Some bands manage to find that sweet spot where they can emulate their heroes while still introducing some sort of new energy into the music. Unfortunately, it does not seem that Shadow of Doubt is one of those bands, nor is there debut, No Mercy, much more beyond your standard NYHC-in-2017-emulator fare. Truly the gang’s all here on this one, be it from the overly forced gang vocals to the mid-tempo “grooves” to those ever so (lovably) cheesy mosh calls. And, fortunately for those digging into this EP, one does not need to look any further than track two, “No Mercy.”
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.
Ah yes, it’s finally that time. I’ve discussed my love for the “edgy” forms of hardcore often, constantly citing powerviolence, screamo, fastcore, and crust as the superior forms of the genre. After all they’re the least “bro”-y of all the styles, less full of Hitler-youth-esque guys in Nike Air Maxes in camo shorts than the other genres (PV has always been more of a “you bet there’s a skull drawn in my notebook” type look). In fact I’ve often embraced those styles due to their rejection of the hardcore bro, their ability to remain fiercely independent in the face of senseless 90’s worship and rejection of some of the more intense aspects of straight edge. That is, however, all about to change as we delve deep into the style that spawned all the horrible hardcore “fashion” that so many awkward 20-something men, fresh off their warped tour phase, have adopted in a vain attempt to prove their masculinity. I’m talking of course about Youth Crew, where shirts aren’t necessary but the incessant need for gang vocals and floor-tom heavy breakdowns are.
What’s the difference between a good concept album and a shit one? Hard to say. Does it depend on the lyrical content? Thematic refrain and reprisal? Who knows. There’s even sneaky concept albums, the likes of which the layman listener wouldn’t even begin to fathom had intentions beyond riff, chorus, solo, repeat. The Cold Sun might be one of these; Loathe seem like a band bold enough to attempt such a thing on their debut full length. What isn’t up for debate is this – The Cold Sun is just about all filler. Twelve tracks. Six songs. Zero (or damn close to it) cares.
We fucked up, guys. Last year, we wrote a post telling you to listen to Cranial and even ended it by saying we look forward to their full length release. Then, that release came and went on January of this year and we were completely and utterly silent. No excuses; we missed it and we suck. Thing is, it’s not only our obligation to our promise that’s dragging me down here. It’s the fact that this album is goddamn immense and every single fan of crushing post metal out there needs to hear this. Dark Towers / Bright Lights is a masterclass in how to write this kind of music and cements Cranial is one of the best proponents of this style currently walking. Let’s remedy our silence and jump right in, shall we?
The artwork for the new Regurgitate Life record Obliteration of the Self may have drawn me in, but the music is what got me to pre-order. It’s bludgeoning death metal with the added bonus of being performed with the energy and exuberance of a hardcore punk record. Sometimes death metal records can feel so dull despite being technically impressive, but luckily Obliteration of the Self doesn’t fall into that trap. It helps that they incorporate elements of other genres, such as sludge and doom, to keep things from getting stale.
Rash bursts of powerviolence are the best bursts of powerviolence. Why pack ten songs into twenty five minutes? Five in ten is just right. This fresh-as-all-fuzz release from Pissed On only stops to piss on a burning pedestrian at the culmination of a brief, brutal attack. Raw and ready, five tracks merge into one erratic performance, over so quick that words can’t catch up. Hence this rough, chopped up review of The Hanged Man.
To simply sum Darkest Hour up to yet another ATG-core band would not only be insulting, but wildly inaccurate as well. The band has been different ever since their inception, as they started much more closely in line with the hardcore-metal crossover of their heyday in the mid-90’s. Eventually this would change, of course. The band began to overlay their blistering metallic-hardcore with melo-death riffs galore, showing that they were not only impassioned Integrity fans, but At The Gates fans as well. The hardcore always lingered though, driving their sound to blistering speeds and intensities that other bands simply could not keep up with. At the time it was remarkable in its own right, the perfect marriage between death metal and hardcore, but soon it led to just as many bands trying to rip them off as closely as many before them had tried to rip off In Flames.
A five step plan to maximizing your experience with Power Trip’s new record Nightmare Logic: Step one: Enter automotive apparatus. Step two: Drive somewhere. Step three: Roll down your windows (I’m aware it’s February… DO IT). Step four: Hit play and crank the volume to an unholy level. Step five:…
Considering the prog metal trajectory they’ve been on for just shy of a decade now, it’s easy to forget that Canadian stalwarts Protest the Hero started out their career as a punk band. Of course, the punk roots are still intermittently noticeable throughout their post-Kezia discography — take the verses in “Spoils”, for instance — but for the most part, it’s plainly apparent that the band have comfortably adapted to a more technical, progressive sound over the years. In light of this, it’s actually somewhat surprising in retrospect that it took until 2017 for a more punk-oriented side project to arise from the band, but we’re now presented with Mystery Weekend, a three-piece featuring vocalist Rody Walker and drummer Mike Ieradi from Protest alongside guitarist/bassist Dan Hay.