Verse "Aggression"

There's a slight chance that, in the midst of a deep sleep and a vivid dream of my ideal, 2008 hardcore record, I sleep-wrote (analogous to the more common sleep-walk) a touching, handwritten letter and addressed it to Verse. There's a slight chance that, in said letter, I asked them to write an album full of passionate, socio-political messages and melodic, ebbing-and-flowing songs, and influences ranging from Modern Life Is War to Have Heart. There's a slight chance I did it in such moving fashion that the band felt obligated to come through.

Okay, I'm retarded. There's no chance that happened. But what should I think when I hear a record that's got just about everything I could want, in just the right quantities?

While I liked Verse's first two full lengths, Aggression stands out as something special for having a musical approach that is just as significant and urgent as the strong lyrics. There are, of course, bursts of the traditional -- blazingly fast drumming, brisk chord progressions and in-your-face shouting -- but most of the songs go beyond that, to near-epic proportions. Explosive, poignant climaxes dot the album's length, and intricate melodies, heavy-handed drumming and mammoth heaviness fill the gaps. While countless bands have attempted this tense, climactic breed of hardcore since Modern Life Is War blew it up a few years back, Verse is one of the select few that has fully realized its potential for chilling, humbling results.

Aggression is sonic bliss, but I'd be remiss to gloss over the lyrics. Singer Sean Murphy brings a whole lot of depth to the record, and it takes center stage in the three-chapter (and three-track) "Story of a Free Man." Telling the tale of a boy whose father was killed at war, the three songs are both personal and political; they personify the stateside horrors of war and the death grip of addiction through a well spoken narrative. Murphy attacks in other songs the morality of our current administration, the justice system, war mongering, and the shallow Hollywood-driven media. Yet, he's still got plenty of hope:

"I could be destined to fade away like so many before me. But as long as my heart keeps beating. I still can't stop screaming. Silence -- is violence. I'm bending. I'm breaking. I'm broken. I'm still alive."

Aggression is worthy of all the praise I've got in me. I'm proud to love this stuff. From the musical arrangements to the heartfelt lyrics, Verse has poured themselves into their 12 newest songs, and you simply cannot say the same about most everything else out there.

Yes, yes, yes: Verse - The New Fury

Get it here. It's worth the money.

Spitfire "Cult Fiction"

The craze surrounding chaotic, dissonant metalcore has largely fizzled in the wake of the surging popularity of "deathcore." Instead of looking to Every Time I Die and Botch for influence, upstart metalcore bands are more likely to aspire to be the next Job for a Cowboy or Despised Icon. No surprise there; music goes through phases. That said, I was surprised to hear that Spitfire is still pumping some life into a genre that just doesn't have the buzz it did a few years ago. Surprised, yes; but not disappointed.

Cult Fiction, the band's second full length since reforming in 2004, draws on Botch's oddly timed riffs and rhythms, Every Time I Die's energy and sass, and Scarlet's penchant for smoothing out otherwise jarring noise (the latter makes sense considering Spitfire features two former members of Scarlet). Never content with straightforward time signatures or consistent tempos, Spitfire's rhythm section sets the stage for a familiar blend of lumbering, chunky riffs, angular arrangements of notes and scathing dissonance. The band focuses on strong, heavy, mid-paced tempos and guitar parts, but they occasionally throw things into high-gear ("The Animal Kingdom of Heaven's Gate," "Pro-Life," "Meth Monster") and even more often experiment with droning, sludgy riffs, somber atmospheres and rhythmic drumming. The slower stuff is certainly a welcome addition, as it still fits the record's flow and offers listeners a textured, more contemporary respite from the chaos.

Cult Fiction is as listenable as it is chaotic, and a flavorful taste of what was, for a while, a defining sound in metalcore.

Not the most representative song, but oh so crushing: Spitfire - Chemo The Rapist

Get it from good old RevHQ.

