drowning the scene in half-assed tats and fashionable piercings. There is rage and reflection, albeit harnessed in a slower, dynamic tone. There are no balls-out rippers here; and almost every song crosses over the bridge from screaming anger to melodic angst. It’s like a collision of Ferret/Trustkill metalcore and swan song nu-metal without the jerseys and turntablists. From the opening strum of “Botchla” (is that a predilection with the band Botch?..what the fuck?), it becomes apparent that Poison The Well have slowed things down and added a bit of polish to the songwriting. It is hard to imagine, but if Pink Floyd was into Hatebreed…whoa..come back here! Truly, there is a genuine craftiness at work; tracks like “Lazzaro” and “Rings From Corona” both ride the gruff and manic sound of earlier outings. But the balance of ‘Tear From The Red’ sounds at times like a different band altogether; an all acoustic track (“Horns and Tails” for PTW-Unplugged?), an Apocalypse Now bit of spoken word madness (“Karsey Street” leading into “Parks and What You Meant To Me”), and a good chunk of the brilliant off-kilter chord progressions first championed by the sadly underappreciated band Failure, and more than one structural inspiration from Poison The Well’s own “Nerdy” from the last record (ala crunchy angry to robust melodic harmonizing). Lyrically, we are still heartfelt, angst-ridden, angry and remorseful all in the same song; intense and passionate whatever the delivery. And the packaging on this one goes all out; Josh Trustkill and bands make no mockery of the ability of art and presentation to entice. This thing is simply beautiful (and the lyrics are a fuck of a lot more legible than ‘Opposites…’ unruly font from hell.) A package that sounds, looks and feels like a major league CMJ chartbuster in the making. But once again, this is where the I am riddled with conflict (granted, I’m not gonna lose sleep over the thing, but you get the drift)… Part of me believes that this is not so much a maturation, as it is a blatant attempt to be the next big thing. More often than not, it seems like the band has molded the album around the “Nerdy” formula that drew crowds to sing along in droves…One look at the Hellfest video footage, and you may grasp the idea. The disc is affixed with stickers labeling it “for fans of The Deftones, Incubus …”, and the one sheet would lead you to believe they walk on water (would someone please clear up what in the fuck does Hot Topics have to do with punk rock? And lets be honest, most college radio sucks, so nods to CMJ don’t mean diddly either). But I also realize that to ignore such accomplishments for a band this good would be fucking idiotic. Simply put, ‘Tear From The Red’ is a natural progression for a band that has simply outgrown it’s youthful ignorance. We have seen it with AFI, Cave-In (and the reverse with H2O…). Growth, that mad bitch wrought from experience. Whatever your take is on this band, chances are, you will feel something emotional while listening. And that, my friends is half the battle. For me, ‘Tear From The Red’ may not be what I expected…but it does feel right.

For some bands, experimentation with a new sound can be like writing their own death aria. Fortunately Florida's Poison the Well have managed to avoid that fate by maturing musically without abandoning the sound that has defined them since forming in 1997. Tear from the Red, the band's second full-length release on Trustkill Records, is an experiment that went well. The band have incorporated more melody into their signature metallic hardcore mix. Unlike the first full-length CD, The Opposite of December, on this album you are not bludgeoned with redundant breakdown after breakdown. Instead, guitarists Ryan Primack and Derek Miller suspend the urge to evoke a mosh and create engaging and emotional guitar harmonies. Jeff Moriera's vocals are as ferocious as they are tame, switching from tuneful to guttural with ease. The brutal, down-tuned elements that draw kids to the dance floor still remain, but they are threaded with the album's overall rocking melodic tone to create a more structured sound. From the opening acoustic intro on the first track "Botchla," you know this is going to be a different Poison the Well album. But the prettiness soon subsides once Moriera warps his well-sung verse of "I adore her" into a glass-breaking scream while Miller and Primack churn out a dirty dense rhythm. This dynamic is carried throughout the entire ten tracks. Like the music, the overall lyrical tone of the album is bleak and desperate. With this release Poison the Well avoids being heaped with the battery of sappy, pathetic, melodramatic bands this genre often produces. Tear from the Red is about as honest as it gets.

