Blacklisted No One Deserves To Be Here More Than Me

Blacklisted

No One Deserves To Be Here More Than Me

I’ve been a fan of this band since I first heard their 2003 Ep: Our Youth Is Wasted. However, I’m not a fan of this record.

No One Deserves To Be Here More Than Me has seen them take another big step sideways, heading deep into the grunge territory that was hinted at with last years album: Heavier Than Heaven, Lonelier Than God.

With NODTBHMTM, Blacklisted have moved into the garage and started jamming, trading aggression for introversion. The garage sound leaks through in the production, the guitars losing a lot of their edge, the drums sludgy, roomy and rocky. There has also been an effort made in terms of creative instrumentation with violins, trumpet, organ and keyboard pads all being used in different songs. The opening track, Our Apartment Is Always Empty a violin carries the bridge through a pretty dark and gloomy bridge.

For an album of eleven tracks, three interludes and one acoustic dirge make for slim pickings. However, the standout tracks for me are the title track - No One Deserves To Be Here More Than Me, Our Apartment Is Always Empty and Palisade. These three songs are the only three I can hear being performed without large amounts of awkwardness.

There are still moments of the old Blacklisted that I love, for instance, when vocalist George Hirsch tells his stories you can’t help but feeling like a fly on a wall watching a domestic tragedy:

“As the world fell in love with me, you fell out of so it seems. Change your sheets to rid yourself of me, cause it been weeks and you used to speak in your sleep.”

Don’t get me wrong, I’m all for a variety and experimentation in music and in hardcore but if I wanted to listen to grunge fused with hardcore, I’d listened to Fucked Up because The Chemistry of Common Life is a much more engaging and compelling listen than NODTBHMTM.

I’m sure lots of people are going to love this album, and it will probably win a lot of fans on College Radio in the states, but I’m gunna stick with the Blacklisted I know and love.

For fans of Nirvana and Fucked Up.

Check them out here

Buy it here

2.5 stars

Break Even - The Bright Side

Break Even - The Bright Side



Break Even are a melodic hardcore band from Perth W.A. The Bright Side, is their debut full length, following a well received (in Australia at least) "Young at Heart" EP in 2006 and the Something More split 7” of 2007. It is had to review The Bright Side without firstly acknowledging the loss of Break Even's guitarist Rowan Willoughy late last year. Loss and grief resonate throughout the lyrics, in the guitar harmonies and in their slower, more methodical approach to song writing. Haunted by this grief, an album titled The Bright Side is thus somewhat of an oxymoron. However, the band expresses the idea more coherently saying:

The Bright Side is a story of birth and death and everything in between... it is an honest and passionate statement that was written to remember, to inspire and to never forget. In a scene flooded with bands that choose to focus on anger and apathy, Break Even separate themselves from the pack by encouraging the listener to find the bright side in everything, whether it be in life, in dreams, or in loss.

Unsurprisingly, the songwriting is more purposeful than on their previous releases, with effective instrumentation being the albums main strength. The Bright Side is filled with builds which are more post-rock influenced than hardcore, slower more atmospheric breaks and frequent use of layered minor and augmented harmonies from the guitars. The songs in this way throb / pulse rather than stun and are infused with grief. From a listening perspective however, sometimes the guitar riffs become overused and become repetitive.

Opening with Sunrise "shine bright, baby shine bright" and moving from Sunset to November 18th - The Bright Side could almost work as a concept album. Resentment reminds me of a Verse song - while Run For your Life of Have Heart slowed down. In this respect, the band works best when the vocalist hits clever and powerful melodies over the top big guitars. October 27 is the best example of this, with layered vocals and guitars adding to the general epicness of the track. The album, washed with reverb, (well, more so than most hardcore) has also used subtle and clever echo on the main vocals which further add to the lyrical and thematic content.

Smashing Lights is one of the better tracks, a story of a young mans anger and hopelessness. The resonating message of “Never give up, never let go” is more authentic than most hardcore bands manage to achieve with the cliche. At times in the album the vocal approach remind me of Betrayed, while lyrically the theme of hope is expressed through loss rather than from naivety. The Truth reminds me of Miles Aways Sailors Grave in terms of feeling disconnected in your home town.

The piano musical interlude, The Bright Side - sounds like an adaptation of a Yann Tiersen composition and despite being one of the better examples of wussy musical interludes, adds nothing really of value to the album, but feels just like filler. Which is a shame, as it also cheapens the acoustic guitar interlude of Sunset - a transition into November 18th - the final song, and the bands powerful tribute to Rowan Willoughy.

Its a pretty moving and powerful album, but it doesn't grab me as one for the history books. However, there can be no complaints about the 'sound' of the album, it is solid, loud, and expertly recorded. With The Bright Side Break Even have taken taken up the torch that Verse and Have Heart carried, in terms of powerful, sincere melodic hardcore.

For fans of Grade, Bane, Soul Control, Hope Conspiracy, The Bleeders, Have Heart, Verse, Modern Life is War and Los Muertos

3.5 / 5

check them out here

Trapped Under Ice - Stay Cold

Trapped Under Ice - Stay Cold



Okay , so I got told to check out these dudes a couple weeks ago. The Stay Cold CD / 7" was released over a year ago, but I guess I'm reviewing it in anticipation of their debut album Secrets of the World due out early August. In some ways, Trapped Under Ice sounds a bit like the love child of Terror and Blacklisted, born under a full moon with Cold World as the midwife. But then again, maybe not.

