Lighten Up, Lifeline.

It’s not uncommon for burgeoning modern rock bands to attempt to accomplish something epic, especially facing the specter of carbon-copy radio rock. The Lifeline’s debut album, For All Who Triumph, is no different in its grandiose ambitions. Offering a powerful punch of alternative angst, coupled with the sophisticated weavings of Rebecca Faber’s violin accompaniment, the Chicago quintet certainly packs the musicianship to support their lofty aims. The various movements in each song seem to take a page from the classical handbook, building anticipation and creating both a dark and intense atmosphere; coupled with the traditional new-metal anthemy vocals, the album presents itself as more of a call to arms than a polite introduction.

From the elegant and dark duet between piano and strings on “Beginnings,” The Lifeline establishes their flair for the traditional, before the clean, driving guitar riffs burst forth on the second track. The grace of the strings, while providing a sophistication for the grating guitar melodies (complete with heaping helpings of feedback), often create a superfluous force in some of the album‘s already heavy tracks. Piled in with a dynamic rhythm section and the occasional screamed vocals, the classical effect becomes as disastrous as putting the Phil-Harmonic orchestra in the middle of a mosh pit.

There are moments, of course, where The Lifeline’s trademark sound serves them well, in producing an understated, haunting melody, which blends fluidly with Ryan T. Hope’s Coheed-esque vocals. On tracks like “…and Still They Search,” and “Resolution,” the call and refrain style of guitar and string melodies allow each sound to flourish as they weave in and out of one another. When the bombastic rhythm section and heavy chords subside, an intricate string harmony lingers in the interim, leaving a lasting impression as it drifts effortlessly into the chorus.

Surely the up-and-coming Chicago band is aware that it’s not creating a revolution. From Metallica’s Black Album to Evanescence’s Fallen, throwing in an orchestra has become a commonplace cop-out to build drama on any rock ballad. The band’s classical influence, however, works wonders creating catchy, evocative tracks, like “Moth to Flame,” that cross gracefully into various movements, leaving listeners eager for the grand crescendo. With a little lightening up, it’s possible that The Lifeline can create an epic, and more importantly, original first impression.

Enough Noise. Check out The Lifeline on Myspace.