This was one of the records (together with new 18 visions, new Deftones and new GlassJaw album) I was looking out for the most this new year. So, I was pretty excited when it finally arrived. The artwork was kinda different than I expected it to be, but who cares? Don't expect the same music as the "Opposite of December" album, as they've evolved during the past two years! "Tear From the Red" takes Hardcore into a new dimension. A lot of people will hate this record at first, but you'll have to admit, this is a masterpiece and will please anyone who loves honest music and music played with Passion. Their music has absorbed influences from all different kind of bands, like Refused, Deftones, Will Haven, Radiohead, but everything falls right into its place! The overall sound is way heavier than their previous albums and they still have extremely heavy breakdowns in their music! Before I forget, I have to mention that the singing has hugely improved since the opposite album! To conclude : This is an album you have to have and as much as I hate to say it, but this is what Hardcore will sound like in two years! It's up to you to make up if you think that's a good thing or not! I could certainly live with it!

Bands that pretty help start and define a genre don't pop-up all that often, by POISON THE WELL are one of them, and you can't really call something "metalcore" without using them as a reference in the back of your mind. I think what made everyone go so crazy about the "Opposite of December," was how absolutely raw and reckless it was, though while it came off to be calculated and tighter than an acorn in a nut. Before I sat down to write this review, I played both discs back to back, and this thought became more apparent - whereas "Opposite of December," struck of fury because of the oozin' passion that dripped from every possible pore, "Tear From the Red," tends to bowl you offer because the band seems so much more confident in its sound and songwriting talents. If I didn't mention this band's sound progression into a more melodic unit, I'd be committing a grave mistake, but don't be fooled by the cries of many that these guys are now in the same arena as THE DEFTONES or freakin' INCUBUS, as that couldn't possibly be anymore far from where this band sits. I guarantee that listening to the second track, "Lazzaro," and downright scary bridge that appears two-thirds of the way through, will make it completely unmistakable that POISON THE WELL are still firmly planted to the roots that they helped spawn. Utilizing Jeff's surprising stable vocal chords as a way to dive towards more melodic pastures helps make "Tear From the Red," a far more approachable disc in the sense it feels like a greater piece of work. "Turn Down Elliot," shows off how an upgrade in production and a couple years of reinforced practice can take a ferocious song and turn it into a more level piece of work. The same violent guitars are in place, but the violence seems so much more methodical - which I'm sure will turn a few people off, but I think it makes this band sound more alive. If there is a flaw to be found in "Tear From the Red," it has to be the acoustic track, "Horns and Tails." Sequenced sixth of ten tracks, the solemn, eerie song unfortunately smashes the mood with doldrums. I can't fault POISON THE WELL for wanting to display another dimension to their talents, but I think this track would have served better as a closer instead of a weak intermission. POISON THE WELL went all out with the accompanying artwork which is nothing short of splendid. I'm a real sucker for exquisite layouts, and this one earns my highest honors. "Tear From the Red," gleams from an overdark dark concept, and the boldness of the artwork compliments the additional confidence this band exhudes. The new territories that POISON THE WELL explore do nothing to dimmunish this band's overall prowess, and honestly, if they were to make another "Opposite of December," it would have been quite the let down. As this band continues to cross all boundaries and no doubt, influences tons of bands that yearn to be in their shadows, "Tear From the Red," is a hardcore album that comes recommended as much as taking a gallon of water with you while on a long desert walk.

