For better or worse, Rise Records is a polarizing label to which countless bands would give their all to join. The constant bashing of bands associated with Rise is, for the majority of the time, unfounded. Sure the label has had its share of questionable signings— Breathe Carolina?— which certainly does not aid in quelling the vitriol directed toward the label, but to paint such a diverse roster with one brush seems ignorant at best. Decoder, a newer addition to the Rise roster, is an exemplar of how gifted some Rise bands are.

Though many may consider Decoder a “super-group,” a term that is thrown around judiciously these days, the Floridian sextet may rather choose to be regarded as “seasoned-vets.” The group consists of Jack Burns (ex-Oceana), hard-vocalist Keith Jones (ex-Oceana), drummer Brent Guistwite (ex-Of Machines),  and clean vocalist/keyboardist Spencer Pearson (ex-VersaEmerge), so the anticipation and expectations for their self-titled debut has been impressive and well founded. The band, rounded out by Bryce Sipes (bass) and Anthony Sepe (guitar), have crafted one striking debut album.

The album begins with “Dreamwalker,” a visceral, melodic song hinting at Juturna-era Circa Survive. Pearson’s penetrating vocals are accented by Jones’s vicious growls. A driving beat, compliments of Guistwite, signal the beginning of “Transcendence.” For all the vocal talents of Pearson and Jones, the backbone of Decoder is the fantastic kit-work of Guistwite. The next two songs, “Conflicts” and “Believers,” continue the back-and-forth between Pearson and Jones. It is rare to have two supremely talented singers that complement each other so well. Sure the duel-vocal experience has been played out to death, but Decoder does it with such precision and expertise that the listener will find the singing refreshing.

“The Light” is perhaps the best song of the ten. Pearson adds eerie vocals to the atmospheric nature of the introduction before being crushed by Jones’s screams. Guitarists Burns and Sepe continue the airy feel of the song with fastidiousness. Decoder dives into a rancorous 30-second breakdown before closing out the adventure with the Pearson-Jones combination once again. It is a stunning song. “The Giver,” “The Horrid,” and “The Taker” continue with the tried-and-true formula of vivacious choruses that soar towards the heavens then come crashing back to earth in the form of Jones’s ferocious screams and the band’s jarring breakdowns (thanks, in large part by Sipes’s above-average bass playing).

Decoder’s solid debut comes to its conclusion with “Drones” and “Holding On.” The former is a melodic tune employing heavenly imagery. The latter is a keyboard-infused slow-builder that climaxes with Jones once again powering the song forward, only to close with Pearson’s heightened vocals and well-placed keys. It is a fitting way to end an album that epitomizes power and beauty. This dichotomy is found in many forms throughout Decoder’s debut: be it the contrast of Pearson’s piercing vocals and Jones’s growls, the atmospheric keys and Guistwite’s exquisite kit-work, or the soaring choruses and crushing breakdowns. This album is much more than just the average Rise-fare. As Rise Records founder Craig Ericson said during a PropertyOfZack interview, “If you actually listen to some of the bands that are targeted [by critics of the label], they are actually pretty good. I think a lot of people make fun of it before they even get listened to.” Do not make that mistake. Decoder’s debut deserves a listen.

***.5/*****

*This review was composed by Mike Meeze