After passing off a review to Scott because the band was not really my type of music, he in turn gave me a band that was a pleasant surprise. I was not the biggest fan of Memphis May Fire’s 2007 EP, but I had heard from some friends that their full-length album was decent. After listening to this album a few times, my friends were understating their opinion of this album. It is not decent but downright good. I just saw these guys live on the “Tours And Rumors Of Tours” Tour, and they have a good show that is full of energy. Memphis May Fire is a five-piece southern post-hardcore/rock band out of Dallas, Texas, and their debut full-length, Sleepwalking, is a huge step forward from a decent self-titled EP released in 2007. Between albums, MMF successfully managed one of the hardest things a band can do by getting a new lead vocalist. Matt Mullins sounds a lot like the previous vocalist so that eased a bit of the change. Vocally, Matt has a great voice. His raw screams are great and his clean vocals have a little bit of a pop feel to them and are extremely catchy. He will have you singing a long with him by the end of the first few tracks. While MMF may not be a Christian band, there are Christians in the band. Lyrically, most of Sleepwalking is heavy on the socially conscious, metaphoric lyrics. Musically, Sleepwalking is an amazing album full of southern influenced guitars that really give the album a unique feel. I cannot say enough about how much I enjoyed the guitars in this album. Instead of chugging along, they intricately weave in and out around the drums and vocals. MMF does an excellent job of mixing some heavy hardcore breakdowns with some hard southern rock influenced guitar solos and riffs. The southern influenced album really gives the album more of a rock feel than a post-hardcore feel in my opinion. The best track of Sleepwalking would have to be “You’re Lucky It’s Not 1692.” This track is one of the heaviest and boasts some of Matt’s best screams, but it also has a great southern rock attitude. Overall: this is a must buy for any fan of southern rock. The guitar work in Sleepwalking is phenomenal and the clean vocals and raw screams aren’t too shabby either. Whether you are a post-hardcore fan or not, Memphis May Fire will definitely get you up out of your seat moving around.

Memphis May Fire’s full-length debut, Sleepwalking, might be the first post-hardcore/metalcore album that has really hooked me all year. I keep coming back to it again and again, yet I’ve been sitting on how to write this review for weeks now. The issue is that the Sleepwalking doesn’t do anything particularly different from ordinary hardcore bands, but sounds well out of the ordinary. The Texas five-piece subscribes to a fairly safe interpretation of the genre. Lead vocalist Matt Mullins sounds comparable to cleaner screamo acts like Allexisonfire’s Dallas Green, while supporting vocalist Kellen McGregor provides forceful hardcore bursts. The effect is welcomingly melodic, but maintains an edgy execution that exceeds the sum of its parts. Memphis May Fire plays with a genuine drive that reveals a band that loves their genre, but isn’t content with merely reproducing existing sounds. A real rock n’ roll meets southern rock undertone runs throughout Sleepwalking, and is probably most responsible for developing the band’s unique personality. The opening track, “North Atlantic Vs North Carolina,” opens with a distinct southern flare channeled through heavy riffs and short but precise solos. Thankfully the band realizes that too much personality doesn’t always lead to a good thing. The southern influence ebbs and flows throughout the album, picking up with particular strength during tacks like “You’re Lucky It’s Not 1692” and “The Face With No Name,” and practically vanishes altogether during tracks like “Been There, Done That” and “Quantitiy is Their Quality.” Admittedly the band feels a little generic upon peeling their rock sound back for too long, although they remain undeniably solid. Adding to the layers of depth, post-hardcore influences further enhance Memphis May Fire’s appeal. Throughout the album, Sleepwalking balances moments of hardcore enthusiasm with instances of deep reserve. The most obvious example, “A Giant In A Giant’s World,” injects an almost Brand New-like essence into the heart of one of the album’s most energetic tracks. Memphis May Fire understands an audience’s need for a well-paced album, and consequently provides listeners with the time to collect their thoughts without jeopardizing the album’s natural flow. Truth be told, I didn’t know how much I loved Sleepwalking at first listen. If one were to simply sample the tracks briefly one might be inclined to dismiss Memphis May Fire as average, or maybe even mundane. But I assure you, the group somehow stands apart from their peers, showing a willingness to empower an often stagnant genre. Sleepwalking grew on me over time and has since cemented itself in my daily listening habits. Trustkill were wise to pick this one up; strongly recommended.