Everyone else swore up and down that the new PTW was more emo-y than The Opposite Of December, and I'll definitely have to agree: it definitely is softer, at times.  Where the vocals would usually be strong singing, it's a lot softer and melodic.  I don't really think that Tear From The Red is as dynamic as The Opposite Of December, but it's definitely not bad or anything-- the new album is as brutal and beautiful as anything Poison The Well has ever written.  It's got more variation: a few parts are sludgy, a few more memorable metal parts, some more instrumentally light parts, but the vocals sound exactly the same except for the singing parts, and actually some of the speaking parts have more tone-change than the last album.  Every song on the album is amazing, much like their previous album; particularly "Rings From Corona," which tends to stick in your head more than any other track.  Poison The Well made a great comeback, and I doubt any fan will be disappointed by Tear From The Red, but  this stuff ideally could've been added on to the end of the Opposite Of December with very little difference (well, except for songs like "Horns And Tails," and "Pieces Of You In Me" which consist of a lot of singing).  Tear From The Red is far from a disappointment, but also far from a huge shock to any old fans.

Uhhh, holy shit. This layout. This fucking layout! I am in heaven. I could probably speak more about the layout than the music. This thing is beautiful. I would not be at all surprised if the packaging for this CD cost the same amount as the entire recording budget. It's that fucking slick. You can literally smell the thick batches of ink just oozing off of this masterpiece. Every other page is semi-transparent with thick red printing on one side, and black printing on the other, making for some insane layering effects. All of the other pages are in full color, but the color palette is incredibly warm with lots of bright oranges, reds, and yellows. And since everything is on matte paper. fuck. This is just nuts. Definitely one of the best layouts I've ever seen in my life. I could just stare at it for hours in awe. The text is fucking minuscule and hard as hell to read, but that only adds to it all, because it's so damn crisp and clean. Impressive, impressive work. The last record looked great, but this definitely tops it. Onto the music. Well, the band has very clearly progressed. It's the same style of very melodic, metallic hardcore that they're known for, but significant changes have been made. A lot of the rhythms are simple, choppy chord progressions, but the chords aren't just normal power chords, so that thickens things up. There's a good mix of tempo changes and stylistic shifts, with screaming vocals and singing vocals, melody and clean breaks, etc. However, the songwriting is a lot better than in the past because the transitions are smoother. The singing vocals have improved a great deal, and the general approach is more balanced all the time. So rather than breaking off some European sounding metalcore or death metal riffs and then some jangly ass emo guitars, they sort of mix it all together. There are still significant mood changes, but it's not as messy or contrasting as it was with the last record. "Lazzard" is probably the most efficient of the predominantly heavy tracks, while "Horns and Tails" is the "ballad", made up of simply acoustic guitar and softly sung vocals. "Karsey Street" is a brief instrumental chock full of samples from "Apocalypse Now" over churning guitars and percussion that have been manipulated to play at a tempo significantly slower than natural. The production is good, but the guitar sound sort of throws it off. The drums sound great, the vocals are solid and very well mixed, and so on. But the bass is really hard to hear, and the guitar sound is too dry. It all works out in the end, I mean, it doesn't sound bad, but the guitars need that crunch, and the bass needs its own space. It takes a while to adjust to the guitar tone, it's still heavy, and the midrange adds clarity, but it needs tweaking. Lyrically things are similar to what the band offered in the past, but a little better. They're still personal and pretty basic, but not so basic that they border on silly. Although I have to say, the "boy misses girl" thing is a little overdone, and that's pretty much what each and every one of these songs deals with on some level. The only downside to the record is that a lot of the songs tend to sound very similar to one another, so while the band is progressing, they have stalled out just a little bit. It doesn't bother me because the record is short, so you don't really get tired of what they're doing within the 30 minutes you'll spend listening, but hopefully they'll avoid that pitfall next time. I'm sure this record is going to facilitate the band's already increasing popularity, but I have a feeling that the next record might be the big one.

