The sounds of Frontierer and genre contemporaries The Tony Danza Tapdance Extravaganza inspired me to compose a playlist. Included on the list was The Callous Daoboys and their most popular track, "Fake Dinosaur Bones." I thought the screamer/singer had a cool style, but they were lost in the shuffle, just another new metal/mathcore band serving my own means to an end. Then, I delved more into the album from which the track came - 2019's Die on Mars. The pictures featured two females to go with four males, something I didn't expect at all. Bands that sound the way the Daoboys do don't usually frequent two X chromosomes, and what the ladies bring to the band is an electric violin and a heavy, second axe. I then hit play on the irreverently humorous "Flip-Flops at a Funeral." After watching the irreverently humorous video for "Fake Dinosaur Bones," the band, especially frontman Carson Pace, seemed to encompass a sort of flip-flops at a funeral persona.
"Faraday Cage" breaks into a nasty, sludgy, old school metal riff, then eeks into a quirky radio DJ interlude, reminscent of "The Cavalcade of Gillete Sports" from Glassjaw's 2001 sophomore effort, Worship and Tribute. "Pure Schlock" features southern metal riffs under some pretty southern metal singing, which only leads into a slew of nonsensical, muttering screams, ala Glassjaw's "Siberian Kiss." "Die on Mars (Sun Spot)" ushers in the first sense of meaningful melody since the opening track, and final track, "Die on Mars (Addendum)" takes us out with a fuzzy piano ballad, which sounds like a drunken piano man from the Old West banging out the sorrows of yesteryear. The tracks fades out with a pre-recorded evangelist woman praying with a would-be caller on a lonely voicemail recording. The album features of slew of references to the hypocrisy found within organized religion, from Carson Pace's nihilistic growls to the carefully-placed sound clips found in "Dogfight Over the Trenches," "Fake Dinosaur Bones," and "Die on Mars (Addendum)."
The band claims the playful, cynical lyrics of Every Time I Die, the stunted, lingering feedback of the Chariot's live studio album, and the frenzied, mathrock sensibilities of Dillinger Escape Plan. They also bring something completely new with the sounds of an electric violin, odd little skits about restaurant waiters and disc jockies, and a fearlessly feral vocal style that channels both old school Keith Buckley (Every Time I Die) and Josh Scogin (Norma Jean, The Chariot, '68). All in all, Carson Pace is one of the most entertaining metalcore vocalists I've heard in a long, long time.