After having been given of list of bands to review, I came across a hardcore band from Texas by the name of Memphis May Fire. I had never heard of them before, but randomly decided to give them a listen. Fast forward thirty seconds, and I was already hooked. Memphis May Fire, a band that has garnished various accolades from such magazines as Revolver and Kerrang, had a lot of pressure on them to put up a successful first full-length, titled Sleepwalking. While they didn’t redefine the hardcore scene by any stretch, Memphis May Fire definitely satisfies. The opener, “North Atlantic vs. North Carolina” is a fantastic opener, with a great southern swagger to it, along with some strong vocals from front man Matt Mullins. It's not only one of the strongest songs on the album, but sets a great tone leading into the rest of the album. “You’re Lucky It’s Not 1692,” is one of the strongest song on the album, vocally, musically, and lyrically. Seemingly telling the story of a past girlfriend gone wrong, Mullins shines with his contrast of clean and screamed vocals. However not everything about this is album is perfect. “Been There, Done That,” while heavy at times, feels very bland and unoriginal. In a genre that gets criticized regularly for being stale, this song does not do much to defend against this criticism. “Destiny for the Willing” shows why some have compared Memphis May Fire, to Underoath. Again, it’s a solid song, but does nothing that hasn’t been done before. The album closes on a great note, with a very blues-inspired guitar solo, then slowly crescendos into one of the heaviest sections of the album, which doesn’t let down until the last couple seconds. The only downside to the song, titled “Speak Now, I’m Listening,” is the odd and very abrupt ending. All in all, Sleepwalking is a very solid album, despite a few small shortcomings here and there. You can tell all the members put in a lot of hard time and hard work, and it definitely shows. Casey Bates, who has produced for Chiodos in the past, also did a great job in helping create such a solid release, and it shows. In a scene quickly becoming stale, Memphis May Fire is a breath of fresh air, which is definitely needed, and well deserved.

Dallas’s own Memphis May Fire, have been restless creating their latest album Sleepwalking. Sleepwalking came out July 21st on Trustkill records, and contrary to the title the album is sure to get kids moving. Sleepwalking, marks the bands first full length, and is sure to turn some heads. Diving in to the ten tracks of Sleepwalking, all I can say at first glance is they need to make more relevant song titles. Aside from that minor cynicism, I must say I was pleasantly surprised that it is not the generic post hardcore, screamo clone album I was expecting. The vocals of Matt Mullen are going to appease those who enjoy post hardcore and screamo, for those not fans of those genres don’t instantly write MMF off yet they are tolerable. The guitar work of Ryan Bentley and Kellen McGregor is what will really draw you into MMF for example the solo on “The Face With No Name.” Alongside, well written lyrics especially on tracks like “Been There, Done That.” While Memphis May Fire isn’t reinventing the genre, they put there spin on it which is good enough to turn some heads. With no fundamental flaws, no annoying nuisances, Memphis May Fire have created a damn solid debut album. It simply comes down to taste with Sleepwalking; I do wish there was one or two more defined standouts to really blow me away. The only downfall is that you can go through Sleepwalking and find solid tracks without finding one that is memorable. Take nothing away from their debut album, it is more than promising, I expect big things from them in the future. One thing is certain; Memphis May Fire is one of the more promising up and coming bands. Sleepwalking is definitely worth the listen with blistering guitars and a catchy beat; it is guaranteed to get your feet tapping. If you’re a fan of post hardcore, you should definitely pick up Sleepwalking, for others as always check their myspace you may just be drawn in by the guitars like I was. Sleepwalking is the first of many solid albums from Memphis May Fire.

Memphis May Fire released their new CD, 'Sleepwalking,' on July 21st. When listening to the first track, 'North Atlantic vs. North Carolina,' they automatically reminded me of three bands; UnderOath, Chiodos, and Silverstein. They also showed hints of Senses Fail and Saosin in there, but at the same time, they have a sound that is completely different from all the bands I named. Some of my favorite music is when a band combines screaming with subtlety. I personally find bands who sing more than they scream, but scream at the right times and make it sound badass are some of my favorites. That is exactly what Memphis May Fire does on this album. The vocals of lead singer Chase Ryan are absolutely breathtaking and he has the ability to scream and not sound like a screeching cat which, let's be honest here, many singers who try to scream sound like. The guitar's riffs and hooks make the songs fast paced and nothing but fun. Their lyrics have such a fluidity about them that makes the songs flow and sound wonderful. My favorite songs are 'Ghost in the Mirror' and 'The Face with No Name,' though every song is amazing. I highly suggest you go buy this record. Sleepwalking is out now!

