Job For A Cowboy is an extreme metal band from Glendale, Arizona who formed in 2003. "Moon Healer" is their fifth full length album and their first in a decade. They have also released a demo, two EPs, a split, and a live album.
The band's beginnings can be traced to a more deathcore oriented sound but it has progressed over the years to death metal, incorporating plenty of elements along the lines of tech and progressive structures.
Ten years is a long time to be gone but sole remaining original member Jonny Davy hasn't missed a beat. But the underground has changed, brining with that change a plethora of amazing death metal bands that were, no doubt, influenced by JFAC. So do Davy and the gang have what it takes to compete in this brave new hell?
Hell yes they do.
First, I want to praise the production/mix. Absolutely outstanding. I suppose it could be argued that it's too clean to capture the raw immensity that death metal so often brings with it. However, there is a lot going on in this album. In that respect, I think the album sounds exactly how it should: bright, clear, and crisp. This allows this busy album to showcase every small detail and capture all the nooks and crannies it has to offer. It's hard to complain about such pristine production when the bass pops out so well and the drums sound as clear as day.
Of course, without the songwriting to back it up, the production doesn't matter. A great album can get by with half-assed production values but the reverse never works. Fortunately, the band is firing on all cylinders. Longtime guitarist Alan Glassman and Tony Sannicandro present a very dynamic performance that is on constant flux from technical flourishes to progressive passages. Nick Schendzielos and Naven Koperweis, on bass and drums respectfully, are just the rhythm powerhouse needed because they can hold down the foundation and low end while also being very adaptive.
And Jonny Davy? His vocals show no sign of aging as he gives one hell of a performance. His brutal voice is also intelligible, giving it a venomous snarl and a lot of commanding attention.
"Beyond The Chemical Doorway," opens the album with clean tones that are already well on their way to the drop at at 30 seconds in. The bass dances around the riffs as Davy growls his ass off. The music is caught somewhere between a powerhouse technical display and progressive tendencies. The song still has plenty of room for good ol fashioned headbanging as evident of it's mid section. The later half is represented by a surprisingly emotive solo, trippy bass and chonky riffs.
By the time this song is over, one thing is evident: the band doesn't waste time and use every available second. The songs are somewhat shorter in length for this style, and the album is a tight 39 minutes in length, but that allows the band to display their clever songwriting without being stagnant or over stuffed. There is a lot of process across the album but it never feels overwhelming or like its too much.
"Etched In Oblivion" is an immediate banger with the drums being particularly potent. In it's faster moments, the song sounds surreal. The way the lead guitar kicks off the music into speedier moments that, in turn, break off into more expansive sections is a testament to the band's ability to think ahead and perceive exactly what the song needs.
"The Sun Gave Me Ashes So I Sought Out the Moon," is one of the best songs on the album. The fury and cadence of the vocal assault is actually rather catchy and grabbed my attention immediately. The frantic music lends the song an urgent feel until the drop at 1:49, which propels the song into utterly devastating territory. The wild solo pulls the song out of the section and pushes it into a riff based movement until the song's end.
"A Sorrow-Filled Moon," has a slow, mysterious atmosphere in the beginning. The tempo is mid-paced here and the song really embraces it---this song is a banger with optimal flow that works with the varying tempos. Davy's higher pitched death screams in the middle are fantastic just before the solo, where the entire band is on a downhill momentum.
The final track, "The Forever Rot," ends the album on a high-note. Dark, clean tones lead by the bass open the song before it gives way to the almighty riff. This song represents everything the band wanted to achieve on this album and is a good overview of the album as a whole. The ending moments from 4:45 onward are cleverly written, a brief clean passage that evolves into a trip to another dimension.
Job For A Cowboy were gone for a long time but "Moon Healer" proves they never really went away and their songwriting chops have stayed in fine form. It is also an album that paves the way for their future as it will bring them many new fans while satisfying the old ones.
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