Trapped Under Ice are like Madball on speed. Aggressive, heavy and slightly nu metal. Their music is generally mid paced, groovy and punctuated with lyrics which are spat rather than sang. Hailing from Baltimore, Maryland, its not too much of a stretch to say there is a definite NYHC vibe.

Of course, any band named after a Metalica song has to be a bit bogan, and this come through in the guitar solos such as in the title track off the solo Stay Cold and Street Lights.

However, the main thing that keep me interested is the vocal approach. Borrowing heavily from George Hirsch of Blacklisted in terms of clever plays on words and internal rhyme, Trapped Under Ice vocalist manages to bring in a street (read hip hop) vibe with his delivery. Similar to Cold World in this, the disconnection of the lyrics echo in your head after the songs end. For instance off track three Skeleton Heads

When it comes face to face, you’re faceless
In the name of your faith, you’re faithless
Burning are the spirits that you’ve deceived
Among the people you burn

People who get down to Crown of Thornz and Furious Styles will love this band, but for me, the jury's out - I need more evidence. For fans of any of the bands mentioned above. It's six songs of aggressive, modern hardcore, and at under 10 minutes - its definitely worth checking out.

Trapped Under Ice scream hype, it will be interesting to see if the band can deliver this on Secrets of the World. Fingers crossed.

3 / 5

Shook Ones - The Unquotable A.M.H.

Shook Ones - The Unquotable A.M.H.



Shook Ones are a pop punk / melodic hardcore band from Seattle, Washington. The band, named after Mobb Deeps 1994 single - Shook Ones, are probably best described as Kid Dynamite for the 21st Century. The Unquotable A.M.H. is their third full album, but they are one of the prolific bands of the genre with at least one release every year since 2004.

I think the the most significant element of The Unquotable A.M.H. is that Shook Ones truly step out from behind Kid Dynamites shadow. Sure, the comparisons will always be there, but in many ways what Shook Ones are doing is both sounding and working better than what Kid Dynamite did last century. The band, whose approach to recording and songwriting is always refreshing, continue this run into The Unquotable A.M.H. Their music is characteristically fun, with frequent skits and clips between songs and with the tongue in cheek attitude that works best in self-conscious pop punk.

I guess the main change for The Unquotable A.M.H. is that the band have played varied their pace and perhaps more "mature" approach to songwriting. Instead of their usual high energy, frantic riffs, they have let the songs breathe, not only including rocky / groovy breaks, they have stripped it right back and thus liberated themselves from their melodic hardcore boundaries. The criticisms of Shook Ones becoming pop I don't think are fair, in fact, I think the band sounds more like themselves in this release than in 2006s Facetious Folly Feat and 2005s Sixteen.

The vocals are brilliant, rasping melodies which carry the album through anthems and tantrums - sitting quite prominent in the mix, but by no means overpowering the rest of the band. Harmonies pop out and like all of their previous releases, it's unusual for a song to finish without a few "woahs". The guitars meanwhile are full of melody, octaves, pop punk licks and speedy palm muting.

Lyrically I'm into it as well, a balance of teenage reminiscing, coming of age awareness and just general tom foolery.

I'm growing up, I'm growing up in front of you.
Holding you knowing that there's nothing more that I can do.

My favorite song would have to be Birds on Ices, a slower and at times almost The Draft styled rocky, Sunday drive tune. For Flannel continues with their slower and catchy approach, with a clever chorus holding the song together, it's sure to get your head head bobbing. Double-Knot That is more familiar Shook Ones, fast, fill of bass runs and perfect drumming. My only criticism is that T Monk is too slow, and will probably be skipped more than it will be listened to.

Anyway if your a fan of fast, quirky and fresh pop punk / melodic hardcore, Shook Ones The Unquotable A.M.H. is definitely for you.

Again, this record will most likely be in my top ten this year.

4 / 5

mean!

check them out here

Paint it Black - Amnesia

Paint it Black - Amnesia



This ones in the mail as well. But here goes...

OK, so Paint it Blacks last album New Lexicon (2008) has been probably my most played over the last six months. So, naturally I had big expectations for their latest effort their Amnesia 7". New Lexicon was produced by hip hop producer Oktopus and clever finished with pads, drops and aural soundscapes - underlining abrasive, ferocious and melodic hardcore. The weird thing is it was done in a very subtle and effective way, the album flowed in a way that most hardcore albums simply can't. I guess with members from Lifetime, Kid Dynamite, The Hope Conspiracy, Good Riddance and Affirmative Action Jackson these chaps have been around the block several times, and know how to make an album.

So I repeat, with Amnesia, without Oktopus, expectations are high.

For those of you unfamiliar with the band, Paint it Black is fronted by Dan Yemin guitarist of 90's pop punk / melodic hardcore giants Lifetime and Kid Dynamite. His songwriting is still prevalent in this band, with familiar guitars rifts and lightening fast changes something brought to all of his bands. However, it's his lyrics and vocal approach that is his greatest strength in Paint it Black. As a Doctor of Psychology, Yemin has a verbal dexterity which is painfully absent in much modern hardcore, and through his lyrics, his frustrations are clearly and vividly expressed in a way which few vocalist manage, and in league with the classics; such as Ian McKay of Minor Threat and Mike Ferraro of Judge. In that way, while Paint it Blacks Amnesia come in twenty years later, it hearkens back to the to the classic albums of the genre.

In my opinion Amnesia only cements Paint It Blacks place in modern recorded hardcore. The foundation is of course built on solid songwriting, spiteful and intelligent lyrics, and simple but effective instrumentation. Amnesia is fast and slow, aggressive and melodic, political and personal. And, from the first song Salem we have Yemin step up to the pulpit spitting his rhetoric and he doesn't slow down until the grandiose finale Bliss.

