Cry Wolf - Disaster

Cry Wolf - Disaster

When you review something, it’s almost like the language is prescribed. You choose words and phrases from a vast catalogue of appropriate clichés. So when ‘urgency’ popped into my head as an indicator of the record I did a double take. Urgency always gets bandied about when hardcore records are reviewed. I often wonder what it means. I guess that in this recording the urgency is Cry Wolf have transferred the frantic delivery of their live performance into permanence. Basically, it’s an impressive ten song outburst distilled into a mere thirteen minutes.

Preamble aside, the recording itself is solid, violent and raw without being messy. The guitars bite and sting while the vocals punctuate through the layers perhaps a little too loudly. However, in that loudness, the lyrical content is unmissable, unavoidable. It’s great to hear drums that sound like they have actually been played, with dynamics that are natural and not automated. My only real criticism of the recording is that the bass is lost and because of this the mix sounds a little top heavy.

Lyrically we hear a litany of social and personal failings, spoke through a narrative of disgust. At times it’s pretty powerful, but their real strength is the originality of the imagery. It creates a new perceptive on the familiar.

My favorite songs, Satisfaction and The Push are a fresh look at the nature of man, obsession, addiction and discontentment. In Satisfaction’s final lines it sums “I’m the last ride home, you missed me.” Meanwhile, The Push personifies human obsession. “Even when he slept, even in his dreams, he buried himself further, and the water rose, he drowned, a worm, alone.” It’s the honesty coupled with the imagery that sets the lyrics apart. That and the conscious avoidance of stale hardcore rhetoric. I do however wonder why the qualifying and best line of Parables is absent from the recording but present in the book.

The guitar work in similarly innovative. Minor chords, punctuated stabs and metallic riffs give the impression of deliberate constructions rather than accidental composition. Added to this the strength of the drumming, it becomes quite hard to critique. Reminding me at times of One Must Fall, from blast beats to fills, the drums carry the recording where at times the guitar is lost.

The artwork / design adds the finishing touch. Simple and bleak , it thematically compliments the whole package.

It’s a 4/5 for me.


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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.

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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

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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!

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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

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