Anyone else remember the good ol’ days of mathcore and grindcore on Myspace circa 2008? Chaotic hardcore, grindcore, and deathcore blended in a menagerie of inaccessible weirdness. The Dillinger Escape Plan, Tony Danza Tapdance Extravaganza, Psyopus, See You Next Tuesday, and The Number Twelve Looks Like You were among some of the highlights. They just don’t make metal like that much anymore, and what’s troubling is that only one of those five bands will be active come 2017 — No. 12 — and they’ve broken up once before already.
Lifelink comes to us courtesy of Philadelphia record label, Innerstrength, having honed their particular take on metallic hardcore on their second release, Love Lost. The EP heavily features the guitar talents of Josh Brown and Kamran Oskouie, some might even say it relies on them. The track we’re premiering here, “Lost”, shows roots similar to those of Architects, Volumes, and Novelists, with some nicely worked exchanges from Brown and Oskouie as they switch from mid-tempo moshes to trading off leads amidst Dillinger-esque chords. Meanwhile vocalist, Luke Blanchard, stays firmly in the pocket between a growl and a yell which might belie the range he has developed since the band’s last release, Nothing, that came out in 2015.
Modern hardcore, in its most traditional strain, stems directly from the likes of Black Flag but exists now through a twisted evolution that people like me have attempted to label with absurd titles like emoviolence, powerviolence, and any number of “-core” affixed descriptors. However, one of the main common themes that can be found when listening to or discovering newer variants is a critical nucleus consisting of compact, ferociously brief songs that maintain a rapidfire pace just shy of grind, at least to these ears. Sometimes these include (extremely) brief breakdowns or mid-tempo breathers before flying off the handle again in a manic explosion of righteous vengeance and furious anger.
One band that hits all of those elements and goes hard as fuck on their new EP is Entry out of Los Angeles, CA.
A little while ago, Scottish atmospheric miscreants Falloch released This Island, Our Funeral on Candlelight Records. The record was a doozy, with our very own editorial darling Scott Murphy reviewing it and finding plenty to praise but enough to criticise also. By the end of the record, the black metal tag was long since painted over, with post-metal, folk and gaze sounds becoming more prominent. Fast forward to right this very second. Falloch have brushed the dust off their shoulders and blown out the candle on the last record with a refreshed lineup and delicately tinkered new sound. After sitting on Prospice for nearly a year they are finally ready to unload seven tracks of gorgeous, atmospheric music upon the world. Head on over the jump to hear the first track from the album, “Fata Morgana.”
I’m not sure if this disclaimer is even necessary anymore, but just in case: NYN, an excellent death metal project all on its own is also the brain child of Noyan Tokgözoğlu, one of our chief editors and a good friend of mine. Regardless, as with previous releases, I am recommending new music from NYN based on its merit; I truly believe that the project upcoming album, Entropy: Of Chaos and Salt, is huge step up in the project’s history and is an amazing album of technical music. Don’t believe me? What about if I told that none other than Tom Geldschläger (ex-Obscura, Fountainhead) not as an album contributor but as a full fledged member of the project? And what if I added Jimmy Pitts (Scholomance, Pitts Minnemann Project) on keyboards, lending the entire album a veneer of elegance and pomposity? I bet you’re interested now. Head on down below for even more details.
It’s been a minute since our last Holy Roar Records File and even longer since I wrote one. It’s only appropriate that the post is dusted off and brought back for this. Somehow, I hadn’t covered Employed To Serve in this feature before but that HAD to change for one reason; The Warmth Of A Dying Sun releases today and is a bona fide game changer in hardcore and heavy music. You can throw Code Orange at me all you want, Employed To Serve are thee band at the forefront of genre smashing heavy music. As always, make your own damn mind up about but if you feel like you need convincing then read ahead. There will be bountiful amounts of hyperbole and fruity language – oh, and a track by track breakdown from EtS’s very own Justine Jones. Tight.
It’s been nearly two years since A Trust Unclean popped up with the fantastic Reality Relinquished EP, a UK tech metal release that didn’t suck, unlike a lot of the other Brit tech bands that began crawling out of the woodwork at the time. The band’s youthful energy, death metal…
OK. I’m challenging myself with this one. Taking twelve minutes to write about a twelve minute debut EP can and will be done. Just watch me, I don’t back down from a struggle, even if it’s with hate filled morons on the Internet who wanna send empty death threats to me. Mate, you’re a cunt and I hope that something heavy lands on your head. Something as heavy as this. Not so much grind today but this definitely gets my gears working. Hard. And it’s Scottish too. Moist.
I’ve spoken a lot about the different flavors of post rock. The genre has much of hope, wonder, and color but it’s hard to deny that its base, post rock is melancholic. Even the more “positive” emotions (if such a neuro-typical spectrum is even worth repeating) displayed within the genre are tinged with longing and a forlorn sense of distance. Thus, every so often, it’s refreshing to hear a post rock band simply tap into that difficult and burdensome place of sadness and bring forth a type of post rock awash in the early influences of the genre. Which is exactly what onj. are all about. Head down below to hear “Alone”. Bring tissues.
With little to no information, I got my hands on Fortis Amor’s latest tracks. Who in god’s name is Fortis Amor? Good question! It’s exactly what I asked myself as I opened the email. Turns out, Fortis Amor is a pretty damn cool solo project dabbling in progressive metal and metalcore. I know! Usually those tags are enough for me to slam my laptop shut and have a strong drink. However, no such measures are needed here; Fortis Amor’s music manages to eschew most, if not all, of the pitfalls of the genre. Everything you’d associate with it is there: clean vocals alongside screaming which draws on Misery Signals, intricate leads and guitar trade offs, odd time signatures, the works.