Geekburger.com: mp3 Blog - hardcore, metal, and punk rock music

Done.

noreply@blogger.com (Andrew Haak) — Tue, 23 Sep 2008 15:13:00 +0000

Saying nothing for two months pretty much says it all, but I'm here to put the nail in the coffin; to publish the final Geekburger post.

I already wrote a long explanation for Geekburger's first death -- the 2007 transition from a full-blown web-zine to a whimpy blog -- so there's no need to get wordy on you again. Quite simply, I'm completely burnt out on writing music reviews. Most of today's new music has failed to excite or motivate me, and I've picked up some new interests that simply take precedence. Since I spend my workdays writing and designing, I need to do something different in my spare time. Variety is the spice of life, right? Uh, yeah.

I'm calling it a day, confident that this is the only thing I've got left to offer the site. Oversized props go out to all the writers that have stuck with this sort of gig any longer than I did (I'm looking at you, Pastepunk). It's draining, especially if you've got a life outside of it, and constantly changing.

There's no need to mail me music anymore. Maybe someday I'll write another review, but that'll most definitely be for someone else's publication.

I like to play some video games these days. If anyone out there ever wants to dish me up a brutal headshot or fry me with a level-three fire spell (or something equally nerdy) for giving their favorite band a shitty review, look me up!

Steam: RottingCatCarcass
Xbox LIVE: Deathbird69
PSN: The_Deathbird

Yes, I have 69 in one of my total cheeseball names.

Peace out.

Fallen from the Sky "Tonight We Radiate"

noreply@blogger.com (Andrew Haak) — Tue, 22 Jul 2008 00:04:00 +0000

Channeling Hot Water Music and Polar Bear Club, Fallen from the Sky brings a driving, hardcore-inspired energy and sense of camaraderie to the gruff, textured punk rock with which the aforementioned bands are so closely associated. Up-tempo and built for big, group sing-alongs, the band's sound is noticeably accessible, with more than enough memorable choruses and lots of catchy guitar leads in the verses, but still raw and believable. Singer Ryan Loughley deserves credit for the band's genuine delivery; his deep, barked vocals and not-quite-perfect singing sound comfortable amongst the driving chord progressions and breezy lead guitars. For my money, Tonight We Radiate's 10 songs don't get much better than "Out of Control," which absolutely erupts at 2:30 (after a subdued, rhythmic bridge) for a booming, stepped-up version of the already killer chorus. "Skeletons" is equally catchy, with its simple chorus lyric of "I'm kicking out the skeletons tonight!" and "The Torch" lunges at you with its brisk, melodic hardcore direction. But, man, "Out of Control" is where it's at.

Fallen from the Sky - Out of Control

Find a copy here.

Braindead "No Consequences"

noreply@blogger.com (Andrew Haak) — Thu, 17 Jul 2008 22:06:00 +0000

"Wait. What? This isn't right."

And so began my first listen to Braindead and their full-length debut, No Consequences. Having thought that this was a new record from those endearing Chinese punk rockers in Brain Failure, I was quickly surprised (and humbled, as I apparently don't know it all [sarcasm]) to hear a diverse brand of in-your-face, melodic hardcore.

Braindead. Brain Drill. Brain Failure. Brain Dead. Honestly, can you expect me to keep them all straight, all the time? (To be fair, I think it's at least a little obvious which one of those is the brutal death metal band.) The band at hand is Braindead – one word, one capital letter. And the band at hand is really good, taking vocal and songwriting cues from the likes of bands from Count Me Out to Kid Dynamite, and making them their own with varied combinations of dark, melodic guitar parts, slower tempos and a lush bass presence. While the heart and soul of No Consequences is familiar, melodic hardcore and throaty, shouted vocals, Braindead fashions a masterful ebb and flow through ambitious (and awesome) instrumentals – opener "ATI" establishes that direction in 36 quick seconds, "Dear Alison" expands on it for three minutes and forty seconds right in the middle of the record, and "A Wake for a Dream" literally blows it out as the song progresses from expansive instrumental to surprisingly climactic, pounding, static-y noise.