Salem is Yemin's most powerful social criticism in Amnesia, its Authur Miller repackaged for the 21st century. Heavily critical of religion and ignorance, the opening lines off Salem sets the tone for the rest of the 7".

They're running their mouths about original sin again.
Somehow we're similar simians, on a steady diet of carcinogens.
We'll be the weathermen, warning of the black skies ahead.
Broadcasting live from the City of the Dead.


It might even be the best song of the 7", but then again, it isn't like there is any weak songs. The final track of Amnesia - Bliss changes the tone again, slower, rocky and while not aggressive, still venomous. Perhaps Yemin sums it up best considering Bliss saying: “ it sounds like Fugazi having a three-way with Jawbreaker and Nirvana.”

Salem and Bliss are my favorite songs at the moment. Exceptional!

I can make no criticism of the 7" in terms of recording quality, it is different again from New Lexicon but no less effective in production, in fact there is a consciousness of the recording process that could only have come from over twenty solid albums of collective experience. The songs flow smoothly and logically through the 10min 7" with only Bliss cracking the 2 minute milestone.

Unless their 7" due for release in August top this, Amnesia may be the best hardcore I'll hear this year. 4.5 / 5

Oh yeah, I'm all over Yemins nuts.

check it out on their myspace here

Death Threat - Lost At Sea

Death Threat - Lost At Sea



So it's been five years since Now Here Fast! and to be honest, I thought Death Threat was all over. As a bit of a late comer to the band, I got into Now Here Fast! (2004) then went backwards through For God and Government (2002) and Peace & Security (2000). All of it took a while to grow on me, but I don't think Death Threat write music for anyone but themselves.

The opening track Bury My Heart kicks straight into the what Death Threat do best, solid, groovy, working class Hardcore Anthems. It's pretty familiar, even down to the monotonal melodies that vocalist Aaron Butkus does so well. The lyrics are pure Death Threat concentrating on the daily grind, friends and family and keeping faith.

Track two Sudden Demise is a bit of a role call of Connecticut Hardcore, a speedy recounting of the ten years plus of Death Threat. I think its a perfect example of what they do best; no nonsense songs, no nonsense lyrics, all killer, no filler. Yeah you could say there's a lot of cliche in the lyrics, but when it's backed up with twenty years odd years of living the cliche, at least it's honest.

"We walk together through this life, we're side by side until we die"

I remember reading a zine interview (I think it was in Hard Times) of Nick Jett of Terror and Piece by Piece - when asked if he could form a perfect band, he responded that he didn't need to, Death Threat is that band.

The recording quality is spot on - clear, loud and punchy and in classic Death Threat form, the vocals sitting way out in the mix.

Lost at Sea is another great Death Threat release, I'm not sure it will win too many new fans, but it will definitely please those who have been waiting for five years.

3.5 / 5

check them out here

Title Fight - The Last Thing You Forget

Title Fight - The Last Thing You Forget



I've been on the new music hunt for a couple weeks now and stumbled across these guys. Title Fight are melodic hardcore / pop punk in a similar vein as Crime in Stereo (The Trouble Stateside era), Kid Dynamite, and early Saves The Day .

I think the thing about Title Fight which appeals is that they have managed to bring in a bunch influences and write catchy, interesting and dynamic music without just coping the from those in currently in favor in the genre. They have both attempted and pulled off their own sound, while at the same time nodding their heads to their predecessors. From the first song we launch into what will be quite possibly one of my top 10s for this year.

Songs like Neck Deep are almost pure (good) pop-punk with while No One Stays on Top Forever has definite melodic hardcore influence. The transitions aren't ridiculous (read disjointed) and they manage to keep the momentum rolling throughout all twelve songs. However, only three of the songs are brand new and thus they have been released separately on the likewise named The Last Thing You Forget 7". But for me, unfamiliar with their previous material I'm into everything I'm hearing.

Lyrically, its a pretty narrow horizon, some Saves the Day influence with some violent imagery, but for the most part its pretty familiar, a mix of teenage reminiscing and post teen identity frustrations. While the lyrics are ok, they are not the selling point of the album. Instead it's the well thought out guitars, interesting dynamics, pace and vocal layering keep you listening for whats around the corner.

The standout tracks are Introvert, Neck Deep, and Symmetry.

At this stage it's a 3.5 / 5, but I reckon it'll grow on me to a 4.

There's a bit of a Hot Water Music vibe as well, so if your into Sommerset you might like this as well. They are from Pennsylvania as well if your into that New Jerseyish sound.

check them out here

Mean Streak Demo

Mean Streak Demo


The Demo kicks off with the catchy mid-paced Still Fighting and continues in that pace for the following two songs Another Sad Story and Growing Up. Key influences that I'm familiar with are Death Threat, Blood for Blood and Wisdom in Chains. Growing Up is a bit of a neighborhood tale, borrowing from Wisdom in Chains in terms of some vocal approaches, but set in the scourge of the Waikato - Huntly.

Dylans voice stands out quite far in the mix, but in this, his voice sounds thicker and more raw than in previous recordings. Lyrically, there seems a focus more on telling stories than just pointing at easy targets and shooting. In saying that Still Fighting is pretty familiar, but i guess a more mature version that its previous incarnations.

It seems a shame that strongest song of the Demo False Profit comes in near the end. It's faster, more aggressive and convincing than the previous three. Lyrically it is the only song with a tangible target and perhaps this is why the anger seems more valid (to me).

