Showing posts with label Hardcore. Show all posts
Showing posts with label Hardcore. Show all posts

Friday, 13 December 2024

No Cure "I Hope I Die Here" (2024)

 

 Ears perked by Spotify's shuffle of heavy freshness, No Cure's brief 8 track, twenty minute EP I Hope I Die Here has been a curious listen among a sloth of modern aggressive music. Much of it lacking sparks of originality. Hang Me From The Bible Belt, the track that drew me in, fires up this romp of sludgy brutality with a bold mix of Metallica Hardcore and Melodic Death Metal. This feels like a misnomer as the annals of a tired Deathcore swiftly reveal their ugly head on following tracks. Gruff deepened guttural shouts, gritty low-end axe grinding riffs and filthy pig squeals light up the aesthetics among obnoxious angular harmonic pinches and other genre tropes.

It plays out among a reasonably excitable mix of influences, from Hardcore gang-shouts to Metalcore grooves and Slam Death Metal breaks, the record picks up some character in brief moments. No Cure bridge minor stylistic gaps that seem obvious in hindsight. The collaborative nature of this EP may explain its inconsistency in tone as songs sway between engaging constructs and the "race to the bottom" filth of Deathcore. Each track includes another band, presumably of the local music scene.

Sadly, only its opening track won me over. The rest of its heaviness played mostly as a curious throwback to Deathcore records now approaching twenty years old. In contrast, there are signs of promise, moments of light, however it doesn't come to fruition in a flavor I'm looking for right now. To much grime, not enough substance!

Rating: 4/10

Wednesday, 4 December 2024

Body Count "Merciless" (2024)

 

Now years deep into their triumphant resurgence, the legendary cop killing Body Count return with a fair helping of 90s styled Metal stints to rock, shock and entertain. Serving as a mouth piece for Ice-T's likable angered rants, these loud instrumentals play a fair game. Serving up competent ravishing's of that era's tone, fans like myself can lap it up but lets not be shy, there is little here we have not heard before.

Beyond selecting some preferred cuts from the offering of mid tempo songs driven by aggressive riffs, attention turns to Ice-T's presence. His plain language, dripped in profanities and frustrations, flow relatable and clear to understand. Behind the often grislily lyrics, an undercurrent for peace and prosperity may pass some by.

The packaging is where my critique lands. Fun and enjoyable but the albums best hooks and concepts feel borrowed. From Demo-crips and Re-bloodicans, to the movie concept of The Purge, a helping of thematic concepts have obvious origins. That and an interesting cover of Pink Floyd's Comfortably Numb with David Gilmour revealing his typical unabashed directness. Oddly intriguing but most of the time endearing. 

Pulling in legends like Corpsegrinder and Max Cavalera is a welcome delight on this fiery horror show album. They bring great performances. Its nice to see more collaberation like this which has been sorely missing in the past. Merciless wont reinvent their live show but brings hours of entertainment through some fresh songs with their classic Body Count motif.

Rating: 6/10

Monday, 16 September 2024

Last Wishes "Organized Hate" (2022)

 
 
Conjuring echos vague echos of 80s Crossover Thrash and 90s Alternative Metal, Last Wishes play classic beat-down Hardcore with a familiar flare. I'd avoid baiting nostalgia but all my points of reference reach back to bygone eras. This production packages the music convincingly, feeling as if it would fit snugly into a glorious 90s.
 
Armed with throaty shouts, softened guitar distortions and plenty of percussive groove, the aesthetics achieved greatly compliment the music. Gang shouts, two steps rhythms and routinely dropping into half-time all accompany on this feisty ride of channeled anger. The usual topics of loyalty, self empowering attitude and social frustrations get vented through the unchanging scream of front man Corin.

All these tropes may sound antiquated but Last Wishes execute this vision with an arsenal of competent riffs fit for purpose. Its an endearing record, reaching for a specific inspiration and finding it. No remarkable peaks are summited yet it holds its tone firmly for the twenty six minute stint. I happen to be quite keen on this arrangement, it routinely reminded me fondly of classic records from my youth.
 
