Martyrs Song Lyrics

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TDWP. I love this band, personally. And some people are saying Mike's voice is fading. I don't see it or even hear it. It sounds great and I love the band and this album. Definitely hooked on it and The Amity Affliction as well as Upon This Dawning 😊

Miss the old vocals but still an amazing album.. For a band that has quietly been around for nearly a decade now, The Devil Wears Prada will never dwell on its past. Flat out refusing to play songs from its first two full lengths (2005’s Dear Love: A Beautiful Discord and 2007’s Plagues, both released on Rise Records), the band has always puts itself in a position to reimagine who they are as a band. The results have been stellar, beginning with 2009’s With Roots Above and Branches Below, progressing through the peculiar-yet-pummeling Zombie EP and, most recently and most notably, 2011’s incredible, career-changing Dead Throne. Each of those three releases has featured the band doing things they’d never done before, whether it was Jeremy DePoyster’s vocals solely gracing “Louder Than Thunder” on With Roots, putting the band’s well-documented Christian beliefs on the backburner throughout Zombie, or perhaps their most daring creative decision yet: the crushing, powerful instrumental track “Kansas” in the middle of Dead Throne. At least over the last four years, The Devil Wears Prada has never been the type of band to rest upon its laurels. They’re much more interested in advancing as musicians, refining their art, and keeping things fresh for those fearless enough to come along for the ride. Much like its predecessors, the band’s fifth full-length 8:18 follows suit in pushing the band’s creative scope outward, and providing another side to take in the argument of which work is the band’s best. And it begins with an eerie synth arrangement provided by Jon Gering, the band’s new synth-op. Gering replaces the beloved James Baney, an essential cog in the machine of the band’s live sets. Gering’s synth contributions aren’t as in-your-face as Baney’s were, as he (and the band) opt for the synths and keys to provide more of a backdrop for the guitars of Chris Rubey and DePoyster, the bass of Andy Trick, and Daniel Williams’ drums. Gering’s contribution to 8:18 will likely not be talked about as much as the performances around him, but he certainly deserves credit for filling in successfully for a fan favorite, and finding a way to make his own impact on the band’s music, especially on “Care More” (which is his moment to shine), the album’s title track, and “Black and Blue.” Rubey’s guitar work has always been a key contributor to The Devil Wears Prada’s appeal, and it’s no different this time around. In fact, Rubey’s guitar work is the most wide-ranging, from chugging introduction to “Rumors” to anthem-ready “War,” while taking a more subdued tone on tracks like “Care More” and the introduction to album closer “In Heart.” Rubey’s continued experimentation and expansion of his arsenal is one of the key reasons for the band’s progression through is past few releases, and on 8:18, Rubey propels the band to a level where they can make any sound work, from melodic, back to heavy, or somewhere in between. The vocal tandem of DePoyster and frontman Mike Hranica has always been an interesting line for the band to straddle, as they’ve seemed to struggle at times involving both vocalists in the right dosages. There was a bit of a breakthrough on Dead Throne, where no song felt like DePoyster’s parts were forced in the middle of Hranica’s bellowing (a flaw Plagues fell victim to far too often). Here, though, the two not only maintain the balance they’ve found, but both vocalists have improved their range and delivery considerably. DePoyster’s vocals, often left for Autotune to handle, have typically been seen as the light in the darkness of Hranica’s screams. On 8:18, however, DePoyster joins the frontman in the darkness, utilizing a harsher, more visceral vocal delivery that comes off harsh, wounded, and even more emotional. DePoyster provides several choruses throughout the album, most notably on “First Sight” and “Black and Blue,” that not only emphasize the pain Hranica relays in his lyrics, but adds another level of depth to the darkness the lyrics so heavily focus on. For a great deal of listeners, Hranica’s vocals and lyrics will always be the benchmark used to measure the quality of any TDWP album, and while that thinking horribly devalues the masterful performances of the band around him, Hranica has delivered his darkest, most vulnerable set of lyrics yet. The years of screaming has unmistakably taken a toll on his voice, but rather than using that sort of deterioration as a hindrance, Hranica pushes forward with brute force, and the result is a series of haunting bellows, harsh, shrieking screams and, new this time around, a bit more, all of which sound more battered and weary, which actually helps the overall feeling of the songs. The cracks and “flaws” in Hranica’s voice are still digestible, and the strain in his vocals go a long way to showing the emotional toll these musings have taken on the frontman. With yet another sonic evolution unleashed, The Devil Wears Prada has come a long way from nearly being dismissed as just another Warped-core band signed to Rise Records. Their material only seems to be getting darker and more technical, and the industrial metal influences add a new element to the mix that the band are clearly talented enough to fuse with their signature metalcore sound. There are scenes of hardcore, punk, and post-hardcore/screamo as well, making 8:18 an album that will keep The Devil Wears Prada firmly in the forefront of metalcore. Taking its name from a passage from the Book of Romans that reads, “I consider that our present sufferings are not worth comparing with the glory that will be revealed in us,” 8:18 is an album that shows that the previous sufferings of The Devil Wears Prada have resulted in the glory of becoming one of the most forward-thinking and talented bands in today’s metalcore. In a scene where we’ve lost Underoath and The Chariot in the same calendar year, there is a seat at the head of the table is opened, and no band has made a stronger case to take that seat than The Devil Wears Prada.

Too much change recently.... It's a good album and I love TDWP don't get me wrong, but could we please go back to the sound of With Roots Above and Branches Below?

Awesome Music. These are awesome from the first to this present, they always make good music. No matter what people say about the way they write songs, titles or how they sound. I think it's perfection, and hope in the Word of Truth is awesome! There aren't alot of Christian bands that will stick to the faith, I see it with bands like this, Doom, Sleeping Giant and others. I love it.

Losing it. Mike's voice is fading. This album is really lacking. You could tell they were going downhill after dead throne. I miss zombies TDWP. I'll still listen to it anyways cause i love TDWP too much.

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TDWP 8:18. Amazing album, very different but fresh. an album i would recommend to anyone 5/5

The Real TDWP. Amazing work guys, so pleased you've truly made it your own piece and put in the hard work. God bless.

Their best yet. Prada have really outdone themselves again!

Awesome. Awesome cleans, awesome screams, awesome everything 5/5

Hello Sailor Says. I'm excited for the next album now. 8:18 is something I've been wanting to hear from any band for a while. TDWP have done a fine job.