Musically its the drumming that carries a the demo, solid and accurate, whereas at times the double tracked guitars slip out of time with each other. While none of the songs stand out as impressive musically, they definitely aren't weak either.

Not the strongest demo I've heard this year, but its a decent listen. Coming in at odd 10 minutes its worth picking up and thrashing.

Be interesting to see what comes next.

Strangers: Weight

Strangers: Weight



The first thing that hits you when you put this Cd on has to be the fullness and it’s depth. Expositions is an instant immersion in sound, the drums pounding new holes into your head and the guitar and bass syncopating heavy waves of discordant melodies. As a whole mix, it doesn’t sound perfect, but its pretty damn close.

The musical creativity and the sheer strength of the recording is the main carrier of interest for me throughout the whole album, while Ryhdians voice, sounding almost like the furnace runs roughshod, yet not unstructured through the whole proceedings. Indeed, its like the voice is another layer in the distortion, sometimes clearly audible, sometimes lost as it fades into the wash of urgency.

The lyrics themselves, upon several readings, allow some form of individual interpretation, but still, to me, remain more poetry than prose. There are some lyrics which I get, some which I guess, and others which are lost to me completely. I’m only being honest here, so don’t read into that statement too much please. You Crawl I understand, yet it still bites, which probably was the idea. Holding’s narrative speaks to me of beauty of companionship and trauma of loss and selfishness, while Meursualt Blues revels in that same solitude. For me, Noma stings like Jesus Camp stung, yet again I understand.

The music breathes, but only in the way that a dying creature does. Punctuated by panic, and the end is unescapable. So when the layers fall away, the echo’s of the chords / notes remain. But again to be honest, it’s like when I listen converge or botch, who demand a lot on my concentration, the music and my personality don’t easily match and its an almost an endurance game, as now on my third rotation my ears and I tire. I will defiantly be listening to this Cd again, just not this week.

Apart from not listening to this style of music much, my only gripe is that hearing Cursed a couple years ago, and now hearing this I can’t help but find the similarities. Hahaha, however, bear in mind who’s writing this review, and there could be a danger of the pot calling the kettle black. Perhaps a reviewer with more knowledge of the sub-genre could make more accurate observations.

The musicianship and the recording are almost unmatched in New Zealand’s underground scene, while the landscapes of the booklet counterbalance the music, giving visual space when there is no aural escape. The lyrics could have been easier to read, perhaps included some explanations, but again, I understand why they didn’t.

Look it’s a must have, it’s bloody good, buy the album, they’re going overseas soon and they deserve our support and any success they get. Oh and the outro: Overborn is first class.

I’m giving the whole thing a 3.5 / 5. But with that in mind, I can understand why some people would rate it much higher.

http://www.myspace.com/strangersandfuckers

Mon Mar 31, 2008

This is This – Life in Paradise

This is This – Life in Paradise



I read the lyrics before I listened to the cd, and in the spirit of the lyrics I’m gunna be completely honest with this review. I reckon there’s a bunch of gold in the lyrics, you just have to sift through the songs where Dylan talks about how angry he is. Don’t get me wrong, I’m not saying the anger isn’t necessary or real, some of us have just heard it all before in the Warpath. So, to counterbalance this, heres what I reckon is the gold… Life in Paradise, the albums title track, speaks of working class New Zealand, where alcoholism and domestic abuse are rife and the gap between NZ’s rich and poor can be felt. Fall in Line and Busy Livin’ are no holes bared anthems about making your own way in the world and not buying into anybodies dream. No On Gets Out is definitely my favourite song of the album, mainly because it cuts to the heart of small town New Zealand, and familiar to most kids who didn’t grow up in the city. Heres what I reckon are the best lines in the album:

‘Broke down cars sit in front yards
Just like their owner their lives got too hard
The rain pours down and they rust away
People sit back as there lives decay
This is where booze get bought before food
It's more important than rent and school shoes
Most of the houses were built by the state
Poverty just breeds jealous hate’

Moving onto the controversial, Shook Ones with HD Steve, is a commentary definitely needed in our tiny community at the moment, and although it’s not how I would say it, someone needed to, and I’m glad it was Dylan and Steve.

In terms of the music, it’s not genius and its not complicated, but the recording is tight and everything sounds like it should. If you’re a audio geek like me, you’d hear things you think could sound better, but if your not, then your not going to be disappointed. All the songs are heavy without resorting to chuggy breakdowns and fast enough to keep the energy up. Spite has a cool lead break, but for most of the album the guitars are just doubled and split down the middle.

The album artwork is excellent, a grimy Hamilton montage complimenting the lyrics, and further strengthening the album as a package. It's simply, but well laid out, and the explanations of the songs leave no room for misinterpretation.

If I’m still being honest, the music still sounds a bit like the Warpath, yet with the stronger songs they stand on their own feet. It’s a marked progression from their ‘It Just Gets Worse’ demo, with two of the better songs making into the album, but most importantly it promises good things to come.

Bearing in mind I don’t listen to much music that sounds like this I’d give it a 3/5. But you can decide for yourself when you buy it.


Mon Mar 31, 2008

Brick Vs Face: Think For Yourself

Brick Vs Face: Think For Yourself


(not actual cd cover, it was the only one I could find on their myspace)

At four years old Brick Vs Face have come a long way. In fact, at four years old, the Bricks might be New Zealand’s oldest hardcore band. They’ve come past the awkward teething stage of finding their sound and the difficulty of their vocalist leaving. In the meantime released two demos and two albums popped across the Tasman and had about a million t-shirt designs. In short, they’ve done more than the majority of bands in new Zealand ever do, and they’ve done it all themselves.