Poison the Well is setting new trends in the music scene these days. Everyone tries to emulate them, but cannot seem to be THE PTW we all love. Fuck, I gotta say, this has to be the most amazing CD release of 2002 so far. From the quiet beginnings of "Botchla," to the acoustic "Horns and Tails," and back again to melodic "Parks and What You Meant to Me," this CD picks up where The Opposite of December left off. I can't even begin to put into words as to what feelings this CD gives me every time I pop it on. Poison the Well has been around for a few years, and they get better every day. Their live shows have gotten crazier, and their talents ever more expanding. This is the most melodic AND brutal CD at the same damn time. I've only had the opporunities of seeing tapes of them live, and only saw them once. They're one band I don't think I could ever get sick of, and even if they went straight up hardcore or emo, I would love them till the day they dissolved the band (which hopefully will never happen). I will admit that there is a lot more singing than before, but Jeff's voice is marvelous in every aspect. Don't take my word for it, because it won't do this CD any justice. Buy this album, now, if you like hardcore or emo or MUSIC IN GENERAL. Poison the Well does exactly what bands should do: Make great music and have killer live shows.

Poison The Well are without a doubt one of the biggest names in the present day hardcore scene, having made a huge impact with their past effort, "The Opposite of December... A Season Of Separation"; An album which went on to inspire and give birth to a string of bands who attempted to cash in on a similar style in its wake. But with two years now past since its release and their original blueprints having since been manhandled by many in recent times, it is with this, their sophomore outing that the diehard fans of this Florida based five piece hope that they will once more lead the charge and reinvigorate the scene all over again. Flush with a much broader infusion of melody and an array of bruising riffs and bone shattering breakdowns, "Tear From The Red", may be able to do just that, showcasing a band who have matured and refined their sound to a fiercely sharp point, evolving and progressing enough to avoid the sophomore slump while also stepping up their intensity a notch in the process. Band frontman Jeffery Moreira's increased vocal range and greater versatility is perhaps the most prevalent indication of the bands new direction, as he now combines a much more balanced blend of heartfelt emo tinged melodies with venomous barks and charring screams this time out. Intense yet intelligent, his words are able to both soothe and decimate the listener in one fell swoop, teetering back and forth between the extremes of human emotions in an often livid demeanor that fits perfectly within the bands music. The guitar work is also another strong representation of the bands present mindset, exhibiting a darker display of twisted riffs that sound perhaps less technically crisp than those which comprised their past effort. There is indeed still a hefty metalcore meets hardcore feel in place, but the grooves and buildups seem geared to a more indulgent and convoluted feel, rather than the precise searing stabs and slices which they thrived upon in the past. Their overall reach is also more expansive this time around, enlisting a wealth of clean and acoustic tones to cement a vibrantly dynamic foundation. The bass playing however diligently adds a punchy growl to the mix that fills out the music with tenacity and purpose, while also giving the guitar a thicker density, as driven percussion punctuates the tracks with well placed bursts of energetic rolls and pummeling kick drum based beats, completed by piercingly sharp snare hits and resilient cymbal work. All in all, the refinement of the bands sound is without question the defining factor of this release, with a fuller realization of their ability to meld together soaring melodies and lush harmonies with ferocious screams and violent riffs brightly shining through at every turn. They also seem more unified, focusing their efforts as one which allows them to slow things down with a wave of emphatic vocals, acoustic guitars, lulled beats and smooth bass lines, only to all simultaneously erupt into an aggressive show of force that helplessly reels the listener in. This greater combined effort, along with the incredibly tight syncopation between the drums, bass and guitar at various moments throughout the album, are nothing short of devastating and do well to show what a band who are all on the same page are capable of. However, despite the many positives of this effort and the new path it treads, it will undoubtedly alienate a considerable portion of the bands previous fans who were expecting a continuation of their past effort, something which "Tear From The Red" ultimately is not. If anything, it is instead a snapshot of a band who are now beginning to find their own identity and establish a sound that is all their own, without catering to the many expectations that have been placed upon them by the media and their rapidly expanding audience. This is evidenced by the inclusion of an entirely acoustic number in the form of, "Horns And Tails", a track which the band will no doubt take a lot of flak for from their more close minded fans. It may also be said that this offering is not as outright abrasively heavy as their last and while such statements are arguably true, it should also be noted that this album attacks the listener on a different level, utilizing a lot more depth and substance to make its mark than the band ever did before, giving the songs the ability to offer something new with each listen. Truly this albums only real let down is its length. Clocking in at 30 minutes, it seems to go by too fast and though it is unquestionably an album that takes more than a few listens to completely appreciate, its relatively short playing time may decrease from the longevity which it could have contained. Its pretty much guaranteed that this album will bring Poison The Well success and with its ability to appeal to a wide range of audiences, the band will definitely be left with some tough decisions to make regarding their career and where they will go next. But regardless of what happens, they can at least rest easy knowing that despite being under immense pressure from the scene they've helped to popularize, they've released an honest album that was written for themselves by themselves, a feat which only a handful of bands can genuinely pull off in this day and age.