Rating: 6/10

Tuesday, 3 September 2024

Thrown "Excessive Guilt" (2024)


From a fiery five minute EP, to bludgeoning twenty minute album, Thrown follow up debut Extended Pain with parallel architecture. Brief songs pummel ideas swiftly, wasting no time churning through its chops. Guitars froth with brutality, distortion brimming at the seams in gristly intensity. Syncopation reigns like a punch to the face, kick drums often aligning with the rhythmic barbarism on display for primitive groove.
 
Once again, an aesthetic romp, pushed to compressed extremes. An unsurprising concoction, given its the German Hardcore outfits niche. What may have been obvious before rears its head, striking Nu Metal influences, masked by Djent. Going a step further than slamming dropped power chords on down tuned guitars, subtle disc jockey scratches, downtrodden melodies and other characteristics are prominent.

Sprinkling in touches of trendy electronica, through dystopian synth melodies, attaching brief Trap drum machine interludes, Thrown add a little novelty to their fist pumping ferocity. It never quite makes a song but serves as the jump off point to lunge into the roaring aggression. That's what Excessive Guilt is all about, playing out like a brawl, songs turn like adrenaline shots to sprint through their arsenal of riffs.

Rating: 7/10

Monday, 2 September 2024

Knocked Loose "A Different Shade Of Blue" (2019)

 

Ever evolving, plunging deeper into metallic influences, Knocked Loose follow up their debut Laugh Tracks with this menacing beast of a sophomore record. Sinister in tone, its shouted angers and growled frustrations lurch within a darkly atmosphere well encapsulated by its album cover. A Different Shade Of Blue leans into discomfort, bleeding unsettled tensions into rhythmic groove and bounce. Dissonant, angular, shady guitar licks play interim on a stifling path to release. Strings of muddling riffs craftily pivot into thudding grooves and stomping halftimes, gratifying upon arrival.

Its thirty eight minutes entertain thoroughly. A consistent, non-linear onslaught of aggression. With dreary mood, the music seemingly stumbles its way into the wild throws of beat down magic over and over. A simple concept for release that somehow never unshackles its dingy looming dread. This characters the record with a sense of artistry where typical ideals are twisted to the will of this hallowed, enraged vision.

The metallic influences present are unshakable. In both tone and composition, these echos of Sludge, Groove and Melodic Death Metal ripple through more obvious Metalcore stylings. Many riffs and moments have an uncanny reminiscence but to what or who specifically I am never quite sure. This is testament to their creative expression. Influences heard all over yet never encroaching generic plagiarism.

My ultimate takeaway is my favorite sort, a solid record. Something that plays in service of its next song. Barely a peak or valley, just a consistently exciting venture along its meandering foray of gratifying aggressive oddities. Mistakes Like Fractures jumps out at the mid point but other than that its really hard to pick favorites as each track delivers on both its wretched mood and punchy spurts of head banging bliss.

Rating: 8/10

Saturday, 13 July 2024

Knocked Loose "Laugh Tracks" (2016)

Entertained yet unimpressed by Pop Culture, this follow up debut album showcases a distinct shift in approach. Illuminating an unhinged magic to blossom fuller on You Won't Go Before You're Supposed To, the Beatdown oriented Hardcore outfit dazzle with tangents and derivatives leaning into the umbrella of Metal sub-genres. Occasionally overt but often subtle, to a seasoned Metalhead, guitar riffs shift gears with metallic thrashings between the onslaught of gritted Hardcore Punk aggression.
 
The band chew through struggling terrain, challenging music to endure. Addictive within its angered outburst, abrasive refrains, aesthetic dissonances drag one along with a touch of chaos. Wading through a swamp of discontent, each track eventually arrives with a gratifying stomp of mosh friendly groove. An awkward balance to achieve but Knocked Loose grasp it with a masterful strangulating grip.

Laugh Tracks plays in constant anticipation of whats to follow, barely lingering in any arrangement for more than four bars, its swiftly navigates non-linear writing promises a romp to follow. I think only Last Words opts out of a throw down as its final palm mute chug diverts expectations as the guitars take on an uglied Black Metal aesthetic. Its swiftly remedied as No Thanks lunges straight into the dance floor chops.

