40 Below Summer have had a dizzying two years since the release of their debut album, "Invitation To The Dance". Originally signed to London-Sire Records, the group found themselves being shuffled to Geffen when their label went under, only to then find themselves once again a part of the independent scene shortly thereafter. Perseverance has paid off however, as the group continued writing new material and quickly found a new home as part of Razor & Tie Records, a subsidiary of BMG. Finally having the chance to record, the band soon entered the studio and have returned with their sophomore effort, the aggressive leviathan aptly titled "The Mourning After".

What is immediately evident is that the group have all but erased the hip-hop elements that were once abundant. This should come as no surprise as most of today's metallic rockers have eliminated the rapcore connotations from their design, and 40 Below Summer have followed suit. There are still tell-tale signs that the group once effectively used the pseudo-rap format, especially on the stagger-step sermon of "Taxi Cab Confession", but otherwise this is an album much more focused on raising the bar for their brand of melodicism. Though the group were never adverse to toying with melodies to drive their songs forward, "The Mourning After" goes a step further in making the medium their primary source of inspiration. "Breathless" indulges a bit too much in the mellow realm and suffers from drifting aimlessly in the process, but the group quickly recover with "Monday Song", one of the album's strongest tracks. The band balance their aggressive nuances with the increased melodic range, and though Max Illidge pushes himself a little too far in the process, the track should be considered a success for the group. The same cannot be said for "F.E." a failed metallic explosion with Ill Nino vocalist Cristian Machado. While it is apparent that the two ensembles are friends, this collaboration is a forgettable ball of mediocre nu-metal with recycled tribal beats that feel sorely out of place.

There is little to clamor over on this follow-up, as 40 Below Summer have fallen into a routine too mundane by today's standards to find exciting. While they are clearly striving to take the group to the next level, this is an album of hit and miss aesthetics. The band's desire to continue pushing their metallic range is understandable but at this point it seems to be a hindrance, as much of the record takes on a droning tone reminiscent of recent Nothingface or Mudvayne, yet never as edgy or intense. The group have indeed taken their brand of melodic hard rock further this time around, but are still restrained from their conventional and ultimately mediocre design. The band have the talent and ability to create so much more then what they have confined themselves to thus far in their career, and one can hope that they take the risks necessary to elevate their musical endeavors with future outings. Otherwise the only mourning to take place will be that of another promising young career ending.