Braindead shows just the right amount of ambition and poise on No Consequences; they've got one collective foot rooted in hardcore's traditions, and the other in unexpectedly musical and dynamic territory. My initial impression was a false, knee-jerk feeling that something wasn't right. But when all was said and done, it had made a squealing 180-degree turn.

"Yes, this is right. Very, very right."

Braindead - So Single

Grab your copy here.

Incommunicado "Losing Daylight"

noreply@blogger.com (Andrew Haak) — Thu, 10 Jul 2008 01:17:00 +0000

Color me stumped. I'm not really sure how to describe Incommunicado, other than they remind me of the relatively obscure, now-defunct band Kicked in the Head and they play a quirky, driving blend of melodic punk rock and tastefully experimental post-hardcore. Catchy yet clever and angular yet concise, Incommunicado has a sort of At the Drive-In thing going on; they've struck a balance between experimentation and gruff, punk rock energy that keeps Losing Daylight intriguing and, at the same time, safe from going off the deep end. And I've got to give credit to singer Chris Feigh, whose unique singing and shouting sound right at home amongst everything from the catchy choruses to the experimental flourishes, for helping bind things together in ambitious and dynamic fashion. A solid, near-half hour of music.

Check it: Incommunicado - Electrode Cathode

Pick up a copy here.

Inhale Exhale "I Swear"

noreply@blogger.com (Andrew Haak) — Mon, 07 Jul 2008 22:13:00 +0000

I'm not hesitant to admit that Inhale Exhale's sound, as it shakily walks a tight rope between chunky metalcore and Underoath-y "screamo," is formulaic. You've got a blend of gravelly screaming and familiar, soaring hooks. Heavy, metallic riffs and upbeat melodies. Double bass-fueled beats and poppy, driving rhythms. In your head, you've practically heard it already.

But I'm also not hesitant to admit that Inhale Exhale pulls it off well. It's clean and accomplished; the band proves to have a handle on writing everything from memorable hooks to lumbering, metallic riffs to gratifying breakdowns. Plus, they feature John LaRussa, a former member of the defunct (and seemingly forgotten) Narcissus, who brings a certain progressive slant to the guitars and, I imagine, the songwriting process. His signature, atmospheric picking sequences break up the metallic and chord-based riffs, and often give Jeremy Gifford a particularly golden opportunity to fill in the low-end gaps with slick, creative bass lines. The best example is "It's Myself Vs. Being a Man," a big, expansive song that heavily relies on LaRussa's melodic, progressive playing, clean singing and prominent bass parts.

All things considered, I Swear is a reputable record, rife with sizable, satisfying songs. Nothing terribly special, but far from offensive.

Inhale Exhale - It's Myself vs. Being a Man

You can pick up a copy here.

Killing the Dream "Fractures"

noreply@blogger.com (Andrew Haak) — Fri, 04 Jul 2008 04:11:00 +0000

For Killing the Dream, some substantial lineup changes weren't necessarily a bad thing. While holding onto their core source of identity and rage -- singer Elijah Horner, of course -- the band's two new guitarists have introduced some flavors and spices that make Fractures a progression from 2005's In Place, Apart, and a smooth one at that. You need look no further than the title track for ample proof, as medium-paced drumming and pulsing bass lines back up swooping, melodic chord progressions and strings of shimmering guitar notes. It's powerful, atmospheric and different, even going so far as to throw in some clean backing vocals.

These sorts of expansive, breezy post-rock tendencies creep into many of Fractures' songs but, for the most part, Killing the Dream churns out the abrasive and unforgiving breed of melodic hardcore they've come to represent. Horner's harsh, desperate screams tend to take center stage -- deservedly so, considering he's so able to deliver just about any lyric with emotional, throat-shredding intensity. The barreling drumming keeps the tempos fast and the momentum going, but the band's got enough songwriting tact and sense to incorporate some climactic, explosive peaks and tasteful breakdowns. The final buildup and subsequent explosion in "Thirty Four Seconds" will raise goosebumps on your arms, and "Everything But Everything" closes with a supremely juicy breakdown. The last song, "Resolution," is the longest song (at 4:23) with the biggest climax, and serves as a memorable and reflective way to end the record.