Without sensationalizing their own material, remaining grounded to the frustrated howls of Garris', Knocked Loose offer up a whole work worthy of listening front to back. I've found it hard to pick out a favorite song, This one plays complete, consistent and cunning as something vicious always lies in wait, all the way up to a sudden outburst of menacing, high society pompous laughter at its ending.

Rating: 8/10

Monday, 1 July 2024

Thrown "Extended Pain" (2022)

With Spotify turning me onto the modern Hardcore scene, these German slammers have caught my ear. A no nonsense, straight to the point, meat and bones approach has snappy songs swiftly erupting into frenzies of groovy anger. Roaring riffs, sporadic dissonance and infuriated shouts. These eleven minutes charge head first through spiraling manic intensities. Often, they lead into gratifying beatdowns.

Nothing new but where they excel is aesthetic production. Down tuned guitars froth and revel with a Djent tilted intensity. Dirty obnoxious bass rumbles beneath, adding a gritty texture. Syncopated drums with tight and snappy kicks reinforce the rhythmic drive, pushing much of the music forward on its fist throwing march.

A few cuts of brief atmosphere and layers of dystopian melody spice things up on occasion but their main charm is delivering on that enthralled rage that spews forth unrelenting. A promising debut, it will be interesting to see where they go from this solid introduction. With a string of singles out, looks like another record nearby.

Rating: 5/10

Saturday, 29 June 2024

Knocked Loose "Pop Culture" (2014)

 

You Won't Go Before You're Supposed To has become a recent obsession of mine. Its been years since a band has pushed the envelope on the extremes of "heavy" music. Logically its time to do the deep dive, starting with bands first release, a five track EP.

 Entertaining but far from memorable, Pop Culture only has retroactive flickers of a genius yet to unravel. Playing like typical beat-down Hardcore, the group barrel through angered stampedes of syncopated rhythmic assault. All roads lead to Rome, each song finds climax through slam grooves fit for hardcore dancers swinging limbs.

With knowledge of whats to come, one can hear their subtle rejections of typical song structure flow. Taking apt opportunities, linear strings of dissonant riffs often divert from anticipated grooves. Lacking the gravitas to rip up the rule book, they sound off-kilter but yet to evolve into the unhinged beast frothing anger at the mouth.

Aesthetics and production suffer too, dulling their intensity, a amateurish affair typical of debut low budget records. The ending of All My Friends offers a whiff of textured atmospheric chaos to come but its brief. Most of the time, power chord guitars fall into cushioned palm muted distortions that lack teeth for a sharper bite.

Its lyrical themes mostly hinge on conflict with religion, unanswered questions stiring deep unrest. Garris' high pitched shriekish bark is still jarring but yet to encapsulate that livid frustration put forth later. Its clear he and his band mates have much maturing to do but their is no denying the foundations of whats to come were laid here. I'm seeking a tipping point in their evolution! However this didn't win me over.

Rating: 4/10

Friday, 3 November 2023

Code Orange "The Above" (2023)

My own unrivaled excitement for this release has manifested into a glum disappointment tainting The Above. Their previous outing, Underneath, set high expectations. The glitched out dystopian mania shook up a violent foundation, breathing new life into a genre where fresh territory is hard to find. Partially recoiling from such brutal intensities, the band intermingle a reinvention of 90s nostalgia.

Most prominent, their typical approach to Hardcore brutality seem skewed towards Nu Metal. The most aggressive riffs deploy the dissonance and syncopation flavors of that era with a subtlety that blunts its edge. Trademark manic spurts of chaos groan with the downtrodden vibes of a once ridiculed genre. Their tight technical execution absent in favor of this loose, dirty, moody aesthetic inspired by past trends.

Subtly woven in, the texture of Grunge and Alternative Metal has its moments too. On The Above, the band weave through a fair set of intensities and ideals but little about the record feels like a cohesive vision. More so, an exploration of loosely connected ideas drawing from the decades various styles. Some songs step into radio rock friendly verse chorus exchanges, others meander through an arsenal of riffs.

