The Perfect Is The Enemy Of The Good (Reissue)
Burnt By The Sun
The Perfect Is The Enemy Of The Good is Burnt By The Sun’s second full‑length album, a 2003 Relapse Records release that pushes their metallic hardcore/mathcore sound into more atmospheric, carefully structured territory. Where earlier records were defined by ultra‑short, technically chaotic blast songs, this album stretches out into longer, groove‑driven compositions that still bristle with complexity but feel more like fully realized songs than exercises in extremity. Guitarist John Adubato, bassist Ted Patterson, drummer Dave Witte, and vocalist Mike Olender fuse artful arrangements, scorched‑earth riffs, and surgically precise drumming into a modern mixture of hardcore and metal that critics have compared to contemporaries like Mastodon and Dillinger Escape Plan.
Conceptually, the record takes its name from Voltaire’s dictum “Le mieux est l’ennemi du bien” (“The best is the enemy of the good”), reflecting the band’s interest in how perfectionism and ideology can undermine meaningful progress. Songs like “Washington Tube Steak,” “180 Proof,” “Forlani,” and “Patient 957” balance blast‑beat chaos with stoner‑metal grooves and even slightly melodic, eerie passages, illustrating the band’s shift toward substance and atmosphere without losing their trademark ferocity. Lyrically, Olender enunciates more clearly than on prior releases and threads his tongue‑in‑cheek social and political critiques together with more personal reflections, turning the album into both a “soundtrack to the personal revolution” and a pointed commentary on modern dystopian society.
The Perfect Is The Enemy Of The Good (Reissue)
Burnt By The Sun
The Perfect Is The Enemy Of The Good is Burnt By The Sun’s second full‑length album, a 2003 Relapse Records release that pushes their metallic hardcore/mathcore sound into more atmospheric, carefully structured territory. Where earlier records were defined by ultra‑short, technically chaotic blast songs, this album stretches out into longer, groove‑driven compositions that still bristle with complexity but feel more like fully realized songs than exercises in extremity. Guitarist John Adubato, bassist Ted Patterson, drummer Dave Witte, and vocalist Mike Olender fuse artful arrangements, scorched‑earth riffs, and surgically precise drumming into a modern mixture of hardcore and metal that critics have compared to contemporaries like Mastodon and Dillinger Escape Plan.
Conceptually, the record takes its name from Voltaire’s dictum “Le mieux est l’ennemi du bien” (“The best is the enemy of the good”), reflecting the band’s interest in how perfectionism and ideology can undermine meaningful progress. Songs like “Washington Tube Steak,” “180 Proof,” “Forlani,” and “Patient 957” balance blast‑beat chaos with stoner‑metal grooves and even slightly melodic, eerie passages, illustrating the band’s shift toward substance and atmosphere without losing their trademark ferocity. Lyrically, Olender enunciates more clearly than on prior releases and threads his tongue‑in‑cheek social and political critiques together with more personal reflections, turning the album into both a “soundtrack to the personal revolution” and a pointed commentary on modern dystopian society.