Dallas natives Memphis May Fire deliver their debut album, Sleepwalking, chock-full of dirty rock riffs, vivacious vocals and periodic subdued suspense all shredded apart with a Texas chainsaw. More melodic than their earliest material released on their self-titled EP, the songs focus more on snappy licks highlightingaggressive rants courtesy of new vocalist Matt Mullins's temporal style. Carried by perpetual energy, the album is an ardent attempt to avoid hardcore songwriting cliches, while still maintaining intensity. And the Southern swagger followed by pummeling roars on "Ghosts In The Mirror" proves their success.

MMF or Memphis May Fire is a post-hardcore band currently based in Texas. They formed in late 2006, but decided on a name a few months later in February of 2007. That year they recorded and self-released an EP, and began creating a local following. In September 2007 the band had officially signed to Trustkill, and their self-titled EP was reissued through the label in December 2007. Hoping that the debut album would be released in the summer of 2008 they had to push it back due to line up changes. Finally seeing the lit of store shelves Sleepwalking become available in July of 2009. The album spread 10 tracks long beginning with "North Atlantic vs North Carolina." Blazing with a killer riff to open the track and the entire album the song offers up more than just that opening riff. A combination of vocal styles floods your ears with a screams and melodies that would impress anyone. The lyrics are pretty solid as the guitars will melt your face off. "A Giant In a Giants World" will make your head spin. The super fast music is a breading ground for a mosh pit. The second half of the track though turned me off with the amount unbalanced screaming. "You're Lucky It's Not 1692" gives you more of a balanced vocal attack much like the opener. The lyrics are very catchy as you find yourself singing along with the non-screaming parts. "Ghost In the Mirror" is a dynamic combination of metal and melody that will sure to tinkle your ear buds as "Been There, Done That" is an onslaught of screams. Some sound very natural as others seem a bit doctored or forced. Although that occurs, the head banging that will go on during this track could cause whiplash. "Quantity Is Their Quality" keeps the intensity going with another hard hitting metal performance. The "slower" moments really make the track as you get a chance to rest and regain some energy for the last part of the track. The title track "Sleepwalking" spins off next with a blistering amount of guitars and drums. It's a super catchy tune with all the elements to hit the big time. "Destiny for the Willing" is a trashing plain and simple as "The Face with No Name" starts weird then transitions into a hardcore track with high flying music and combination vocals. "Speak Now, I'm Listening" ends the album with a weird combination of sounds. It opens with a soulful easy listening sound then kicks it into high gear with a great sounding musical performance. The vocals switch up styles multiple times throughout the track with smooth transitions. Overall the album is not bad. I'm not one for a lot of screaming and some tracks do scream a bit much for my liking, but they do mix the styles very well. The whirlwind of music swarms around you, engulfing you with a rush of furry. They are loud, yet soft in the right moments. If you love this type of tunes, you will love this album. If you are not so keen on the style, you should enjoy much of this debut album.

This Texas band have one self-titled EP to their name already, but the majority of the hardcore-speaking world will be encountering them for the first time with this disc. It's a strong first impression. Sure, they grip tightly to genre parameters (clean vocals, shouty parts, breakdowns aplenty), but they've got a rock 'n' roll swagger, a skilled drummer in Jeremy Grisham and a load of attitude--enough to compete with slightly older peers like Every Time I Die and Underoath. They're not quite as backwoods as Maylene And The Sons Of Disaster, but there's definitely some cowboy in their sound (and not the "on a steel horse I ride" kind). The title track and "You're Lucky It's Not 1692" offer surprisingly bluesy guitar riffs and punky aggression alongside the usual screamo/hardcore noise. The delicate guitar interplay that opens the album's final track, "Speak Now I'm Listening," brings it damn close to being their genre's equivalent of a power ballad--before the stomping groove kicks in one more time. Memphis May Fire are an impressive young band.

Memphis May Fire's bio asserts that they're operating in "a scene of music where 'over saturation' is an understatement", which does make you wonder why they choose to follow a somewhat limited post-hardcore / screamo course. Fortunately, though, they're a band that can distinguish themselves with the strength of their songs. Following on from their 07 self-titled EP, the quintet changed singers, drafting in new vocalist Matt Mullins. It was a fine choice; his range is impressive and compliments a great canon of songs that boast both fantastic melodies and a strong metallic backbone. 8/10 - FOR FANS OF: Moneen, The Used, Chiodos