Florida's Poison the Well quickly became a "buzz band" with the release of their debut full length, The Opposite of December... on New Jersey's Trustkill Records. The buzz was not without reason or undeserved - The Opposite of December... was a groundbreaking hardcore disc, so much so that legions of Poison the Well-influenced bands popped up all over the globe. The impact of that release on the hardcore scene was tremendous. Tear from the Red is the much anticipated and long-awaited follow-up and Poison the Well fans are not let down. Tear from the Red brings us more of Poison the Well's metal-inflected, emotional hardcore. Perhaps Poison the Well have "matured" since that debut release but it does them no harm - the songs are even more solidly crafted, the musicianship is better than ever, and they've further improved their mastery of mixing melody with heaviness. The bottom line? Tear from the Red is another winner for this Florida hardcore band - rest assured you'll be hearing a lot more about them in the future.

With ten new songs, Poison The Well comes to your stereo with one hell of an album. "Tear From the Red" is Poison The Well's second disc and is one hell of a follow-up. The material put forth on this album isn't only devastatingly intense but also lyrically intelligent. Poison The Well once again packs their songs with emotion, diversity, and more metal than a little emo kid could deal with. The band has the ability to start the song "Botchla" in an emotional way, but then bust out into the angry, fast, metal we have all become accustomed to hearing. This by far is melodic hardcore at it's best, and Trustkill has put out an album that has the potential to appeal to the masses (punk, emotive indie rock, and harcore). 2002 has only begun and I feel comfortable saying "Tear From the Red" will be one of the (if not the best) hardcore albums of the year.

