3rd May 2025

Review: “Of Love and Lunacy” by Still Remains (20th Anniversary)

A seminal release in the era of American Metalcore which was inspired by the Gothenburg Melodic Death Metal sound, “Of Love and Lunacy” was the major label debut record of Grand Rapids Michigan natives Still Remains. Arriving on 3rd May 2005 after the six piece worked with Canadian Producer and Engineer Garth “GGGarth” Richardson (From Autumn to Ashes, It Dies Today, Mudvayne), building on the foundations of a pair of EPs in 2003’s “Dying With A Smile” and 2004’s “If Love Was Born To Die“. This was however the first recorded work with the band of guitarist and clean vocalist Mike Church and drummer A.J. Barrette, so as it arrives at its 20th anniversary it’s time for a stone cold review without a shred of rose tinted spectacle wearing nostalgia…

The style of the album is established immediately by the fierce unclean vocals from T.J. Miller, the perfect accompaniment to the slick lead guitars as cut throat opening cut “To Live and Die by Fire” takes shape. Roars of “Burn! We Watch You Burn! Right Before Our Eyes!” give it that instant appeal in scream a long ability while fleeting synths rise to the surface to give it a little melody. The trademark era breakdown that brings it to a close is one of those that screams to continue for another chorus and verse at least but is instead cut short cuts under the three minute mark on a strictly less is more basis. Lead single “The Worst Is Yet to Come” was always an obvious choice with it’s introspective lyrical narrative having far more grit and integrity to it than most Nu-Metal scene that came before this one. A big and bold clean chorus with some harsh backing moments in a separate vocal layer are perfectly balanced, none of the energy or momentum of the sonic abrasions lost in making it all fit together. The synths add depth and texture while the twin guitar attack bring riffs of a high standard that balance the melodic and the heavy on a knife edge. As if that didn’t have enough verve and swagger to it the near five minute “In Place of Hope” has the addition of spoken word and whispers from Miller as he speaks of letting the inner child run away. The influences of bands like Soilwork and In Flames is undeniable but the Still Remains come into their own because they deliver everything they create to such a high standard. The piano bridge from Zach Roth is as achingly beautiful as the clean vocals that accompany them.

Opening with stunning intertwining leads “White Walls” has that instant head bang appeal as it breaks into the bands trademark vocal stylings. Another lush piano moment gives this one a little more style and grace, the metaphorical icing on the cake when you already have something of arena sized anthemic quality. Increasing the intensity with a brutal screamed opening verse “Bliss” hits like wrecking ball, strategically placed to maintain the flow of this river to the sea. The guitar parts have plenty of bounce to them for the mosh pit, the pummelling percussion adding to the sonic weight of the sound and Josh Wilber deserving a lot of credit for nailing the mix. The cliché that is all killer, no filler feels pretty appropriate at this point as the band ensure that this album doesn’t have a soft centre or a cringe worthy power ballad. Instead they crank it up with “Cherished“, which has elegant clean vocal harmonies, a tasteful staccato riff break mid section and even a few blast beats from drummer A.J. Barrette. Another cut with sing-a-long ability on the first spin, it’s as fearfully addictive as they come as melody and brutality combine perfectly. Listening to this record twenty years down the track, it hasn’t lost any of its edge and if anything it feels heavier. Each track has little nuances that surface in the mix over multiple listens, especially with the buried synths, that you don’t necessarily appreciate the first time around.

Interlude piece “With What You Have” gives keyboard player Zach Roth a moment to shine and he grasps it with both hands, offering up a melancholic piece that borders on the cinematic. A moment of quite contemplation and reflection, it’s fleeting respite of the highest order from which “Kelsey” rises as if the two were conjoined twins separated at birth. A pulsating energy and rhythmic dynamic along with a couple of brilliantly executed pick slides – who doesn’t love a pick slide?! make sure this one holds its own in the company of it’s surroundings, the keyboard solo and death growls over a punishing breakdown meaning it’s one of the albums heaviest pieces. An earworm riff of hummable quality gives “Recovery” an instant appeal, the six piece going down a similar road to bands like It Dies Today and As I Lay Dying in the first half this of one. It’s the second half however where Still Remains go the extra mile, not afraid to take a risk with glorious cleans from guitarist Mike Church giving the track a sublime texture before the brutal death growls of the final verse. There weren’t many who were capable of combining the two elements without one suffering as a result, as proven with the slow downs for clean choruses which hamstrung the second wave of American Metalcore bands, but Still Remains demonstrated they had it here.

The longest title in the playbook goes to “I Can Revive Him with My Own Hands“, a tale of burying a broken heart and running away from any future prospect of love in self preservation. Distinctly Still Remains in style this one elevates the Metalcore sound with elegant synths while having that emotive quality in the vocal performance that confirms this means more. You can feel the weight of the lyrical narrative while it remains open enough that you can make it your own, all of which make it a great song. After the tragedy comes “Stare and Wonder“, a track that feels like a natural sequel, especially lyrically. A composition that demonstrates the bands song writing prowess once more, it combines all the elements that make up the bands sound, making it something of an album summary piece in one bite sized anthemic tune that helps you breathe more easily in troubled times. While there are a couple of versions of the album with bonus tracks on them, including a high quality rendition of “Head Like A Hole” by Nine Inch Nails, the original record finishes on a high of its own with “Blossom, the Witch“. A cut that approaches six minutes on the night side with some eerie edges, gothic synths and screaming guitars, it’s a slick way to conclude an album while piling breakdowns upon breakdowns. One of the finest records of the first wave of Metalcore, “Of Love and Lunacy” is one that may be 20 years old but has lasted the test of time, dust free and without so much a scratch [9/10]

Track Listing