Armed with a new vocalist and a reinvented instrumental structure, Memphis May Fire may very well have created their breakout album that could launch them into fame. Here's to hoping MTV doesn't get a whiff of this. Memphis May Fire is a southern post hardcore band. Prior to "Sleepwalking" which is their first full length, they had released a self-titled EP. With a new album, and new musical direction, and a new singer, MMF is poised to prove that they don't plan to blend in with every other band in the scene. While promising, the self-titled was painfully by the numbers and left a lot to be desired. It did have a few things going for it, namely some decent instrumentation and a unique vocalist. It was hindered by it's short length, predictable formula, and while often well done, the vocals could become grating, particularly in the clean passages. MMF also claimed that there was a southern edge to their music, though on the EP, this was hardly the case. With "Sleepwalking," they take all of the promise from their self-titled, capitalized on it, and put out a surprisingly good release. Although the vocalist is new, he certainly bears resemblance to the old one, with high pitched vocals that are well done and on key. The screams are vastly improved as well. This album also delivers on the promise of packing a southern edge. The guitars are distinct, varied, and stray far from the typical chugging of similar acts, and weave seamlessly around the other band elements with some excellent leads and melodies that are unmistakably southern rock tinged. Opening with North Atlantic Vs. North Carolina, MMF wastes no time in showing off the fact that they know how to play their guitars. The opening riff carries the song into one of its poppiest moments, and the vocalist easily switches between singing and screaming, utilizing both at appropriate times with more than enough ability. The album really hits its stride with You're Lucky Its Not 1962, which showcases the band's capability in playing harder rock right alongside the pop based songs. This is yet another song that has a hard southern rock feel to it. The song climaxes with a slow bridge that leads into an entertaining breakdown. Quantity Is Their Quality is the seemingly mandatory "socially conscious" track that normally is the pitfall of an album, plagued with cheesy lyrics and preachy douche-baggery. The odd thing is, this isnt a pit fall... by any means. This is one of the best tracks. Starting out heavy and meandering out into clean vocals layered over tremolo picked guitar, which is carried to the end with a downtuned solo that stands out enough without overtaking the other instrument's presence. The Name With No Face is yet another highlight, boasting the most powerful and raw screaming on the album. When that's paired with some nice guitar lines and an intricate solo, the song becomes built into possibly MMF's best song to date. The clean singing meshes with the screaming in on-off fashion that somehow feels fresh and entertaining, despite its overuse in most other bands. If Maylene and the Sons of Disaster's new album was up your alley, then this surely will provide some entertainment. A huge improvement over the EP, and showcasing just how easily a mediocre band can turn into a force to be reckoned with in the scene, "Sleepwalking" is an essential buy for anyone remotely interested in this music genre.

The Dallas boys Memphis May Fire released a self titled EP in 2007 and started working on their full length debut in 2008, when their singer decided to quit the band so auditions took place to get a new singer fast. They found Matt Mullins who only had to track vocals on the already recorded new album "Sleepwalking", the result is a good solid 35 minute long album of energetic posthardcore / metal. Their sound lies somewhere between Bullet for my valentine and Underoath, I really like the idea of releasing short albums since you don't get tired of them in the same way as 1 hour long albums that seems to be so popular today. Highlights: Ghost in the mirror, Quantity is their quality