Poison The Well returns with their second full-length, and highly (understatement) anticipated follow-up to the genre-defining "Opposite Of December." Those of you who haven't heard the record yet, have no doubt encountered all kinds of assessments, ranging from comparisons to Deftones, Incubus, and a whole host of nu-metal bands. Quite frankly, I think all of these comparisons are rather inaccurate. Yes, Poison The Well has changed since "Opposite Of December," there's no doubt about it. Most notable of the "changes" is the pronounced infusion of melody. Many of the tracks have passages that are much more accessible and melodic than anything that appeared on their earlier records. Vocalist Jeff Moreira sings a whole lot more on this one too. He has sung sparingly in the past, but singing is now a major part of his arsenal. In general, Moreira delivers a powerful performance on this one. Both his singing and his screaming are very tight, and he's turning into quite the versatile frontman. The first track on the album, "Botchla," begins with Jeff singing over a few acoustic guitar chords, but about fifteen seconds later the band tears into some familiar sounding territory, with Moreira shrieking over some pounding hardcore grooves. The chorus that follows is more indicative of the new Poison The Well sound than anything else before it though. This "sound" can best be described as some sort of rock/hardcore hybrid. Personally, it doesn't remind me of Incubus or the Deftones, but it's certainly closer to them than anything hardcore. It's a good song though, regardless of what styles it employs. The following track, "Lazzaro," is very reminiscent of PTW's older material, at least until the end of the song, where they work some pop-punk into the hardcore mix. Once again though, it's a good song. Next up is "Turn Down Elliot," one of the songs that was made available for download a few weeks prior to the record's release. The track is a great combination of metallic hardcore and more ambient stuff. After shredding through the first two minutes of the song, PTW offers up some stuff they've never done before, with some effective guitar feedback layered over a strumming guitar and some rolling drum fills. I don't know what you call it, but I like it a lot. That portion of the track is soon followed by more of the heavy rock stuff they've been doing, with Moreira singing over some nice chord progressions. The hardcore returns on "Rings From Corona," which is probably the heaviest track on the album. Unfortunately, it's also the weakest track, with little of note going on. The riffs just don't connect. It's one of those tracks that doesn't suck, but when it's over, you really have no motivation to play it again. Luckily, the band redeems themselves on the next song, "Moments Over Exaggerate," which once again finds them returning to solid songwriting. The chorus is catchy and the verses are nice and heavy. There's even a Hatebreed-esqe breakdown towards the end of the track. Of course by now everyone has caught wind of the next song, the acoustic track "Horns And Tails." It's a very stripped-down song, with just vocals and an unplugged guitar. It's ok, but the band could have spent more time working on it. It's got potential, but it's no "Butterfly" (Weezer). The song kills the flow of the album slightly and probably would have been more appropriate appearing at the end of the record. If nothing else does, "Sticks And Stones Never Made Sense," the next song, will certainly appeal to fans of the band's older material. With driving riffs and double-bass flares aplenty, this song would have been right at home on "Opposite Of December." Good stuff. The next track, "Pieces Of You In Me," is another display of some new Poison The Well tricks. The beginning sounds like any other pop band you'd hear on the radio, and the upbeat chorus has some very un-PTW vocal harmonization. But once again, it's a good song, and a nice combination of pop, hardcore, and rock. The records' final track, "Parks And What You Meant To Me," was the other track available via download before the release date. Quite frankly, this is the best track on the album. If this is the direction PTW chooses in the future, I won't be complaining. It's got a bit of everything; a mellow beginning (and ending), driving hardcore, a crushing bridge (which kicks ass!), and a nice melodic breakdown. My biggest complaint with this record is the length. Take away track 9, which is nothing more than a sample or something, and this record is about 29 minutes long. Unless you're Slayer (think Reign In Blood), that just doesn't cut it for a full-length! Oh well, the production is good, albeit it a bit slicker than "Opposite...", and this time around, you can actually hear the bass guitar. Bottom Line: I'm sure quite a few "hardcore" kids will have a hard time swallowing the "new" Poison The Well. This comes as no surprise to anyone, and PTW was certainly aware of this when they decided to "upgrade" their sound. But why not? There are dozens of other bands out there trying to mimic "Opposite Of December," so this type of progression was a predictable step for the band. Now, once again, there is nobody (Incubus be damned) that really sounds like them. And while there are a few mediocre moments on this one, overall it's a very enjoyable experience, and regardless of whether it's hardcore or not, I'd recommend it to anyone.

If you are wondering whether PTW live up to the brilliance of their debut album on 'Tear from the Red', let me rest your mind at ease; this album is destined to be one of the top hardcore/metal/emo releases of 2002 and beyond. Poison the Well have managed to forge ahead in the metal/hardcore music scene by combining the best elements of heavy music and melodic emo and delivering both with a note of conviction that is much sought after by the listening public. I'd estimate that 99% of the hardcore/metal bands that try to mix the heavy stuff with melodic singing fall flat on their face (musically speaking) - but not PTW. They illustrate the perfect merging of these styles. This album is so masterfully arranged that I can say with confidence that this band is in the process of breaking and I would suggest that you find out what the buzz is about before this band is everywhere. Super crunchy breakdown type hardcore metal with HEAVY guitars and double bass drum frenzy offset with seductive emo melodic parts. The perfect balance of Jekyl and Hyde. Highly recommended.