Reba Meyers gets to offer more of her voice, sometimes accompanied by string sections, yet the step into new territory feels off. Mirror is a redeeming experiment. Its unusual Trip-Hop beat seems to aid the songs swell of emotion. Other than that, the record offers little I wanted to come back too. Its angsty downtrodden inspirational origins did manifest with uniqueness. It was just not too my taste sadly.

 Rating: 5/10

Saturday, 14 January 2023

Type O Negative "Dead Again" (2007)

 

 I'm under the impression that front man Steele was responsible for much of Type O Negative's musical writing. It blossoms again in refined directions on this final record. His passing a few years later sealing the groups fate, them choosing not to continue on without him. From the offset, Dead Again bestows a different intensity. Distanced somewhat from the Gothic tonal cheese, always orchestrated with emotional connection, Steele leans into certain inspirations present since their inception.

Kicking off with dense guitars lunging into burly Doom Metal groans, followed by a sudden energetic drive of hurried Hardcore aggression, the metallic, mainly Black Sabbath inspired focus makes itself known. Equally split with The Beatles influences and Pop Rock ideals from decades back, many songs beautifully journey through lengthy non-linear song structures. It gives the record a perpetual sense of excitement, as more gratifying compositions seem to lurk around every corner.

Now entirely stripped of prior flirtations with crass humor and noisy aesthetic interludes, their collective eclecticism flows focused and gratifying. Barely a wasted second goes by, Steele leans into his vision and delivers a plethora of intriguing arrangements. Personally its clearly cathartic, channeling catchy lyrics over grabbing melodies, they frequently skirt easy conventions, offering truly distinct music.

Some songs stick to one of its three main styles, others easily chop through wildly different intensities as Doom Metal, Hardcore and Pop Rock get a fascinating salute from these brooding Gothic oddballs. Its seems with age came maturity and the hunger of expression never faded. Dead Again has a notable shift yet with it an awe and fascination as to how the odd mix of chemistries could emerge again as exciting as ever! Despite the remarkable impression October Rust left on me, I get a sense this could be my favorite given more time to sink in.

Rating: 9/10

Friday, 23 September 2022

Type O Negative "Bloody Kisses" (1993)

 

Casting a shadow over their debut effort, Type O Negative return to encapsulate the early 90s alternative vibes under their eclectic Gothic identity. With this lengthy sophomore the band reach a new apex in intervals. Wedged between crude satirical humor, noise driven experimental soundscapes, Doom Metal worship and bursts of Hardcore aggression lies superbulous song writing where melody, rhyme and reason reign supreme. An excellence is to be discovered on its lengthier affairs.

Christian Woman, Black No1 and Bloody Kisses are driven by theme and theatrics, a beautiful sense of expression playing out with a craft on all fronts. Bold horror synths chime with a heavy hand alongside dramatic pianos. Catchy melodies and rocking riffs align succinct with fantastic anthemic vocal hooks, "Loving you is like loving the dead". So to do gleaming guitar solos errupt with a 90s tinge, checking all my nostalgia boxes. The song structures are immense, ambitious and bold, carrying a gripping gravitas on these lengthy journeys. With pivots and sways encompassing drastic shifts, the transformations are remarkable in expressing these Gothic epics.

Sadly, the rest of the record doesn't live up to the strengths of these songs. It can be expected from the brief experimental interludes that paint bizarre horrors. They exist at odds with the more conventional offerings. With a strong whiff of Black Sabbath and Hardcore, Kill All The White People and We Hate Everyone steers too far from the mesmerizing Gothic allure. Where it exists on other songs is among a slew of shifting, radical ideas that don't gel with the thematic intensity seen on its best numbers.

Kudos however, taking a step back from the blender of ideas presented as Bloody Kisses, its clear the band are unabashed in pursuit of what interests them. The vast array of aesthetic influences displayed withdraws the record from a sleek and streamlined experience, revolving on its catchy elements. The foundations of such a thing are in sight, yet the direction seems more intent on where curiosity leads them.

Rating: 7/10

Sunday, 7 August 2022

Type O Negative "Slow, Deep and Hard" (1991)

 

Despite having a legendary status in their own right, this cult American band had eluded me until recently. I'd seen plenty of Type O Negative shirts at Metal shows over the years. I may have even passed up the opportunity to see them live a couple times before the vampyric Peter Steele's death in 2010. Having now familiarized and come to adorn some of their best material, it seemed certain a new journey was in wait.