There's a lot of variety and texture to Fractures. While it doesn't quite match the chaotic intensity of the band's early material, it's certainly better arranged and more carefully detailed -- two qualities that help make it the band's most intriguing, memorable and re-playable album yet. Good stuff.

Killing the Dream - Thirty Four Seconds

Grab this full length at the Deathwish Inc. store.

Verse "Aggression"

noreply@blogger.com (Andrew Haak) — Sat, 28 Jun 2008 03:31:00 +0000

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"

noreply@blogger.com (Andrew Haak) — Fri, 20 Jun 2008 01:41:00 +0000

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"

noreply@blogger.com (Andrew Haak) — Tue, 17 Jun 2008 01:23:00 +0000

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"

noreply@blogger.com (Andrew Haak) — Wed, 11 Jun 2008 00:51:00 +0000

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"

noreply@blogger.com (Andrew Haak) — Sat, 07 Jun 2008 13:34:00 +0000

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?

Bloodbath "Unblessing the Purity"

noreply@blogger.com (Andrew Haak) — Fri, 23 May 2008 20:00:00 +0000

Unblessing the Purity is four songs of heavy, churning death metal with a nice, balanced split between shredding riffs and blast beats, and crushing, double bass-fueled grooves. Aside from the guitar solos and dark, melodic segues, Bloodbath doesn't let any frills, bells or whistles hamper their music's barreling energy -- it's all balls, all the time. And while a lot of similarly straightforward death metal loses me with its sheer technicality and utter lack of hooks, there's something subtly catchy and accessible about Unblessing the Purity. I can't quite put my finger on it, but it probably goes back to the concise songwriting, forceful riffs and big recording quality. It also doesn't hurt that the band features Opeth singer Mikael Åkerfeldt's monstrously powerful vocals. (I wish my throat was capable of creating such hellish noises.) I'm the first to admit that the artwork and song titles reek of stereotypical death metal, but Unblessing the Purity is surprisingly (or not, considering the band's extensive credentials) solid and entertaining.

Bloodbath - Weak Aside

Grab a copy here.

Blacklisted "Heavier Than Heaven, Lonelier Than God"

noreply@blogger.com (Andrew Haak) — Wed, 21 May 2008 22:09:00 +0000

Like so many hardcore bands, Blacklisted burst into the scene with a justifiably loud buzz -- due in part to their killer Our Youth Is Wasted EP -- and quickly fizzled out after one subsequent release and an untimely breakup in 2006.

But unlike so many hardcore bands, Blacklisted reformed shortly after calling it quits. And they clearly didn't get back together to do more of the same; they kept Blacklisted going to make something a little different, and even stronger.

Heavier Than Heaven, Lonelier Than God is Blacklisted's return to the full-length realm, and it's proof (along with the preceding Peace on Earth, War on Stage 7") that the band hadn't reached their potential before throwing in the towel. While it's got the manic, crunchy intensity and hard-as-rock grooves that the band kept front-and-center on their previous releases, Blacklisted incorporates much more diverse and eclectic influences this time around. From the middle of the first song, "Stations," through the end of the record, you'll notice a dingy, bluesy note to some of the guitar parts and even front man George Hirsch's singing. You'll be surprised by sudden, acoustic guitar plucking that somehow fits. You'll hear sludgy riffs and lumbering, melodic songs in "Circuit Breaker" and "Wish." There's a lot more going on and, still, the 11 songs last a short, but tasteful 20 minutes; there's nary an indulgent, unnecessary moment on Heavier Than Heaven.

I'm more than thankful that Blacklisted's breakup was as short-lived and temporary as it was. The band has tapped a bank of ideas and inspiration that might have otherwise gone untouched, and swiftly delivered what will be one of 2008's best hardcore records.