Staunch scenesters recognize that every new band sounds like Dillinger Escape Plan, Shai Hulud, Converge, or Poison The Well these days. It’s been said throughout the ages that imitation is the sincerest form of flattery, so Florida’s PTW is undoubtedly feeling the love these days. 1999’s The Opposite Of December… A Season Of Separation was a textbook case of piping hot, moshpit friendly metalcore breakdowns, punctuated by so-pretty-they-hurt melodic parts. The album set the bar for that style of hardcore, and PTW itself has raised that same bar with Tear From The Red. The breakdowns will stir up circle pits from Boston to Los Angeles, while frontman Jeff Morreira tests out his singing voice with bitter, venom-laden lyrics. (“Cursed with never being seen in your dreams / I’ll walk around dead to you” is quite the kiss-off) PTW also tries its hand at an Incubus-like style of rock with the acoustic “Moments Over Exaggerate” and “Pieces Of You In Me.” Ambitious.

The long awaited follow-up to Poison The Well's highly successful and highly influential hardcore staple The Opposite Of December is here, and without thinking twice, Tear From The Red finds the essential elements to simultaneously decimate the aural cavities while cradling them with some of the most creative melodies known to man! The ever-so-melodious guitar harmonies of Derek Miller and Ryan Primack find themselves molding the purest of emotions with an inescapable rock 'n' roll essence that places as much emphasis on catchy hooks as it does excellent instrumentation. Bluntly hovering in the foreground lies a highly creative combination of metallic crunch roaring in unison with melodic overtones, which are deftly assembled with the utmost care. The guitar and drum synchronization could not be any tighter, as each metallic riff is effortlessly matched with the intense beats of Hornbrook's exquisite drumming. Each song speaks with immense clarity and finds its transitions blending together with the greatest of ease. From the Harvest-meets-Grade essence of "Lazzaro" to the Botch-esque guitar acrobatics of "Sticks and Stones Never Made Sense," the Poison quintet breaks new musical ground while not straying too far from their trademark sound. Jeffery Moreira also finds himself breaking into more in-depth vocal excursions, evidenced on "Pieces Of You In Me," where he combines extremely heartfelt singing reminiscent of Jonah Matranga (Far and The New End Originals) with his patented throat-full-of-razors screams. By setting an extremely high standard for themselves with their astounding debut The Opposite Of December, Poison The Well have successfully created a follow-up of monumental proportions in Tear From The Red. This is purely essential hardcore complexity wrapped with a fortified sense of metal and an omnipresent essence of melody! Tear From The Red bleeds for us all, and then some!

Upon first listen, I was disappointed that it didn't sound more like their previous release. On second listen, I wondered why their entire band had been replaced by the Deftones. But upon third listen, it had finally sunk in that their style has changed a bit, and that I had to deal with it and accept it. And once I came to that realization, I could appreciate it for what it is: a damn good sophomore release. Gone are the up-tempo parts, replaced by slightly droanier Deftones-esque melodic riffs, but the breakdowns remain, although in slightly lighter quantities. And the emotion and power behind the lyrics and vocals remain, and in fact have been improved upon. Where in "The Opposite Of December" he used his voice to break up the heaviness a bit and compliment the songs structures, in "Tear From The Red" he sings a lot more, a lot better, and uses his voice as a weapon. The screamed vocals are still signature Jeff style, anyone that has ever heard them would know his vox from a mile away. The first two tracks set the tone for the CD, and are my favorites. I pretty much enjoyed the entire CD, since i'm not only a fan of PTW but also a fan of melodic music in general, but i really think they could have done without the acoustic track, or at least did it a bit better than they did. The music and vocals just didn't mix the way they should. I'm sure that this release will go on to sell tens of thousands of copies regardless of reviews, but I can say that most people that enjoyed "The Opposite Of December" will enjoy this upon a couple of listens. But I'm also sure that trendy scenesters will diss it like they always do when a band gets more then 10 fans, but I gotta say, I enjoyed this CD, and will continue to. For a follow up to one of my top ten favorite CDs of all time, this didn't disappoint. Well, not after the second listen, that is ;)