If I may quickly address the vocalist change…for someone who’s good friends with both vocalists, I feel torn between them. There’s no denying HD is a more energetic front man, but by taking Isaacs spot, he changed Bricks into something they weren’t before, namely: a serious band. Which, depending on how you understood the ethos of Brick Vs Face, may or may not be an issue. Isaacs DIY, casual, syllable cramming style is far removed from HD’s in your face attitude. Basically, yeah they’ve changed, but I honestly think the change made Bricks into a better band.

So anyway onto the album. It’s aggressive yet fun, rocky but still fast, in short it’s damn good. Musically, it’s definitely a progression from In Your Face. I say that because the dynamics and composition of each song mean that each instrument gets their turn and their own space. The songs aren’t merely rift following rift, but are given space to breathe and build.

The stand out tracks for me are Stereotypes, Gotta Go Crazy and The Truth Hurts. The album lyrics are essentially about city living, being yourself and finding your own space in cold and miserable society. The lyrics themselves are angsty outbursts of frustration and more personal than political, but there’s a communality in their themes that help each song find empathetic ears. My favourite lines of the album have to be ‘Did the 20th Century teach you nothing? Were you dropped on your head at birth or something?’ Gold bro, gold!

Perhaps the only disappointment with the album is the sound / production. It lacks the aural punch of the majority of modern hardcore, but, in the same breath, it sounds more like how you’d hear the Bricks live, and that’s an aesthetic that you either like or don’t. The drums are a bit lost in the mix and the guitars are a bit thin. That’s not saying it’s not tight or cohesive overall as a mix, its just not what most hardcore bands of the 2000’s sound like. The artwork however, in simple yellows and blacks and harkening back to minor threat cements the albums ‘old school’ feel and features live shots and some pretty choice artwork by HD.

If you grabbed their 'Under New Managament' demo, your gunna recognize some of the songs on the album, but theres goodies on the album that you shouldn't miss out on.

I’ll give it a 3.5 / 5, it would have got a 4 if it sounded better. But you should buy it and make up your own mind,

http://www.myspace.com/brickvsface

Mon Mar 31, 2008

Blacklisted - Heavier Than Heaven, Lonelier Than God

Blacklisted - Heavier Than Heaven, Lonelier Than God




The Albums still in the mail... so I'll edit it when I get the artwork. The cover looks amazing though.

Pretty much proving (again) why they've been a hype band almost all their existence. This album is the logical progression from their 'Peace On Earth War On Stage' Ep. It's an aggressive punch in the face but still has heaps of groove and that unique Blacklisted quality that doesn't have to use punk rifts in fast bits and metal riffs when they want to be heavy.

Its got more aural space than the Ep, more aggression, more sluge, and plenty of fast bits left over. They've a bassist who knows what he's doing, guitarists who know when not to play, and a hardcore drummer whose ability doesn't rely solely on playing fast or unique rolls.

The vocals follow on from the Ep, more of that Metalica kinda ranting with a twist - eg: 'Wish' The guy still sounds haunted, angry and desperate. But, like every other release his placement is spot on. The lyrics, while thematically staying personal and anguished, reveal scars of hard upbringing and a violent mind. Theres still an identity crises going on, and the honesty is still raw.

'theres nothing you can do to wash away the past, they'll just laugh and laugh when you ask: 'will it always be like this'

Heavier than Heaven, Lonelier than God is a big step away from the past and I guess cements (for now) the direction they are taking, its still the same band as The Beat Goes On, but they're not flying under anyones wings anymore.

My favorite lyrics at this stage are:

'I feel hopeless, when I just wish I could feel a little less'

'we don't need jesus to please us, its not as comforting as you'd like to guess'

'we need to talk, just means we have nothing to fight for'


My Gripe: I'm tired of paying for hardcore songs twice. So in my opinion Memory Lane and Cannonized don't belong on the album, but without them it would the album a bit thin.


Definitely pick it up. Theres a good reason why people love this band so much. 4/5

http://www.myspace.com/blacklisted

Thu Apr 24, 2008

Roll With The Punches

Roll With The Punches



I've been thrashing this a bit a work lately, so, in the spirit of reviews...

When I first saw these guys live and got over the initial comedy of the change of Daves voice, I thought, wow! this is actually really rad.

Its not that I think the music or lyrics are genius, but its solid and fun. I dunno, to me it kinda sounds like good old fashioned working class hardcore, and even though its doesn't sound that much like Wisdom in Chains, I get the same kind of feeling when I listen to both of them. There are definitely songs where they sound a bit like Sick Of It All, but for the most part its no nonsense, good times hardcore.

My favourite track has to be Cruel Hand, and I think you'd be hard pressed to find a hardcore kid who couldn't identify with these lyrics:

We're never content, to let the dice fall on the side that fate dictates.
We always resent, the things that we don't know, the things we cannot change...

We can't pretend, for long enough that our lives fit the mould.
We've read the book, taken the pills; we're still left feeling cold.


For a New Zealand Ep it sounds really impressive, and it's nine songs, so it's pretty much an album. Dave’s voice sounds like a charging rhino throughout and the rest of the mix sounds real good. There seems to be a 'hole' in the mix somewhere, but again for an Ep, your getting a lot more than what you normally do. The cover art I reckon is awesome, but the rest of the package is pretty barebones.

It sucks that these guys didn't last - at least they left something rad behind for us to remember them by.

Out Of Line

When people try to ruin what we worked so hard to bring about,
It's so tempting, sometimes I want to, knock the fucking bitches out.