Blacklisted - Touch Test

$10 will net you this gem at the Deathwish Inc. store.

The Hottness "Stay Classy"

noreply@blogger.com (Andrew Haak) — Wed, 21 May 2008 02:31:00 +0000

Wow, I wholly expected to hate this record (I'm starting to realize that I say that a lot). The Hottness? Is that not one of the worst band names you've ever heard? It sounds like real Rise Records shit to me. Yuck.

But Stay Classy is an enjoyable record, making the best of big, bold, sometimes Southern-sounding guitar riffs, a combination of forceful screaming and surprisingly (for this genre) masculine singing, and driving, meaty drumming. Everything on the album just sounds big and energetic, a stark contrast to the whiny, weak stylings of the bands with which The Hottness probably shares the stage. There's more of a gruff, alternative rock slant to their sound and, as much as I can't stand that label, it speaks to Stay Classy's character. Nothing here is particularly new, but it's all entertaining and crafty in a big way.

Like the similar I Am Hollywood-era He Is Legend and Maylene and the Sons of Disaster, The Hottness showcases natural songwriting tact, tinges of the South and plenty of energy on Stay Classy. The record isn't winning any awards from me, but I've spent more time listening to it than most everything else in my collection over the past couple weeks -- a pleasant surprise.

The Hottness - Blue Eyed

You can nab a copy of the full length here.

Said Radio "Tidal Waves and Teeth"

noreply@blogger.com (Andrew Haak) — Tue, 06 May 2008 21:56:00 +0000

Tidal Waves and Teeth is a cool, quick EP from Said Radio, a relatively new band that's usually (and justifiably) touted as featuring members of The Nerve Agents and Redemption 87. Most notably, the voice of both those bands, Eric Ozenne, fronts Said Radio, finally bringing his unmistakable presence back to the hardcore punk fold.

While the similarities between Tidal Waves and Teeth and anything The Nerve Agents did are largely unavoidable, Said Radio does hardcore punk with a very different slant. Not only are there some experimental flourishes, from the moody, spoken-word "Rogue Transmission" to the eerie first half of "The Killer (Mara)," the guitar parts emphasize texture as much as sheer speed. There are lots of little, less distorted riffs and leads layered over the base chord progressions, and they most definitely contribute to the dark, mysterious tone of the record. While the sound ultimately stems from classic hardcore punk (it even has a bit of a retro feel), Said Radio takes it in a direction that I haven't quite heard from anyone else. As a debut effort, Tidal Waves and Teeth sets the stage for a potentially sweet full length.

Said Radio - The Killer (Mara)

And the first store to show up on my Google search is... RevHQ!

Veil of Maya "The Common Man's Collapse"

noreply@blogger.com (Andrew Haak) — Tue, 06 May 2008 01:04:00 +0000

Is it so technical that it lacks personality? Is it so machine-like in its precision that it ends up too rigid? As I listen to Veil of Maya's sophomore full length, The Common Man's Collapse, I ask myself those things. And usually the answer is "yes."

Certainly taking some influence from Meshuggah, Veil of Maya's songs are anchored by complex rhythms and hard-to-decipher, atonal chugging patterns. Every note, every chug and every drum hit is precisely delivered and squeaky clean, one of the many testaments to the band's skill. Blast beats and frantic riffs, and driving death metal parts pepper the songs; flashy arpeggios hint at a tinge of Between the Buried and Me.

Instrumentally, there's hardly a sound that's worthy of complaint. But the songwriting bravado of the aforementioned acts is largely absent on The Common Man's Collapse, leaving its 10 songs stale and forgettable. Even though the tracks usually last three or four minutes and comprise a relatively huge amount of sweet riffs and skillful tempo shifts, they don't seem to get anywhere. The only thing I ever remember is the lush, crafty melodicism of "It's Not Safe to Swim Today" -- the melodic chord progressions and subsequent twin-guitar harmonies work tremendously in Veil of Maya's favor.

This is a well executed hybrid of death metal and contemporary metalcore, but it leaves a lot to be desired. With some songwriting flair, Veil of Maya would be on to something.