 Starting with their debut, Slow, Deep and Hard breaks out with an unmistakable identity hinged around a willingness to meld new and distant musical ideas. Birthed through Gothic Horror and a crude sadistic humor, cheesy synth tones, gritty Industrial percussion and embrace of guitar dissonance somehow emerges authentic with underlying pains. A crude mix of Hardcore, Doom Metal and all things Gothic, Type O Negative straddle the estranged Avant-Guarde soundscape with oddities, yet land their lengthy songs with chant-along choruses, memorable melodies and rocking riffs.

Its a chemistry of their own making with cheerier punches fit for the 90s spirit. This light rarely departs a depraved side, gloomy and blood soaked as many of these songs lunge into slow and sluggish rhythm sections resting on dissonance and audio horror. Its quite the ride for an adventurous listener. Burly poetic recitals, gang shouts, pained screams and heavenly choral singing, variety is no stranger. Song structures straddle similar constructs as twisted avenues tend to return to the gratifying ideas.

This introduction is a powerful entry point, yet wanes with multiple listens as many of the first two tracks key ideas seem uncannily recycled over the remaining records span. Type O Negative display a unique character fit to bloom into a beast. With thoughtful appreciation, one can hear the previous decades influences. The likes of Swans, Bauhaus and Christian Death among others clearly shape an ever evolving Gothic mood. Industrial and Metal influences present too, this union of genres feels so odd and genuine too, the kind of chemistry that gets me excited. I can feel it already, this journey will be one of the greats!

Rating: 7/10

Monday, 6 December 2021

Can't Swim "Change Of Plans" (2021)

 

Don't be fooled, the oddly Gothic, Danzig alike album cover doesn't accurately reflect the emotive suburban vibes this group emanate. Can't Swim are my personal antidote to the Emo / Screamo scenes I turned a nose up at in my youth. These millennial musicians revive the glory of their past years, bringing musical maturity to their first world, woe ridden lyrics. With poppy song structures, catchy hooks and a melodic tint to garnish, Change Of Plans is the bands third but sadly the least impressive, possibly a case of familiarity as the band stick firmly to what works with a little twist of anger.

With Pop-Punk themes of adversity lacking troubles. Social squabbles, relationship woes and self doubts, the lyrics play from a light hearted teenage place with just a sprinkle of maturity. These are adult problems expressed with the lens of youthful angsty ideas that sway it far enough from perils. Its left in a precarious place where you can leave or take it. Personally Its not a bother but bar one or two lines I didn't find much to connect with, however the delivery and honesty in LoPorto's vocals is charming. The vulnerability and self coddling style is endearing, often manifesting into a hook with a knack to make his words catchy and flow with the groove.

The music is carved up into the typical inflections, lots of moody melodic plucked acoustic chords that bleed into vibrant distortion tones with all degrees wedged in between. Most these songs have a layer of aggression that sways back and forth from its guitars. Its not to adventurous, sticking to typical song structures and compositions with plenty of bright, harmonious singing. The point would be that they do this so well.

Where things detour is with a stronger sense of Hardcore and breakdown energy which the genre is adjacent too. On three or four tracks they step into this space boldly, not something I remember from their previous records. Better Luck Next Time and its jaunting breakdown goes full in on the aggression with palm mute chugs and tropes from the more metallic end of the spectrum. Sense Of Humor and its "Look who's laughing now" lyric slaps another breakdown in a track It doesn't feel fit for.

Whats interesting is how well executed these ideas are, the problem is they don't fit the overall mood which tends to be more introspective and mall shop sorrows than anger fueled resolution. A couple other songs have a breakdown stitched on the end and whenever it comes around, it feels like a sudden shift. Despite this jarring union of ideas, Change Of Plans is solid with plenty of catchy tunes. Its one to throw into the shuffle playlist and see what sticks with time.