I'm pretty sure you can still buy CD's from here:
http://www.myspace.com/wrongsiderecords


3.5 / 5

Thu May 01, 2008

Go It Alone - Histories

Go It Alone - Histories



I brought this album when it came out, but my record player broke soon after. Recently I checked up on Rivalry Records, and they've just added digital downloads, so... here we go.

When I first heard their Vancover Gold ep, I thrashed it to death. It had a lyrical honesty, intensity and ferocity that not many melodic hardcore bands pull of. Not heavy in the chuggy sense, but nothing weak about it all. Then came their debut album The Only Blood Between Us, which illustrated a musical progression and continued to develop the same sort of lyrical themes, becoming an adult, completely disillusioned with your culture.

'Every lesson learned from the moment of my birth is etched into my mind... and I want to forget. I don't want to remember'

In Histories, again preoccupied with his own personal history, vocalist Mark Palm recounts his life and failings, and much of the album is spent in the nostalgia of recollection. But this time, he's changed his tune:

'I'm uncovering. I'm sifting through. Digging up relics of the past. I'm ignoring my own advice: I'm looking back'.

Because I know and love their other work so well, Histories comes with high expectations. Which it met, but only just. It's that whole thing about a concept album, writing with an idea in your mind may satisfy the author, but for me hardcore doesn't favor such self satisfaction.

Perhaps my main criticism of Histories is that they are borrowing a little bit too much from MLIW. In previous releases, what I would consider 'shared' features, become more 'borrowed'. I mean, musically its so well developed and 'epic' so perfect in terms of production, its sounds like they are trying just that little bit too hard. But then again, the intensity is there, the song structuring, the album package, all of it working, but not quite.

The vocals still scratch through with intensity, and still carry the tones of fury and disgust, the refusal to accept the world as it is. The lyrics still are far more intelligent than much of the genre, but with Histories, its an intellect which only looks inward. In the last song Left Of Me - the album is summarized, quite beautifully:

'Our lives are subject to unseen currents, eroding, washing clean and carrying away tell-tale traces of our former selves. In my head its all rushing water, cold and surging. Ruthless and relentless in its power to erase. Yet somehow I thought I'd never change. Against the crashing tides of time. I thought I'd stay the same. Friendships and convictions, old hopes and dated dreams, all swept away by the pull of the ceaseless stream (I'm washing away.) This life like river passes through and around and I'm trying to grab a hold of something permanent. Reaching through the ebb and flow for a common thread to string these years together, to trace back to myself again. Please tell me you remember (forget me not) because I'm not who I used to be. I'm just a shadow, pale and fading. Please tell me you remember because its all receding into the background so damn fast'

I actually love the album, I just like The Only Blood Between Us better.

4/5

Wed Jun 25, 2008

Masada - So this is life demo

Masada - So this is life demo




I just managed the first good listen since I got it.

Real mature sound for a bunch of younger guys, but I guess the members previous / other bands has an influence on this (cry wolf, problems, appreciate, wasteland - basically a super group of the 07's new blood). Masada have a bit of a Deathwish sound, but also a hope con vibe. In saying that, those are broad strokes and they still manage to sound fresh and independent. Musically it's a bit darker and slower than a lot of whats going in our scene, and I'm liking it. Also, I think they have paid attention to their song structures and writing music, not riffs. If I'm being honest it's still kinda sloppy sounding and its a pretty rough recording but I don't think this has an adverse affect on what the songs are doing, just on my pedantic nature.

The demos in a simple paper package, and if you want to check the lyrics they can be found on the bands myspace (below). Reading through the lyrics, I'm not hearing anything that I'd regard as inspirational, but there's no way they are mediocre either. Toms voice is powerful and raw, while Jeremy's BVs add both a complimenting contrast and a layer to the lyrical ferocity. There is a poetical touch, but at the same time firmly holding to raw emotions and anger. My favorite songs lyrically are definitely Rumble Fish and Tears in the Rain. Bleak, hopeless, and powerful because of it.

I don't really like 'grading' demos, but it's definitely one of the stronger ones I've heard this year. If its an indication of what they have got so far, its only good things to come.


check them out on their myspace here

Thu Oct 23 2008

Every Man For Himself - Te Pae Mahutonga

Every Man For Himself - Te Pae Mahutonga



Longevity is not something that New Zealands hardcore / metal scene is known for, and at 5 years, Every Man For Himself (EMFH) 'should' be heading into retirement. It is then with great pleasure that I review what I consider to be the fruit of many years hard labour - part one in their two disk album, Te Pae Mahutonga.

This review will not contain the usual comparisons to bands and labels who share a micro genre, firstly because I lack the knowledge to make the comparisons, and secondly, because their music crosses too many genres to fit simply within one. From modern layered hardcore to 'math' metal and hints of this century's metalcore, that which once failed to work coherently has found a balance and harmony in amongst the dissonance and frenzy.

For me the most significant thing about this CD is that EMFH has found a voice and an a means of expression that no longer feels like awkward music played in awkward time signatures by guys who don't fit in the normal mold of New Zealands alternative music scene. Most people who have met the band members are struck by their honesty, humility and sincerity, and when I think about popular criticisms of modern hardcore, I cannot see a trace of it in EMFH. In all honesty, I believe they are one of the few bands who are keeping the 'counter' in counterculture.

This new focus, this new direction both sounds and feels different, the lyrics sharper and less juvenile, the music more cutting and mature, layered and vivid. Perhaps still too jumpy for a 4/4 kinda guy like me, but no longer confusing.