Veil of Maya - It's Not Safe to Swim Today

If it does for you a little more than it did for me, you can buy it here.

Polar Bear Club "Sometimes Things Just Disappear"

noreply@blogger.com (Andrew Haak) — Thu, 01 May 2008 01:00:00 +0000

Presumably named after what Wikipedia calls the "oldest winter bathing organization in the United States," listening to Polar Bear Club is (fortunately) a more pleasant and inviting experience than plunging into frigid waters. (Hard to believe, eh?) It's something I'm wont to do -- and have been doing, as of late -- just about every day.

This New York-based band's first full length, Sometimes Things Just Disappear, recently dropped on Red Leader Records, and it is, as far as I can tell, a sleeper hit. It's a little surprising that I haven't heard a whole lot about Polar Bear Club, as their smooth-flowing, crafty songs are fresh and genuine, and equally catchy. Harnessing mid-paced post-hardcore -- stuttering riffs, breezy picking sequences and all -- and melodic punk rock's sense of grit and energy, the band admittedly warrants comparisons to Small Brown Bike and Hot Water Music. Jimmy Stadt's vocals, which straddle (and cross) the line between gruff and clean, don't hamper the comparisons, either. While the record is ultimately familiar, I'm really attracted to the way Polar Bear Club manages to write detailed songs without forgetting the hooks. There's some really catchy stuff here, and it helps to round out the effort.

Sometimes Things Just Disappear is relatively consistent, although it hits a bit of a lull around the eighth song, "Our Ballads," in which the cleverness and attention to detail fall off. Still, the record is almost entirely solid and, throughout its duration, Stadt unleashes witty, honest sentiments (it's hard to not identify with some of the self-depreciating, "I'm-a-fuck-up" kinds of lyrics in particular). I really enjoy this album. I haven't listened to much of this kind of stuff lately, so it's a nice change of pace.

Polar Bear Club - Eat Dinner, Bury the Dog and Run

Grab your copy here.

The Secret "Disintoxication"

noreply@blogger.com (Andrew Haak) — Wed, 23 Apr 2008 01:20:00 +0000

I've been meaning to write a brief entry for The Secret's sophomore full length for weeks now, but work's been picking up and, in all honesty, I just haven't been feeling the motivation. So I'm going to take the easy path today and say that Disintoxication sounds like a beefed-up Converge record. Furious, blasting tempos and some dense grooves lay the groundwork for jarring, noisy, stop-start riffs and throaty screams. These Italian lads don't mess with their tried-and-true formula a whole lot and, while most of the songs are a bit same-y, it's not a formula that needs changing. After all, the riffs are energetic and powerful, conveying plenty of feeling, and the caustic vocals amplify the harsh, ominous tone. The more atmospheric, drawn-out parts, such as the middle section of "Inferno" and much of the sludgy "Umea," add some depth and variety, and help reign in the chaos.

I don't have any serious complaints with this one; it's not something that will sate lovers of all-out experimentation, but it's tastefully executed and subtly diverse metalcore.

The Secret - Inferno

Pick it up at the Relapse store.

Cursed "III: Architects of Troubled Sleep"

noreply@blogger.com (Andrew Haak) — Wed, 16 Apr 2008 01:22:00 +0000

Let's get one thing -- one thing that you all should know and firmly believe -- in the open: Cursed is fucking awesome, totally badass, and one of the best hardcore bands out there. Just listen to their first two full lengths and more recent 7-inch EP, Blackout at Sunrise, and try and tell me otherwise. I dare you.

Or try the band's newest effort, III: Architects of Troubled Sleep. It's as stellar as anything else Cursed has written.

