“There Are Roadmaps In Our Veins” / The Breaking Pattern

W119The highly anticipated debut album from local Phoenix band The Breaking Pattern is almost in reach. On Friday, April 8, “There Are Roadmaps In Our Veins,” will be independently released on all major music platforms. The 11-track album produced by Cory Spotts (The Maine, Blessthefall, The Summer Set) took three years to make and it demonstrates how hard working each member of the group is. TARIOV is filled with crashing instrumentals and the vocalist’s sweeping melodies that successfully capture the attention of listeners and doesn’t let go.

“Cory [Spotts] said he has never spent more time on a single album than ours because of my neuroticism,” vocalist Derek Hackman said. “I’m proud to think of what came out and think it definitely has a professional and polished feel. I think our genre is in a good rising spot.”

TBP describes their music as “when poetry meets melody.” That’s a spot-on summary of their sound, but doesn’t go into a lot of detail. They’re the kind of band that would comfortably fit in among Alternative Press’s Artist to Watch or within a Warped Tour lineup. The lyrics have a piercing, cathartic feel to them, similar to bands like Brand New and La Dispute.

The first single from the album, “The Rapture,” almost didn’t make the cut, according to a post on the band’s Instagram. It has a way of standing out among the other songs. The drums are loud and powerful during the chorus, which meshed well with the pop-ier sounding vocals. The drums are oddly reminiscent of Imagine Dragons, but it wouldn’t be fair to compare the song to something else because it is uniquely its own.

“Alaska,” the second single, is one song in particular that I can clearly picture being played on an elaborate stage in front of a huge audience. The opening guitar chords are intense but they drown out as soon as Hackman’s vocals start flooding in. The chorus picks up the pace again, but not in a standard way. While the first single came off as slightly more pop, influences from pop-punk bands like New Found Glory and Paramore can be heard in “Alaska.”

TARIOV opens with soft guitar chords in “Let Love Go.” There’s nothing rushed about the intro, and it feels like the band is welcoming the listener to the album. It’s one of the shorter songs on the record, under two minutes, but if the purpose was to warm up to both new and old listeners, then the band succeeded.

“Act Natural (Keep Your Composure)” has a variety of sounds, from both the instruments and vocals. It’s as if they took two songs and messed around with the details until it became one. The first half is “Act Natural.” It has shouting vocals, high-pitched guitars, a lot of snare. It feels like something that would pop up on an Alternative/Punk station. “Keep Your Composure” is the second half, and the way Hackman sings those three words stands out to me within the album as a whole.

“That [‘Act Natural (Keep Your Composure)’] was originally supposed to be our single,” Hackman said. “I don’t know why it didn’t become the single. It was the favorite going in and it’s been our favorite going out.”

Everyone in the crowd will get up on their feet and start jumping when they hear the first few chords of “Pretty on the Outside.” It’s the first song on the album to make a noticeable sway away from pop. Toward the end of the song, the band experiments with producing different sounds through different sides of the speaker/earbuds. On one side is one set of vocals, and the other side has a different set. It adds to the professionalism and how the band managed to “polish” their sound, as Hackman had said.

“Something / Anything ” introduces each instrument one at a time, then brings everything together during the chorus. The band manages to capture the idea of how feelings can be fleeting as they continually change the tone of the music. The song makes a clean transition to the first ballad-esque song, “Woman of Seine.”

A typical punk theme is brought to surface in “White Stone”: be yourself and don’t pay attention to anyone who tells you otherwise. Despite being one of the most energetically charged songs, the lyrics stray from obscenities. In fact, there’s not a single swear word in the entire album. It’s not like swearing is required for an alternative album, but it’s definitely been considered to be part of the norm. The song catches the listener off guard by starting out slow and acoustic, then it cranks up the volume to full blast during the chorus. The self-focused anthem is the shortest song on the album at a minute and 26 seconds.  

Heavy drums pound on your eardrums to kick off “White Lie Black Market,” one of my favorite song intros on the album. The instruments step back when Hackman’s vocals begin. Emotion pours through every word, the anger and betrayal almost tangible through the speakers.

The band gets out the last of their heartbroken woes in the last two songs – “Colonies (Of Earth & Ocean)” and “Skyward as We Burn.” The former brings back the slow melodies, similar to “The Rapture.” There’s a jumble of spoken words toward the end, sounding similar to what one would hear at a poetry slam event. “Skyward as We Burn” completes the album with chorus of crashing cymbals and angry chords. It leaves the listener wanting more, and has them immediately reaching for the repeat button.

If you want to find out any more information on the band, check out my previous blog when  I got to interview the frontman of TBP. If you want to keep up with upcoming shows and other information, follow them on social media:

Facebook – The Breaking Pattern

Twitter – @TheBreakPattern

Instagram – @TheBreakingPattern

Thanks for reading,



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