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» » Between The Buried And Me - Alaska
Between The Buried And Me - Alaska FLAC


Between The Buried And Me




Rock music

FLAC album size:

1345 mb

MP3 album size:

1280 mb

WMA album size:

1741 mb

Other music formats:



4.5 ✱


Death Metal, Experimental



Date of release:


Between The Buried And Me - Alaska FLAC

Between The Buried And Me - Alaska FLAC


1 All Bodies 6:12
2 Alaska 3:58
3 Croakies And Boatshoes 2:22
4 Selkies: The Endless Obsession 7:23
5 Breathe In, Breathe Out 0:56
6 Roboturner 7:57
7 Backwards Marathon 8:27
8 Medicine Wheel 4:18
9 The Primer 4:46
10 Autodidact 5:31
11 Laser Speed 2:53


  • Artwork, Layout – Wes Richardson
  • Engineer – Jamie King
  • Mastered By – Alan Douches
  • Mixed By – Matthew Ellard
  • Mixed By [Assisted] – Kris Smith
  • Producer – Between The Buried And Me, Jamie King, Matthew Ellard
  • Written-By – Between The Buried And Me


Recorded at The Basement (Rural Hall, NC).
Mixed at Q Division Studios (Boston, MA).
Mastered at West West Side.

℗ Victory Records 2005 © Another Victory Inc., (ASCAP)

Barcode and Other Identifiers

  • Barcode (Scanned): 746105026223
  • Barcode (Printed): 7 46105 02622 3

Other versions

Category Artist Title (Format) Label Category Country Year
VR262 Between The Buried And Me Alaska ‎(CD, Album, Unofficial) Victory Records VR262 Russia Unknown
vr262 Between The Buried And Me Alaska ‎(2xLP, Album, Ltd, Yel) Victory Records vr262 US 2013
vr262 Between the Buried and Me Alaska ‎(2xLP, Album, Ltd, RP, Red) Victory Records vr262 US 2013
VR262 Between The Buried And Me Alaska ‎(2xLP, Album, Gre) Victory Records VR262 US 2013
vr262 Between The Buried And Me Alaska ‎(CD, Album + DVD-V) Victory Records vr262 US 2005