The first obvious point of difference begins with the packaging, it is a far cry from their self titled EP, and while still keeping the purple and blues, the EP art is left in the dust. While the photos used in Te Pae Mahutonga are not striking in and of themselves, the whole package compliments the music and thematic weight of urbanization and detachment from the land.

As a Pakeha, the lyrics are significant not as only as a voice for Maori, but a voice for discontentment, alienation and detachment from the dominant culture. In this way, the lyrics transcend culture boundaries and move into a critique of accepted norms and institutionalized inequality - for Maori and Pakeha. Without trying to stretch myself in directions I cannot grasp, there is within Te Pae Mahutonga a resonance of the concept of whenua that is almost tangible. If the lyrics speak to me from across cultures it is that there is commonality in our disenfranchisement.

If I had pages I would move into a more detailed engagement on the lyrics, but I will leave it with two snatches:

View From The Bottom Looking Up
I am the bad headlines, the bad statistics, the bad stereotypes.
I am a stripped gear in the machine.
Detached from my enviroment and my culture.

Waiora
My placenta is buried in soil, smothered by slabs of concrete and asphalt,
All in the name of progress.

Even the recording is significant, there is movement and depth, space and fury packed into just under a quarter of an hour. I don't listen to this style of music often, but the recording helps me to enjoy it and appreciate the layering of the guitars and the 'big' chords and melody. It is sharp, loud and cutting. The stand out track for me definitely: Until the lions learn to record their own history, the tales of hunting will always glorify the hunter.

Even if EMFH don't fit in within your usual purchases, there is an experience forgone if you do not buy this album. Anyway, I've said way too much, go here to check out more.

A very strong 4/5

http://www.myspace.com/everymanforhimself

Mon Nov 17, 2008

Plus - Interview.


1) A few months ago you released part one of a two part album Te Pae Mahutonga, firstly, how does a two part album work? and secondly, how do you feel about it looking back?
We have written six songs to represent each of the different dimensions of Te Pae Mahutonga, a Maori model of Health and Wellbeing by Dr.Mason Durie. Part One was released last November containing three of the six model songs plus three others based on supporting ideas. The second part is not far away, containing the remaining dimensions and will slot right in with Part One lyrically and musically...except with a few new tricks. Both discs will be housed in the one case too, which ties the ideas together.
We are really proud of Part One. We’ve spent a great deal of time and effort creating this and are pleased with the feedback we have received. Its been particularly rewarding to hear the connection people from all walks of life have made with the lyrics. Releasing the album in two parts has allowed us to release new music quickly, and given reason to play two sets of release shows.

2) Te Pae Mahutonga - like much of your music is influenced by your Maori heritage. In Waiora you speak of whenua - could you elaborate on this concept and it's significance to modern Maori?
Our home, South Auckland, like many places in New Zealand is a giant construction site at present. Tens of thousands of new houses, countless malls and shopping complex’s, roads and highways make it unrecognizable from even a decade ago. Its inhabitants live amongst this ongoing work, in the noise, under the pylons, with nature being pushed further out of reach. Regardless of ethnicity, health and wellbeing is impacted on by this separation from a natural environment.

3) Do you think the concept of self determination is something you've carried on into EMFH?
As a band, we choose to play music that we like to listen to, and write about topics we are passionate about. Often it is not what is necessarily the most popular or marketable. By this, I believe we are a self determined band. We pay our own bills, make our decisions, and aren’t accountable to anyone but ourselves. That said, we do not separate ourselves from working with other bands or people that have different views or ethics than us. We would have a very empty schedule if we did.

4) What was it like supporting underoath, poison the well and every time i die?
A huge honour. Poison The Well would be one of the most influential bands for us, and you’d had to have lived in a cave for the past few years to not have heard Underoath and Every Time I Die. To share a stage with them playing the music we want to play in our hometown was amazing. It was one of our biggest audiences to play in front of, and was full of new faces. We seemed to practise that much harder in preparation, and waking up the morning of the show already nervous was also a treat in itself.

5) Is there any bands / artists / people that inspire you collectively?
We were lucky enough to do all of our release shows for our Part One of Te Pae Mahutonga with Congaline and Cry Wolf, while also teaming up with the likes of the Burial and Hard Times along the way. All of these bands are prime examples of the talent that seems to pop up from around New Zealand that keep us inspired and motivated.
It has also been inspiring watching people like RW Entertainment taking show organizing to the next level, with so many top international acts gracing our shores lately. Having that quality of act a couple of times a month like it is at present will surely keep our scene from stagnating.

6) You've been to Australia once, any plans to return?
Would love to. I’d like to think that we have grown heaps since our first visit a year and a half ago, and would like to go measure ourselves against our Aussie counterparts again. We aren’t too fussed on making a profit, rather on travelling and sharing our music. If we got our wish, Australia would be one of many overseas destinations we played in the near future.

The Burial Demo 08

The Burial Demo 08



For someone who grew out of metalcore quite quickly, I didn't really buy into the The Burial hype. True, with members from a bunch of notable nzhc bands - Damage, Evil Priest, Kill Me Quickly, Antagonist, Promise of Bloodshed, Upheld etc... I expected them to be solid, raw and fast - and they are. I think Simon compared them to a combination of Perseverance era Hatebreed and Ringworm, which seems pretty accurate ( I dunno?). There's also a big Promise / Damage vibe in the demo lots of double kick, lots of picking in between rifts and half time breaks.

