The Number 12 Looks Like You: Worse Than Alone
The Number Twelve's Latest Descent Into Melodic Sonic Madness
Mar 21, 2009
The Number 12 Looks Like You first entered the New Jersey metal scene in 2003 with Put On Your Rosy Red Glasses. Their grindcore influenced metal got them pigeonholed, but their next two albums (2005’s Nuclear Sad Nuclear and 2007’s Mongrel) distanced the band from that label by integrating more melody while retaining their spastic ferocity.
Arguably, each release has been better than the one before. Worse Than Alone is no exception. They’ve somehow managed to retain the usual Number 12 staples while adding new, exciting elements to the mix. Upon first listening, the initial reaction may be to wonder where the old Number 12 went. After listening through a few times, it’s clear that it doesn’t matter where, since the new sound is so good.
Worse Than Alone’s Songs
“Glory Kingdom,” with its fuzzy bass rumble, is a brawny opening. The most distinct change is the guttural death metal-ish vocals. This may come as a surprise to those expecting the usual dual shrieking vocal styling. Not to worry. Those ear-splitting screams still abound. “Glory Kingdom” however benefits from the heavy low end which make even the hilarious breakdown (“Mush! Mush! Mush!”) sound crushing.
“Marvin’s Jungle” begins innocently enough with some light tapping but also features the most radio-friendly moment of the band’s history. “Garden’s All Nighters” is Number 12’s love letter to New Jersey, referencing NJ staples (Quikchek coffee, the shore, boardwalks, 24-hour diners) over a jazzy interlude. Besides being technically impressive, the song is upbeat and one of the best moments on the album.
“…If They Holler, Don’t Let Go” opens with an interesting vocal delivery: lyrics are screamed with a pace usually reserved for hip-hop, resulting in a fascinating flow. This gives way to a lightning fast guitar line with a distinct Number 12 feel to it. “Retort, Rewind, Remind” pleasantly surprises with its reverb-soaked interlude, complete with melodic vocal harmonies.
“The League of Endangered Oddities” begins with the slow twinkling of an acoustic guitar. It is noteworthy for being one of the band’s only songs sung fully in melodic vocals, except for the cathartic final minute and a half. It keeps it simple but makes for some pretty powerful stuff.
The Sound of Worse Than Alone
The band tries many new things, some of which work, some of which don’t. This album features an abundance of new vocal techniques. Death metal-ish growls and hip-hop-y delivery make for interesting music, but sounding like the singer from Disturbed (on “Given Life”) only sounds ridiculous. In addition, the band has vastly improved their melodic vocals. They sound less nasal and implement some harmonies that actually sound good.
The instrumentation hasn’t changed much, except for the addition of more melodic and ambient passages. Some of the best riffs are the most simple such as those in “Marvin’s Jungle” and “League.” The random drum solo tacked onto “Retort” is cool the first time, but soon enough it becomes an annoyance. Too simple isn’t good either though, like the repetitive chugging in the 9 minute closer “I’ll Make My Own Hours.”
On the whole, The Number 12 hasn’t changed that much. Worse Than Alone sounds like a natural progression of their sound as well as a refusal to be pigeonholed into any specific genre. It is everything good metal should be: adventurous, heavy, and unafraid to experiment with melody. In modern metal, The Number 12 Looks Like you stand alone, and considering the deluge of generic, uninspired metal out there, there is plenty worse than alone.
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