While this Canadian hardcore band has always played harder and with more intensity than just about any other band I've heard, III comprises some of their hardest-hitting material yet. There are more blast beats. There's sludgier, more unnerving heaviness. The textures are rawer. Cursed ultimately hits hardcore's extremes a little more often -- "Night Terrors" is a frantic, light-speed opener, while the mid-album "Friends in the Music Business" is a massive, lumbering jaunt with menacingly sludgy riffs and a slow, beastly tempo. Cursed fills the gaps with their familiar brand of crusty, ominous hardcore punk, replete with throaty vocals that sound as bitter and disdainful as the messages behind them, and a couple brooding, meandering songs ("Unnecessary Person," "Gutters") that carry the cheer of three straight days of rain. (Not a lot. I know from last week.) There's a sense of pacing to III, with slower songs and bigger riffs breaking up the jolts of neck-snapping, driving hardcore.

The raw, analog recording adds character to the tunes and is a perfect complement to Cursed's style. Polish simply wouldn't sound natural on such an inherently harsh sound, and it wouldn't mesh with the nihilistic, socially aware lyrics or fittingly black-and-gray color scheme. All things considered, III is another tight, intense package from Canada's finest. I may be caught up in the excitement of the record, but I'm becoming more and more convinced that there's hardly a better modern hardcore band than Cursed.

Cursed - Magic Fingers
Cursed - Friends in the Music Business

Spend your $10 on something totally worthwhile over at the Relapse store.

With Blood Comes Cleansing "Horror"

noreply@blogger.com (Andrew Haak) — Wed, 09 Apr 2008 01:46:00 +0000

First off, With Blood Comes Cleansing's debut, Golgatha, sucked. That's all I remember about it, which speaks volumes about its frustratingly boring songs. Horror is better; not great, mind you, but a more consistent, chunky-as-chowder (Christian) metal record.

I'm sure these guys are still getting lumped into the deathcore genre with Horror. And I wouldn't argue, as gravelly, scathing vocals accent an onslaught of bold, atonal breakdowns, here-and-there blast beats, and sinister death metal riffs. While the album is nowhere near as grind-oriented as something from Despised Icon or as breakdown-obsessed as a The Acacia Strain effort, Horror has its place as a middle-of-the-road record. In this case, that's not an inherently bad thing because there's certainly an audience for something a little less technical and a little more accessible. There's also only scant pig squeals and nothing sappy, so, despite it being a hip brand of metal, it's not laden with every contemporary trend imaginable.

It may not leave a lasting impression, but Horror is a simple, entertaining listen, and it does have some conviction. But you probably know whether this is something for you. It's youngsters playing death metal with lots of modern breakdowns, so enter at your own risk.

With Blood Comes Cleansing - Filthy Stains

You can get this slab o' metalcore here.

Tiger Lou "The Loyal"

noreply@blogger.com (Mr. Pibba) — Sat, 05 Apr 2008 16:21:00 +0000

Mournful as a procession past a mass grave, Tiger Lou's The Loyal has brought boundless joy to my life for the past month. Reviving a sound that had been MIA since Interpol's Turn on the Bright Lights -- comparisons to which led me to this release -- The Loyal transmutes the cellar of somber, subdued hues into vibrance.

Enveloped in a lush gloom, sullen guitars march forward, propelled by the purposefully pulsing rhythm section, an imperative organ ceding center stage. Mellow strings sway behind many tracks, and the hypnotic hum of Rasmus Kellerman's voice buttresses a sound of pervasive fullness.

Kellerman's touch -- he writes and records almost entirely solo -- lends itself to steadiness. The pace flows, adjustments emerging as natural tides; vocals inflect only slightly, but ranging just beyond monotone with a voice so naturally melodious and musical radiates polychromatic appeal. Kellerman's voice is so integral, enlivening, in fact, that I often find myself skipping the closer -- a fine piece of instrumental ambience, cold and droning -- to begin the album anew.

Eyeball Records has spied itself one of 2008's best indie albums.

Tiger Lou: "The Loyal"

Become a Loyalist at Eyeball Records.