How many times have you heard critics say "The first must see film of the year", or "This is an absolute must for any CD collection"? Those statements are huge clichés, but I don’t give a fuck. Get this damn album! "Tear From The Red" is an epic CD that involves all aspects of music, while still having the balls to create tears or aggression and sorrow! "Botchia" is an introduction to the album. Moreira is a freaking rock star baby! He starts the effort off with a mellow part, only to be followed with pile driving screams. Through the bridge the band goes absolutely crazy, till the chorus section where the band spreads its wings and flies. Moreira lets loose more singing parts. The chorus follows up with a grooving section, and some sick vocals. "Bostachia" is my favorite song on the young year. The myriad or emotions is amazing! "I’ll burn and crawl deeper in my hole, darkness always says hello" Move forward to track 2. "Lazzaro" kicks in fast with some guitar licks that have an intent to annihilate! Miller and Primack create the sound for Moreira’s temper tantrum, and then on a turn of a dime you are listening to this happy part where the vocals go high. Powerful is the best way to describe it, you gotta hear this shit. The unrelenting trade off of emotions creates for a masterful experience! "You say I need you, but how bout the demons in my head, I’m sure you don’t miss them" Crushing breakdowns greet you with "Rings From Corona". The guitar work in this song is unique in the way with which the tones change. One second balls out metal, then the next a sonic fused release, only to be followed with even more aggression then before. Chunky and just balls out heavy Poison The Well closes the track out with a breath taking bang to the gut! "It’s nice to think everything falls into place, but it doesn’t" How does an acoustic guitar sound to you? If it doesn’t, then fuck you! PTW has hit a winner with "Horns And Tails". All I’m going to tell you hardcore junkies is to listen to the track. Music can be emotional in many different forms. "All I wanted to say was fuck you, miles away but you still seem to be here!" "Pieces Of You In Me" is a punk/hardcore hybrid tune. It will put a smile on your face. It is one of those songs that strikes the right nerve! I’m sure once you hear it you will understand what I’m saying. "I need to hear you laugh when I’m dying on the other line, you perform better when I’m not near you!" I have followed each songs review with lyrics from the song. Lyrics often times represent who the singer/story teller is. In this instance you get a glimpse of seeing Jeffrey Moreira’s insides. And it is his insides that is for all to hear on "Tear From The Red". Devastation never sounded more beautiful! Derek’s Scale of 1 to 10: 10, spin it! Then spin it for your friends, your mom, grandpa, the neighbors and your cat! Suggested Tracks: "Botchia", "Lazzaro", but every track is a work of art!

Most of today's metalcore either sounds like Dillinger Escape Plan, Converge, Shai Hulud or Poison The Well or some bastardized amalgamation of any 2 of the 4 aforementioned bands. To have your work emulated so often has got to be flattering. Needless to say, Poison The Well's technical monster "Tear From The Red" will continue to create copycats in 2002 and beyond. Tear (as in "to tear a piece of paper," not "to shed a tear") From The Red treads the same territory as 2000's "The Opposite Of December...A Season Of Separation" but the quintet cranks everything up a notch: the stomp-on-someone's neck breakdowns are choppier, and they're punctuated by too pretty melodic parts (that illustrate just how heavy, fast, and angry PTW is) and more-thoughtful-than-most lyrics. No one can ever accuse these Florida moshers of being un-ambitious; a few cuts, like "Horns And Tails" and "Pieces Of You In Me" on "Tear From The Red" resemble Incubus, but PTW funnels such ferocity into the mix, it's nearly impossible to detach yourself from the blood, the pain, the sweat, and the tears of this recording. You become one with both Tear From The Red's vigor and venom.