There is a new pink starburst up on victory.com. I guess they are pressing a new color for each album.
so much talent, so little taste. how did i end up with one of these.......things?well, they came through here on the colors tour and a very old friend of mine had nobody to go see the show with and hence decided not to go. now, i had heard him rave about the band. i couldn't let him not go to the show just because he was too shy to go by himself. i ended up having a few too many drinks, nearly got killed in the mosh pit and then bought a couple of records as a souvenir. the most interesting part of the show is when the sound of a banjo was playing through the speakers and yet there was no banjo player on stage......i sought and received a quick confirmation that the record was played straight all of the way through. that being said, i don't blame them for faking it. to begin with, everybody lip synchs nowadays; a musician can tell. secondly, the music they play is retardedly complicated from a time signature perspective and would be very easy to fuck up. however, they should have removed the banjo from the live mix. the truth is that i don't think that many people even noticed; most people there showed up to mosh and weren't even paying attention to the band.on the day after and with a bit of a headache, i was forced to deal with the consequences of my actions. what had i done? how could i have purchased not one but two between the buried and me albums? it's a good thing that i don't want children because such an act of lameness would otherwise be a pox on my lineage for generations.more seriously, these guys are all awesome musicians and there are points on both of these records that are worth listening to over and over again. that is why i only sold one of the discs (well, i traded it for a tuatara record, which is something that is much closer to my cup of tea. it was the best major release the used store had; i do have moral qualms about buying independently released music second hand) and kept some high quality mp3s. yet, the records are both saturated with so many problems that they are both simply unlistenable all the way through.the first and largest problem is the vocals. it's hard to make much of an assessment of the actual lyrics because you can't actually hear any of them at all. it should, however, be noted that as far as "cookie monster" type vocal acts are concerned, this guy is considerably less annoying than i've come to expect. a lot of that has to do with the mix; whoever mixed these guys did people like me a favour and turned the bastard way the fuck down, which has the added bonus of (relatively) turning up the guitars and the keyboards. yet, i can't disentangle the cookie monster from the zombie, rob zombie particularly. i know that if you google these guys you'll learn that they don't look like gwar so much as they look like grad students, but i'm still left with the visual image of some coked out nutcase stumbling across the screen. i'm sure that's part of the marketing strategy, i'm just definitely not a member of the demographic that finds such things appealing, no matter how much i may enjoy periodically throwing on a white zombie record and laughing my ass off for 45 minutes. the singer is also more than a screamer; he does turn off the rack effects from time to time and provide a - gasp! - melody. such moments are few and far between, though, lest the listener conclude that he's some kind of fag or something.what i do find some attraction to on the record are the guitar parts, which would be expected as i am a guitarist. as a guitarist, i've actually spent most of my life trying to find some way to rationalize how it is that so many brilliant guitarists can possibly have such terrible taste in music. you can add this guy to the end of the "so much talent, so little taste" list that begins with jimmy page and includes steve vai, richie blackmore, richie sambora, slash, kirk hammett, eddie van halen and at least three dozen other guitarists. i do want to (and do) listen to them when they compose music of substance, honest. i listened to the first half of passion and warfare just the other day and really enjoyed it. honest. i just really, really really don't want to listen to their terrible singers nor am i able to stomach their overly indulgent and laissez-faire approach to popular music. a good example of this is the fourth track, which has a really strong, angular introduction and eventually opens up into a really pretty ballad that builds into a nice big fruity major key modal workout. yet, there's this two or three minute chunk near the beginning that makes the whole goddamn thing unlistenable. with so much great music out there, i refuse to force myself to endure two minutes of pointless yelling for the sake of 4 minutes of archetypal (if tastily written) sweep picking. i can get the sweep picking elsewhere without the screaming! the seventh track has exactly the same problem, while the 9th and 10th have related problems on a smaller scale.the third problem is the soft-loud transition. they do it twice. it consists of following a nice acoustic guitar arpeggiation with some guy screaming (they probably have one hand on their crotch and the other giving the bush sign of satan) over the drummer's best impersonation of animal from the muppet show. the reason they do this is, of course, to remind us that they're not a bunch of fags or something. track 6, by the way, has what sounds like somebody putting a well defined lisp through an effects rack, along with some genuinely disco influenced bass parts.this decade has produced a lot of noisy tripe, the vast majority of it having absolutely no musical value. turning your amp up really loud, telling the drummer to "just break shit, dude", telling the singer to "just yell shit, dude." and then jumping randomly between ionian, lydian and mixolydian modes does not music make. as brutally as i've come down on this record, this band actually stands out in the genre as actually attempting to do something creative and legitimately listenable. this is actually the best cookie-monster metal i've ever heard! they may have failed horribly so far, but they deserve respect for trying. i'm by no means an expert (or even vaguely knowledgeable) when it comes to cookie-monster-metal, but my understanding of what's gone on over the last 10 years (which i've mostly spent listening to post-rock and fusion from the 70s) is that btbam is to cookie-monster-metal as the smashing pumpkins were to grunge: they are the act that is trying to turn a popular, corporate musical phenomenon into a popular music artform. there are very few death metal acts that would for a moment consider incorporating a track like medicine wheel, which is an enjoyable - if generic - take on the shoegaze-y side of the more poppy side of postrock and is again much closer to what i'd rather listen to. in a world where "open-minded metal" is practically an oxymoron, it's actually really refreshing to hear somebody willing to branch out a bit......even if the result is less than satisfying.keep trying guys. i hope you eventually get there and will no doubt be informed if you finally do.
adventure time
commenting seven and a half years later to ask you if your taste has improved because you can't get more pedantic and ignorant than the shit you posted
holy shit, you really don't like btbam lol

Review Between The Buried And Me - Alaska

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