I was never a huge fan of Wadzys lyrics in Damage, but in The Burial I find myself more in agreement. They're honest, raw and angry, yet at the same time self aware. Determination begins with:

"What was harder than life itself was to look into the mirror and ask myself,
why the fuck do I feel such bitter emptiness, when I am blessed with a life of privilege"

The demos is essentially five two minute songs, with every song blisteringly fast with a heavy break - I'm a bit hesitant to say breakdown, as that implies a more simple version than what The Burial achieve.

My criticisms of the demo are mainly personal preferences. It 'sounds' great, but the drums sound a bit too robotic, and I think the mix a bit too thick / heavy in the mid's and lows. The songs while being individually pretty great, follow a pretty familiar pattern. So after repeated listening the songs start to merge into each other.

My favorite song would have to be the final song - Destroy and Rebuild an apt and timely criticism of our increasingly narcissistic and spineless subculture.

"Where the heart and the passion? Now its contrived emotion and fashion.
A cheap parody of what it could be"

this demo is a must have - definitely pick one up.

hype as yet undelivered, but I have a feeling it's in the mail...

http://www.myspace.com/theburialnz

Sat May 09, 2009

Die Alone Demo 09

Die Alone - Demo



With members of Blackout, Burial, Brick vs Face, Dryden, Upheld and Snake Run it's clear these boys can all do their thing musically, but I think the demo fails to realise the bands potential.

The demo begins with a foot stomping Evil Priestish intro which it sets the tone for the next 10 minutes. Its modern hardcore in the vein of Terror, Cruel Hand or Down To Nothing. The demo is loud, but sounds a bit squashed dynamically. The grammatically confusing first song Sees No End would have been the strongest song, except it has some very strange and washy distortion going on, making the mix a bit confusing. Lost Inside slips in a few punctuated guitar stabs near to the end of the song which again add a interesting twist to the middle song.

Changes would have to be my favourite song, both lyrically and musically, being well put together and an example effective songwriting. The song leaves itself a little more room to breathe while at the same time is effectively abrasive.

For the most part, the guitar rifts and dynamics do exactly what they should, but this strength is also the demos main weakness - predictability. However, in saying that, there's some pretty catchy guitar breaks, which keep the momentum of demo running along nicely. Lyrically we don't see a whole lot of ground being broken, with the songs favoring personal fortitude rather than social issues. It seems that there's something missing from the vocal delivery as the demo fails to grab me lyrically, but as this is little D's first time behind a mic for a few years, it might take a while for his voice to thicken.

All in all a sweet demo, definitely worth buying, but still expecting better things to come.


http://www.myspace.com/diealonehc

not my nicest review, but trying to stay honest

Sat May 09, 2009

Ricky Bobby EP and Demo 09

RICKY BOBBY EP





I've been meaning to review this one for a while. Here goes:

Ricky Bobby play modern melodic hardcore in the vein of Comeback Kid, This is Hell and Casey Jones. Which means I can't really rely on my usual "they not really my style" line. Their EP stands out as a very solid first release with some pretty well written songs.

The guitar melodies stand out as the one of the main strengths of the EP with some clever harmonics contributing to some thoughtfully written songs. In this some of the guitar work reminds me of Dead Hearts. The breakdown riffs however are more repetitive, with pretty similar patterns (and palm muting) used on From Here On Out, Then We All Died and Give Blood. The sub-drops seem a little unnecessary, and the breakdowns in these songs seem more functional than inspired.

Lyrically, while in some of the songs are definitely said with tongue firmly in check, they also lack they punch or satire of the bands which they might be inspired by ( I'm guessing Casey Jones or Evil Priest ). However, that being said, the intention of the songs ring true. In this, lyrics seem slightly juvenile, but by no means insincere. The vocals cut through the mix throughout, in a similar pitch to Comeback Kids Turn It Around album, making audibility and intelligibility easy - something which I appreciate, there's no growling demons in this recording, nor is it necessary to look through the lyrics book accompanied with a dictionary. My only criticism is that by varying the vocals pitch, they would also add energy to the song and lyrics. Anyway, my favourite song is the final track - Callum James Stewart.

The recording itself is tight and clear, precise, but with room for improvement, it's loud, but lacks a little in punch. The EP packaging is neat and tidy with a cute zombie adorning the front of the plastic sleeves fold out package.

I really like this band, and while this EP will not join the ranks of my most played, it will stand as a marker of great things to come. If Ricky Bobby continue to find their feet and develop from this material I'm sure they will be one of the stand out bands of New Zealand Hardcore, with potentially bigger things to follow...


3.5 / 5

Ricky Bobby: 09 Demo



Mike handed me one of these when they played Zeal, and since I just reviewed the EP I thought I may as well review this one as well.

There is already development from the EP, punching above the waist both lyrically and musically. While the EP felt a bit immature, the immaturity of the demo doesn't extend too far beyond the opening audio clip: Will Farrells "Im Ricky Bobby and if you dont chew Big Red then F*** you"

Materialistic starts off a bit more aggressively and holds the aggression more convincingly than the EP did. The only real downer in this recording is the weird tom roll thing before the breakdown.

(Hypocrite Warning) In Over privileged my main criticism is they borrow quite heavily in some areas from Comeback Kids new album -Broadcasting - with their guitar high breaks and lyrical approach. However the song itself is their best, being both well written and having a catchy as half time ring out at end:

you get out what you give
so give it everything you got kid
you get out what you give
so give it everything, give it everything


The guitar work again caries this demo, (although they sound a bit pro tools plug-in distortion) with the lyrics adding more to the overall feel of the demo.

I'm not rating it, but its an improvement from the EP - onwards and upwards.

www.myspace.com/rickybobbypnc