Rating: 7/10

Sunday, 29 August 2021

Turnstile "Glow On" (2021)

 

Released just six weeks back, the Turnstile Love Connection EP had me hyped for something special... but when your four best tracks are those already shipped, well it had me initially disappointed. Turnstile, the Hardcore outfit from Baltimore USA, were put on my radar with Space & Time. Their lean and timely infusion of musical sounds normally spun far beyond the Hardcore scene was both a breath of fresh air and a riveting injection of adrenaline to a sound dulled by a lack of progression with time. Working on the same formula as that record, Glow On cushions the musical creativity with subtle use of electronic percussive toms and claps and the irritating cowbell. In the more obvious avenues, dazzling pianos weave between the sharp guitars in moments of melody beyond the rhythmic two-step onslaught.

In its predictable Hardcore persuasion, the band pull the usual tricks with tight and lean power chord shredding, building up to the big groove riffs as the drums cut to the half time and the mosh moments land the songs trajectory. Between its slabs of foot stomping riffage, sprinkles of color and melody intersperse. It often takes the form of Surf Rock, with washy, hazy guitar tones giving off the easy breezy summer vibes. On occasion a heartfelt emotional angle is reached as sung voices get warm and candid, not your usual cut for this aggressive music but they do it so well. Songs like Underwater Boi, Alien Love Call & New Heart mostly cut out the Hardcore, better defining this particular flavor that emerges in fractions on the rest of the album.

A favorite moment for me is not one of brilliance but confusion with Wild Wrld and its uncanny rhythm guitar riff. The bars are distinctly different, sounding like a Metallica outtake from the years of creative struggle around Death Magnetic. Its a mild blemish for a record that spins its formula so well. As I touched on earlier, that initial disappointment wore off. This record is fiery and driven, a band in their moment. For me it looses its edge in the shadow of what came before it, the design a carbon copy yet the feeling is still riveting. After quite a few spins, the best songs still feel like those from the EP. I'm left wondering if I wasn't aware of it, how different would my words on this record would be? I still get crazy excited every time Holiday comes on! What a banging song.

Rating: 7/10

Friday, 20 August 2021

Body Count "Carnivore" (2020)

 

Somehow this one snuck under my radar in 2020. As an avid Body Count fan, I remember looking forward to its release after the charged, anthemic Bum-Rush single. So glad to have been reminded of its existence! Continuing on with a wonderful resurgence after drifting into obscurity, the group bring another tight, concise set of straight forward songs led by Ice-T's politically charged presence up front. One to follow their own rhythm and influences in the past, the opening title track showcases the band picking up on current trends with a barrage of dense, sludgy Djent riffs crushing in alongside a beastly howl that imminently grabs your attention.

Its not a recurring theme bar No Remorse. Variety, shifts in temperament and tempo have these eleven songs mixing much of the Body Count persona with fresh ideas and excellent collaborations. Another Level has Ice-T finding a keen singing voice for the hook, backed by the rough shouts of Jamey Jasta from Hatebreed. The legend Dave Lombardo pops up to drum on a track too and perhaps most unexpected, Amy Lee lends her voice in a wonderful chemistry with Ice, the two overlap so well.

That track, When I'm Gone, and a few others have very similar lyrical themes to those on Bloodlust. Sadly the recurrences tend to be reflections on societies problems still perpetuating. Reflecting on the loss of Nipsey Hussle is a saddening echo of losses expressed last album. It ties the records together as Ice keeps his anger laser focused on the problems of street life, American inequality and the persistence of racism.

Its a pretty typical affair but very well executed. Lots of heated modern metal with a street spin from Ice's wise words, often throttled with anger! With the excitement still fresh in the air, these songs sound like they may have more legs to last. The production is tight, the guitar solos lively as ever and its wrapped up with one hell of a bonus track! The classic 6 In The Mornin rerecorded with his band. Given how dated and sparse the original is thees days, its quite preferable in metallic form. A mean, solid record, if Body Count keep rolling these out, ill turn up to listen every time!

Rating: 6/10

Wednesday, 14 July 2021

Turnstile "Turnstile Love Connection" (2021)


 After the release of Time & Space Ive been keenly awaiting another album from this keen Hardcore outfit. This blitz of an EP has got me buzzing now! Baltimore outfit Turnstile give an aged sound renewed youthful excitement, frothing with energy and kicking in subtle influences to character their sound and start apart in the crowd.

