Every Time I Die began turning heads in the hardcore community with their debut release, Burial Plot Bidding War, which was released on a small independent Canadian label called Good Fellow Records. Ferret Records caught wind of this phenomenal upstate New York quintet and quickly secured them with a record deal, and soon thereafter Last Night in Town emerged. This album is a cathartic, chaotic release, finding Every Time I Die careening from metalcore crunch to exhausting screamo and even meandering into slightly emotional melodic singing akin to the highly touted Glassjaw. Technically perfect music that rivals even Dillinger Escape Plan layered with the most insane vocal screams is a formula for success for these five men, as the CD never loses its steam. In all reality, as it progresses the listener will go from being stunned to outright jaw-dropping incredulity. This album is quite comparable to Drowningman in the sense that each band can so flawlessly twist your mind into a pretzel and then straighten it back out with the occasional melody. The two groups also share an obvious tongue-in-cheek mentality that makes their music all that much more enjoyable. "Enter Without Knocking and Notify the Police" even starts out sounding slightly similar to something System of a Down would churn out, which is certainly an unusual comparison, yet quite true. "Nothing Dreadful Ever Happens" features a piano, sampling, and could almost be considered a ballad if it didn't contort itself into a sinister succubus of sound that feeds off your hatred and emotion only to seduce you back for more. The reluctance to remove the album from your stereo is surely proof enough that this is one of the most potentially amazing bands inhabiting the metalcore scene, and if the group continues creating music this spectacular they will rise to the top in no time.
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AllMusic Review by Jason D. Taylor