Scream Hello "Smart & Stupid"

Smart & Stupid is a four-song precursor to Scream Hello's (no more exclamation point!) forthcoming full length and, to be boringly blunt, it's got me jonesin' for more. While I enjoyed this band's debut, Infinite Son, it never struck me like Smart & Stupid consistently does; the band has simply made a lot of progress in the past year or two, penning more textured, smooth-flowing songs and bigger hooks with the natural ease and finesse of a knife cutting through soft butter.

Scream Hello plays an amalgamation of classic Midwest emo, bright, Piebald-like rock and gentle indie rock, and leaves any pretense at the door. Considering the level of detail and smart songwriting, it's surprising that Smart & Stupid never comes across as highbrow or overly intellectual. It's traditional, modest and, dare I say, timeless; as comforting and flavorful as home cooking. (I’m really into food similes today.) “A Few Minutes” is, for me, the standout song, thanks to its infectious guitar leads, unforgettable sing-along chorus, and even gradually slowing outro, but "Breakin' Shit" follows with similar qualities. "rrrrrrrrrrrrrrrrrrr" consists mostly of a piano and reverb-y singing and, even though the guitars and drums eventually join in for an energetic third minute, the song feels awkward. The band gets things back on track in the grand, six-minute closing song, “Vinegar & Baking Soda,” which all but cuts out at the half point before building back into a strong, driving closure with burly backing vocals.

There’s plenty of cleverness and complexity behind Smart & Stupid’s four songs but, at heart, Scream Hello hits listeners with likeable, accessible tunes.

Scream Hello - A Few Minutes

Get a copy here; it's only $6.25!

H2O "Nothing to Prove"

All it took was two listens to "What Happened?" and I was sold on H2O's comeback record, Nothing to Prove. After a maligned attempt at some mainstream exposure in 2001's Go (man, that was a long time ago), this long-running New York hardcore act has simply reverted to what they do best: fast-paced, upbeat hardcore punk and chunky NYHC. As familiar and tried-and-true as Nothing to Prove is, it's got such a sincere sound and delivery that I have, for all practical purposes, fallen for in a matter of days.

I love the fast, melodic chord progressions and quaint guitar leads. I can't help but get wrapped up in the brisk drumming. The gang vocals and guest spots (Roger Miret, Lou Koller) fall right into place. And singer Toby Morse contributes an expectedly great performance, shifting gears between throaty shouts and melodic singing to bring his words to life. He touches on a variety of topics, from the evolution of the hardcore scene to straight edge to his family to society's skewed, judgmental perspective of him, and brings to it all a personal flair that's more personable than poetic. That's what I love about the entire record; it's just real, not to mention tastefully catchy, concise and meaningful.

Nothing to Prove is the kind of album that excites my senses; the kind of music that incites in me some need to write and spread the word. These days, those records are truly few and far between.

"For those who don't know... H2O GO!": H2O - 1995

You can pick the album up from the RevHQ.

Spark Is a Diamond "Try This on for Size"

Try This on for Size is Spark Is a Diamond's debut release; a blend of dance-y beats, rocked-out post-punk guitar riffs and singer Alison Bellavance's gravelly, grating screaming. (You might remember it from her previous metalcore band, Fall River.) While it's got the makings of a shitty record, it's actually not bad -- it's catchy enough to keep me coming back, and it's got enough solid, often single-string guitar riffs to provide me some real substance. There's some sort of a Refused influence running through Try This on for Size -- the few electronic flourishes drive home the comparison -- but don't expect anything nearly as ambitious or expansive as something like The Shape of Punk to Come. It's generally stripped down to the basics.

The biggest issue Spark Is a Diamond faces is working some variety into their songs. The screaming, the guitar riffs and (especially) the drumming follows a standard path in each of the 11 songs, and you'll feel like you've heard them all twice by the time it's over. (Okay, excluding the cover of Salt-n-Pepa's "Push It.") This is fun, but, at this point, I wouldn't want more than 24 minutes of it at once.

Spark Is a Diamond - ___ ___ Has a Deathwish

Little pricey for the amount of music you get, but what can you do?