Hot Chip "Made in the Dark"

noreply@blogger.com (Mr. Pibba) — Thu, 03 Apr 2008 00:40:00 +0000

If every time a bag of Skittles opened Hot Chip's music streamed from the ripped packaging riding rainbow-colored waves of sound, every toddler in earshot rejoicing, twitching in robotic unison, I wouldn't bat an eye. If precocious preschoolers made mixtapes of the Teletubbies at the pinnacle of their substantial psychosis, the melange of zips and clicks, hums, whirs and low-end rumbles that comprise Made In The Dark would be a natural fit.

Made in the Dark plays like a drug frenzy. After the opening track blossoms from a long whine into a pulsing harmony of short guitar licks and driving percussion, a noisy circus of effects melting atop, the mania lingers. The warbling, video-game transition into the second track, "Shake a Fist," sounds like an opening level theme ripped from the NES classic Double Dragon, and the ominous beat that emerges on the other side is pure, tribal-infused Mortal Kombat.

Hot Chip's synthetic compositions are invigorating, oddball fragments of abstraction. Repetitious volleys of vocals in ephemeral, ethereal wisps, often distorted behind the tinny veneer of computerized effects, and a multitude of subtle panned sounds reward headphone listeners. With occasional moments of calm proving smooth comedowns between blasts of adrenaline, Hot Chip shows a range and delicacy that too often escapes the battiest musicians. While the predominance of Hot Chip's time is spent ricocheting around the realms of noisy-dance and meth-tinged synth-pop, harnessing a very '80s vibe and then galloping across plains of indie rock and electronica, tracks like "In The Privacy of our Love," delve into the unexpected -- '60s soul in this instance.

Once the Skynet takeover is complete, and computers grasp the concept of leisure time, they'll discover the market for soundscape recordings: ambient recreations of various cyber-ecosystems. These collections of soothing cyber-sounds will be featured during non-prime hours of the machine-preferred equivalent of TV, some mindless pastime interrupted by the inane promotions of silky-voiced human slaves. Very quickly, the machines will realize that Made in the Dark is the only example of cyber-ambiance that need exist. At this epoch, Made in the Dark will become the bible. And, once the machines exhaust their stable of human slaves through their new favorite pastime, slow disembowelment in order to capture and digitize a range of pained screams for a universal database of sound effects to replace the familiar chimes and dings and "You've got mail"'s characteristic of human computer applications, Made in the Dark will be humanity's single surviving relic.

Finish Him!: Hot Chip - "Shake a Fist"

Check out Hot Chip at Astralwerks.

This Is Hell "Misfortunes"

noreply@blogger.com (Andrew Haak) — Wed, 02 Apr 2008 02:33:00 +0000

I was a pretty huge fan of This Is Hell's demo and self-titled, debut EP, but never got the same excitement out of their first full length, Sundowning. It felt too calculated, with all kinds of catchy, clever sing-alongs and predictably placed breakdowns, to give me the rush that blazing melodic hardcore often does. Misfortunes is a redemption, though, as it restores some of the burly, bare-knuckled rage and energy that I came to love a few years ago.

Still the same Long Island hardcore band, This Is Hell has taken their established, melodic sound in a crunchier direction, shedding some of the American Nightmare/Give Up the Ghost similarities and, at times, sounding more like (old) The Hope Conspiracy. The guitar parts can be downright visceral, with a satisfying crunch, and the shouted, in-your-face vocals resonate with feeling. As has always been the case, This Is Hell uses smart guitar interplay and accomplished melodies to prove to be one of the more musically inclined hardcore bands. Even though their songs often exceed three and four minutes, they gracefully flow from part to part, and from fast to slow.

Misfortunes is admittedly long for a hardcore record, but there is a payoff for listening to the entire thing. The tenth song, "You Are the Antithesis," shakes things up with an earth-quaking breakdown (which is one of my favorites yet this year). The closer, "Last Days Campaign," is Modern Life Is War-ish with its slow, steady progression toward a booming crescendo and, like the earlier "Realization: Remorse," it's one of the album's most intriguing and affecting songs.

It's hard to go wrong with This Is Hell when melodic, beefy hardcore (and lots of gang vocals) is what you're after. I don't know that the band will ever top their first EP, but that shouldn't downplay Misfortunes' quality. This is pretty good stuff.