At first glance, Memphis May Fire is your typical post-hardcore band, made up of five skinny guys making questionable fashion choices and promising heavier music than Meshuggah. They certainly don't look like they're from Texas. They aren't even tan. They swing back and forth from delay-infused melodies and singing to distorted riffs and yelling, much like a hormonal teenager. Teenage girls love them, metalheads hate them, and that's what got them signed to Trustkill Records. The album opens quickly with an obvious emphasis on new singer Matt Mullins, a knack for Maylene and the Sons of Disaster throwaway guitar licks, and a “we're here” message. The band's previous release, a self-titled EP, is immediately forgotten. While their style hasn't changed extremely, they have certainly begun with a clean slate. The more mature sound the band has taken up shines throughout the album, and the lyrics are noticeably different. Instead of stories being told, the focus is on character and the world's current standing. Album opener “North Atlantic vs. North Carolina” serves as the basis for the entire album, hitting every extreme that the album will touch on, vocal, guitar, and structure wise. The band is obviously built on slick guitar riffs and catchy vocal hooks, and no song on the album is without them. While the band touts their Southern side as a selling point, much of what they attempt comes off as cheesy and forced. Bending notes doesn't always add a Southern twang and can really ruin a song. In between the first song and the fourth, there are a couple of songs which don't stand out, as is the case for a few more on the album. Track four, however, is the strongest effort on the album. “Ghost in the Mirror” starts out with a neat flanged intro and ventures back and forth between upbeat and downbeat portions. The song is very well written all the way through and very nicely arranged. The effect-drenched intro and outro also add a lush quality to the production, which is refreshing in more than one way. “Been There, Done That” is perhaps the heaviest song on the record, as well as one of the catchiest. A good riff plus bass and drum fills help push the song along, making it a stand-out. After a few more filler songs, we get treated to the album's title track. “Sleepwalking” is based on a quirky chord progression and features an ending that is heavy on the singing, as well as its message, which is being critical of passiveness. The melodic ending begins the lead-up the album's climax, in which melody is much more central than during the first half. “The Face With No Name” takes on personal mistakes and the attempt to undo them - unsuccessfully, of course. The song features nice lead guitar work that actually fits the song, rather than just being in the same key and sounding “Southern”. The album's closer, “Speak Now I'm Listening”, is a hopeful song, also featuring nice lead guitar work and a catchy, fitting chord progression. The song's ending is nicely done, breaking down to an open and dreamy musical landscape that echoes the open ending of the album's message. Memphis May Fire's album is very promising for a band of this age, and especially surprising considering the lifeless quality of their genre of music. They still fit a good number of stereotypes and clichés, but their music and message consist of a good amount of substance. Sleepwalking is a solid effort which begins picking up steam in the second half, both lyrically and musically. Lyrics begin to get more broad and serious and songwriting begins to mesh together to form logical progressions and appealing writing. In this type of music, Memphis May Fire puts a smile on my face. True, it's not the most original music I've ever heard and there are better bands out there, but the band portrays a group of honest people making music that they and others enjoy. Sleepwalking is a good full length debut, balancing itself out between good music, and a promising future for Memphis May Fire.

It's an honor to have all your preconceived notions blown out the door within the first 30 seconds of an album. Back in December of 2007, I was mildly enthused at best by Trustkill's up and coming band, Memphis May Fire. Nothing against their EP, but every time it succeeded in capturing my attention, I knew the same gimmicks and tricks would follow in the remaining songs. Now fast forward to 2009 and replace the band's vocalist a nd bassist, and Memphis May Fire is prepared to renew their fan base with a little more creativity and pizzazz in their full length, Sleepwalking. Erupting with the energetic "North Atlantic Vs. North Carolina," Memphis May Fire starts things off strong and heavy with their mix of southern rock and hardcore. Where the band previously failed to show any variance in their sound, they manage to do so in Sleepingwalking by providing an eclectic range of heavy music for us to enjoy. Tracks like "The Name With No Face" show off an excellent use of melody and thrash mixed into their Southern roots, while "Been There, Done That, Got Da Shirt" is the heaviest song the band has written. Even the title track "Sleepwalking" shows off some epic melodies that build up to a nice finish before they collide with Kellen McGregor and Matt Mullins' strongest vocal performances on the record. Each song on Sleepwalking dabbles into all the bands influences much the like the previous EP, but this time it manages to push them forward a lot more creatively. This growth could almost be wholly put on the addition of the two new members, but that would be too easy. What Sleepwalking proves is that Memphis May Fire has finally lived up to the "bone-chillingly" perfection that Trustkill President Josh Grabelle claims. Every song on this album is solidly structured and packs an undeniabl e punch whether you're into heavy music or not. Which leads to the question every kid is asking: is it worth the buy? Absolutely! Recommended If You Like: He Is Legend, Chasing Victory, Our Last Night, Every Time I Die

ROCK FROM THE SOUTH: Not quite traditional Southern Rock, despite being from the South, Memphis May Fire comes out like gangbusters on Sleepwalking. The band is from Texas not Tennessee, and its guitarists slam down on their instruments like a bunch of bandits headed for the border. There's a hint of southern-fried elements in some of the noodly riffs, but its not overwhelming, obvious, or out of place. Sleepwalking is part metalcore, part hard rock, and part screamy emo. But there's so much bluster on "North Atlantic Vs. North Carolina," "Giant in a Giant's World," and "You're Lucky It's Not 1692," which is probably the album's most Southern tinged track, that there's no time for the listen (or the band) to get bored. Memphis May Fire's closest sonic relatives would be Every Time I Die and He Is Legend thanks to its noisemonger style. Sleepwalking may have moments of melodicism, but for the most part, it's rough around the edges in quite a charming way. New singer Matt Mullins has jumped into his role with fearless abandon and not one step has been lost in the process. He delivers his lines with venom, and it works with the turbocharged riffing. There may be a tiny trace of Lynyrd Skynyrd in Memphis May Fire's DNA, and that only adds an extra kick to the music.