Holiday kicks things of with its soft murmuring baseline bursting into a riot of sharp power chord strumming. Its somewhat predictable for this group yet lands like a riot, the hooks of Brendan Yates reeling it in, "Now its a holiday", "I can never feel the cold", "I can sail with no direction". There is so much exuberance being exhorted, exactly what he does best. In the opening and throughout the use of an electronic 808 akin drum kit adds a little bark to the rhythm section. Subtle, yet a texture that gives the music a little of that extra character they bring to many of their Hardcore songs.

No Surprise serves as a dreamy soulful interlude to abridge its Grunge number Mystery, fitted out with a brief noisy solo and curious spacey synths in its intro and outro, that later sounding like a space ship taking off. Title track TLC takes the tone back to the bands roots with a strictly fast, hard Hardcore sound with fiery vocals and gang shouts too. Its mid section brings in electronic toms as the music pivots, an odd choice that once again musters a little oddity. It gets explored again as the track devolves swiftly with an experimental vocal cut to end the brief eight minutes of music.

Turnstile is in a groove, writing keen songs that have the power and charisma of what came before. The use of alternate percussive aesthetics and moments of electronic and vocal experimentation are peculiar on analysis yet to just enjoy the music, it works and flows effortlessly. Something in the temperament of this group just lets it all work. If these are the "weaker" tracks left out from an up and coming album then we are in for a treat! We are probably in for a treat either way...

Rating: 3/10

Tuesday, 25 August 2020

Ho99o9 "Blur" (2020)

 

  As one of the more exciting acts to follow, the regularity of new material is always welcome. Hot off the heals of Cyber Warfare, the duo offer up another keenly themed mini album to digest. Blur is intermittent with snippets and samples of what sounds like eighties and nineties media hysteria over the emergence of loud and aggressive music in the form of Hardcore and Heavy Metal. The fear and rhetoric feels relevant to their twisted hybrid of dark Hip Hop and Hardcore Punk, ironically the music these talking heads were commenting on is meager and tame in comparison.

These thirty four minutes split along ten tracks feel like a call back to Mutant Freakx and their earlier releases. The bulk of music focuses on slower tempos, twisted and sinister atmospheres built from unhinged beats. Vocally the raps and hooks revel in ambiguity and discernible performances, occasionally lashing out with mean tonged aggressive verse of the Trap Metal variety. Each track is like being dipped into a different dimension of eerie unease as its slowly burns away.

Drifting from that norm, Flesh And Blood has a burst of tempo and Punk energy for the albums shortest affair. With only three tracks led by distortion guitar, Dog Shit takes the cake for being a ferocious riot, unleashing ravenous energy through its dirty riffing. Its brief, housed by samples and the dingy atmosphere the album revels in. Hardcore makes a distinct break from all this with a style and format that ultimately seems like a piss take aimed at Tyler The Creator, ripping off the attributes of his fantastic music.

Compared to the last two stints, it hasn't pushed my buttons as Id like given I am more drawn to their metallic side. It has however been a enjoyable listen with a host of tracks to stuck into but my ultimate take away is the darkly atmospheres don't deliver quite the engagement after multiple spins, it becomes a slow burn as the mystique wares off having deciphered the somewhat cryptic musics facade.

Rating: 6/10

Wednesday, 15 April 2020

Ocean Grove "Outsider" (2013)


Having been floored by The Rhapsody Tapes and more so Flip Phone Fantasy, I owed it to the Australian band to go back and investigate their Metalcore roots. Outsider is a short seventeen minute, six track affair of generic scene music with little to distinguish itself in the wake of the Architects take on this sound. A similar intensity takes hold with booming Djent tone guitars fraying up assaults of chunky guitar noise between hazardous throaty screams and a sprinkling of vulnerable clean vocals intended to expressive the emotive side where introspective melodies intervene.

The sound itself has never drew me in however I'll give credit to the band for making it an enjoyable listen. Their performance is capable with a few notable hiccups in its more complex arrangements. Production is solid and in one or two moments they show a little sensibility for groove that might just be early manifestations of their progression as a band into Nu Metal territory. At this point though they are firmly part of the trend and given I was never too keen on it, I don't really know to what extent you'd say this is original or not but at least it makes for a good listen!