This Is Hell - You Are the Antithesis

Grab the album here.

Lifetime "Lifetime"

noreply@blogger.com (Mr. Pibba) — Sat, 29 Mar 2008 14:50:00 +0000

As opposed to being termed slow or lazy, I prefer to apply the phrase "fashionably late" to my propensity to lag. In literal interpretation, such phrasing characterizes my eschewing fashion trends for well-worn comforts. Stripped to my boxers and socks, my hole-ridden undergarments better befit a mendicant than a tie-by-day cubicle slave. My basketball shoes, fifteen years late, are Reebok Pumps.

Since graduating college I've been forced to readjust my budget considerably. Essentials like CDs, hoodies from every show, and extra beer to influence floozy coeds have been replaced by food, electrical bills, and prostitutes. Germane to this discussion are the CDs alone. Where I used to routinely rack up five figure (including two digits after the decimal) music purchases at Charlotte's fabled Manifest Discs and Tapes, I now might not cross the $100.00 plateau until year's end. Because I choose to live with basic comforts like water, electricity, and walls called "paper thin" only in jest, I can no longer afford to buy albums on a whim. Instead of viewing my level of familiarity with year-end best-of lists as a barometer of scene status, I've dropped the confrontational attitude and appreciate the recommendations. Figuratively fashionably late, high school me would be appalled; no more trumpeting "firsts" for every new band, album or trend.

When Lifetime reunited to record last year, I was intrigued. The album was released and clamor ensued; one of my best friends, a fellow Davidson townie and College grad -- Where's Davidson, you ask? In the ELITE 8! -- posted a perfect score on another punk rock webzine. I guffawed. In my experience, perfection hasn't been achieved. Heidi Klum: a sultry 9.5. The mesmerizing dessert case at Charlotte's heavenly, historic Landmark Diner: 9.6. Nirvana's Nevermind: 9.7.

Lifetime's self-titled release earned a listen, to reassure me perfection hadn't been achieved. It hadn't. My world remained intact. I forgot about the album until weeks ago, when, through mysterious circumstances in which I deny all involvement and liability, the album found itself downloaded onto my computer.

I decided to investigate. My mouse pointer hovered over the first track. Hesitantly, my head weaving in paths like a glow stick in the hands of an X-fueled raver, fearing an RIAA sniper attack the moment I double-clicked, my forefinger jumped into action. As the warm tones of crunchy melodicore swirled around me, Ari Katz' oxymoronically sandpaper-smooth vocals layered over cutting melodies and a persistent rhythm section, I shuddered and surrendered. Not flawless, but perfect. Inspired for the first time in months, I wanted to know every word to shout aloud.

It's something of a tradition, a fit of high school nostalgia: when my friends and I approach the Carolinas' beaches for a summer vacation, we still welcome the fresh, salty breath of the ocean with a blast of Saves the Day's Through Being Cool. Now the era has shifted, and I've found the perfect accompaniment -- a year late, of course.

"All Night Long"
"Try and Stay Awake"

Ride the tunes to the Fueled By Ramen store.

Reign Supreme "American Violence"

noreply@blogger.com (Andrew Haak) — Tue, 25 Mar 2008 23:32:00 +0000

Featuring former Blacklisted member Jay Pepito on vocals, Reign Supreme unsurprisingly sounds similar to Our Youth Is Wasted- and The Beat Goes On-era Blacklisted. The band's debut EP, American Violence, is fast and energetic, but riddled with massive, chunky chord progressions, throaty screaming, and plenty of modern hardcore staples, from gang vocals to two-steppin' grooves and metallic breakdowns. The rumbling riffs and double bass-y drumming sound huge, making a fitting foundation for Pepito's ominous, yet encouraged lyrics. While Reign Supreme doesn't do anything particularly inventive, it's American Violence's huge, hard-hitting sound that pits them in an above-average group of hardcore bands.

Reign Supreme - Iscariot

You can get this Malfunction Records release from the Deathwish Inc. store.