30footFALL - Ever Revolving, Never Evolving (Cover Artwork)


Ever Revolving, Never Evolving (1999)


30footFALL's third full-length for their third label, this time with Nitro Records, and it's too bad these guys stopped touring while the momentum was so strong. This band may not be the most well known of all the '90s punk bands, but this album can sit at the top with the best '90s punk releases. The band shows growth here both musically and in the songwriting department, and deliver the best album of their career, a fast melodic punk record with a heck of a lot of energy, and over 10 years after its release this album still stands strong.

30footFALL really step up musically on this record. The guitar playing is especially well done on this album. While he knows when to crank out the power chords, Chris Delron gives the songs an extra flair with his fast scales and guitar fills; in fact, if I remember correctly, he even thanks Olga from Toy Dolls for the inspiration in the liner notes. The bass pretty much just follows the guitar, but that's OK because musically it really is Delron's show on this record. This was their first album with Middlefinger drummer Brian Davis on drums, and while he's no Damon Delapaz, he keeps this record on beat just fine. Butch's unique vocals bring line after line of sarcasm and wit with energy and passion. Those who have seen this band play know that Butch is one of the most energetic frontmen around and this album really captures his energy.

30footFALL display incredibly solid songwriting on this record. The songs may be somewhat simple in structure but they really do an excellent job of letting the music support the lyrics. Every guitar part feels appropriately placed to support the mood that is being created by the lyrics. However, some of the songs basically just stick to power chords and as a result sound a bit weaker when put next to tracks with more expressive guitar parts. They also do a cover of the Cure's "Just Like Heaven," which is fun but ultimately feels slightly out of place on the record.

The production here suits this album just fine. You can hear everyone clearly, although if I had one complaint it would be that the drums could have been recorded better as they sound a little thin and the snare could use a little more pop to it. The album seems to be sequenced well with a strong opener in "Better Off Dead," and even though the first half of the record is definitely stronger than the latter half, we get an especially strong closer with "Half Empty."

I will always wonder what would have happened if these guys had played it differently with the choices they made in their career, but they did give us four quality records and, for those who have experienced their live show, a bunch of fun memories. Definitely the best representation of Texas punk rock in the '90s.