Rating: 4/10

Monday, 6 April 2020

Code Orange "Underneath" (2020)


Formally known as Code Orange Kids, the Pittsburgh outfit have gained notoriety with previous efforts I Am King and Forever. Their unique take on Hardcore and Metal fused with an apatite for disjointed infusions of noise elevates to a new plateau as classic and metallic Industrial inspirations integrate into the aesthetic pallet. Underneath is a typically Code Orange record with their approach to aggressive slams, beat downs and chugg riffs remaining firmly intact with that spice of jolted timing. It also embraces its new leaning fully with atmospheric songs that play into a grander sense theme that's dark and twisted.

Its two sides that play strongly of each other. The song writing feels matured as the "lighter" tracks carry melody and theme with weight to make ear worms and tunes you won't get out of your head in a hurry. The Easy Way is perhaps a shining example of this but its general temperament and definitely singing hail to 90s Nine Inch Nails. Between these thematic, less aggressive songs lay sonic assaults of stomping brutality dressed up in dystopian Industrial noise. Bleak synths, ambiguous voicings and slathers of mix manipulation rock the cradle as the common song structures and expectant riff formulas are toyed with to great effect!

At forty seven minutes, these fourteen tracks play well with a healthy variety and depth of approaches to the madness that will birth favorite moments for many a listener. For me its the manic outro of Last Ones Left, its palm mute slamming, slowly scathing into the putrid as the walls of sound collapse. Who I Am is another, an unsettled atmosphere is held together beautifully by Reba Meyers voice and the ghostly lead guitar lurking in the background. It too trades blows with the song deconstructing itself, with feisty production experiments in noise. The title track goes out on a bang, leaving much thirst for more. A total treat of a record, It still feels fresh and I expect it will grow on me with time.

Rating: 8/10
Favorite Tracks : Who I Am, The Easy Way, Last Ones Left, A Sliver, Underneath

Saturday, 25 January 2020

Merauder "Master Killer" (1995)


I caught wind of this mid nineties crossover classic from a documentary about the music scene and bands of that era. The second track Life Is Pain perked my ears, catching my attention and upon buying the recorded I discovered a telling track, Downfall Of Christ. It was actually decades ago I first heard this song covered on a split album between Caliban and Heaven Shall Burn. It speaks volumes to how I initally perceived this record, another fractional style of the Thrash Metal and Hardcore union that would go on to shape the sound of Metalcore bands yet to come.

Master Killer is a steady moving, thirty five minutes of personal vented anger. Its wrapped up in a continuous wave of crushing grooves and thrashy guitar chugging that mixes sensibilities from both sides of the isle but more so the metallic. Rosado has a strained shout on him, the vocals groaned with a texture swaying towards the Death Metal spectrum but with enough gusto and frustration to ground his limited range of shouts in the Hardcore feel, which the occasional muted gang shouts reinforce. Its far from charming but his energy serves his purpose at the forefront.

The instrumentals are the selling point. Pummeling drums deploy intense patterns, utilizing double pedals and driving the music forward with intent. The guitar work lays down plenty of fast picking rhythms and punchy power chords but its the groove the two together bring out that really lights up the music. The majority of these components would easily separate into Thrash. Its solo's erupt and dazzle with electric energy too but with the right approach they have aligned to extrapolate this contagious sense of bounce and groove between the lines. Its quite contagious.

This is also a dated record, its percussion rattles loosely, guitars carry a meaty amount of low end noise and takes a moment for the ears to adjust. Its a great record to point at as a key link in the formation of Metalcore but no masterpiece. Although it has no stinkers you can't help but feels these songs could of reached a little further. Song structures are simple with not a lot of reshaping moments. The whole plays like an onslaught of riffs and grooves fit to simple structures. Its fun and energizing but rarely pushes beyond itself. Still a fantastic record, I've really enjoyed it!

Favorite Tracks: Life Is Pain, Downfall Of Christ, Take By Force
Rating: 7/10