Tag Archive: hardcore


War From A Harlot’s Mouth – MMX

War from a Harlot’s Mouth

MMX

01. Insomnia
02. To Age And Obsolete
03. The Increased Sensation Of Dullness
04. Sleep Is The Brother Of Death
05. The Polyglutamine Pact
06. Cancer Man
07. C.G.B. Spender
08. Sugarcoat
09. Spineless
10. Recluse MMX
11. Inferno III/IV

[Lifeforce | 11/09/10]

I actually planned on reviewing this album earlier, but due to some medical complications I wasn’t able to. Then the 2010 list came about, and it had actually fallen under my radar. And I regret that it did, because I would’ve exchanged one of my selections for this one. To be honest, I had a hard time staying interested in War From A Harlot’s Mouth earlier work In Shoals. My main complaint at the time was the fact that In Shoals lacked the consistent intensity throughout for me to want to continue listening to it past the beginning tracks. Fast forward to their latest album, MMX, and things have certainly changed in respect to maintaining the energy. As for consistency, this is still a point of criticism which I’ll explain later.

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Underoath – Ø (Disambiguation)

Underoath

Ø (Disambiguation)

1. In Division
2. Catch Myself Catching Myself
3. Paper Lung
4. Illuminator
5. Driftwood
6. A Divine Eradication
7. Who Will Guard the Guardians?
8. Reversal
9. Vacant Mouth
10. My Deteriorating Incline
11. In Completion

[11/09/10 | Tooth & Nail]

For the most part, nobody likes to be considered elitist, but in metal it does seem to be almost ubiquitous. Try as I might, I went in to this record with certain expectations and few of them favourable. Despite some of the band members looking like they couldn’t possibly be any more than 12 years old, Ø marks the 7th full length LP for, evidently prolific, metalcore outfit Underoath. I had, prior to Ø, listened to a smattering of their earlier material and was led to believe this was middle of the road metalcore with radio-friendly post-hardcore leanings.

I am happy to say that appearances can be deceiving. Ø is really only metalcore if you allow the weight to be placed heavily on the latter half of the term. Absent are the palm-mute laden riffs, bland atonal breakdowns and unrelenting bass drum. In its place you find soundscaping, consistent progression through songs and riffing often similar in style to the strand of the genre epitomized by Every Time I Die. The one thing that this album seems to demonstrate above all else is maturity; they are using their wide experience within the genre to great effect.

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The discovery of a new band is always exciting. Will it be something you’ve heard countless times? An experience that leaves a bad taste in your mouth? Or is it a treat from which you cannot stop consuming? I wanted to take a trip back in time to reminisce about bands/albums that not only introduced me to heavy music, but kept me coming back for more…

From The Archive: Rorschach – Autopsy

Rorschach - Autopsy

I can remember back when I was younger, my brother taking me to my first hardcore show. If memory serves me right, I believe the headlining band was Yuppicide, and from the moment I entered the venue, I was completely swept in by the whole experience of that show. The atmosphere, the people, the music, it was a complete rush to my senses, and from then on I went to as many shows as I could possible go to. The music at that time had the right amount of aggression and one band in particular, New Jersey-based Rorschach, was a band that played fast, heavy hardcore infused with a touch of sludgy/math metal, and filled with plenty of unique chord and rhythm patterns.

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After not having visited the blog for a few days due to some medical hiccups I stumbled upon Jimmy’s post detailing some of the complaints for the blog. One of them being variety of bands discussed at HBIH. I have to agree that what attracted me to this website was a similar interest in the musical genres of heavy music. While most of the music in my collection is under all the similar tags discussed here, some of it is not. Jimmy mentioned finding new writers with different interests to “broaden the spectrum,” but maybe I could encourage some of our current writers to write about bands they may feel would otherwise be considered “guilty pleasures.”

We all have them! With that being said, I’d like to introduce you to The Cover Up.

The Cover Up are a unique band from Arizona, and sadly are no longer in existence. I fell in love with them during their final line-up change, with their last album Monster Eats The Pilot. In their final line-up, I would describe The Cover Up as Pop, Punk, and Post-Hardcore. An odd group of genres indeed, but that’s what attracted me to them at the time. I was quite frankly burnt out on everything else “new” I was interested in at the time; both Suicide Silence’s No Time To Bleed and Killswitch Engage’s self-titled had left me disappointed with much hype for both (the reasons why are worth a whole other column.)

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This past summer has been full of great tours here in North America, and one of the ones I’ve been most excited for is the Over The Limit Tour. With a fairly solid lineup of mostly techy deathcore bands, with a few exceptions, I was expecting a pretty good show. I’ll go ahead and tell you I was disappointed with what some of them had to offer, but the show only cost me $10 and it was only an hour drive to Ground Zero in Spartanburg SC from where I live so I’m not complaining.

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Picture © Adrien Chabal / Achablive (Flickr)

Option Paralysis: the tendency, when given unlimited choices, to make none. Ironic, given that the question of whether or not to buy this record contradicts this dilemma completely. For me, this is the musical event of the year. The upcoming Devil Sold His Soul, Deftones and Protest the Hero offerings can all go suck a fat one – relatively speaking.

I doubt many of you reading this will be unaware of this incredible band; they transcend and skullfuck just about every boundary in extreme music we have. Defying categorization, they are inarguably aggressive, intelligent and groundbreaking in equal measure.

Opening track Farewell, Mona Lisa has been floating around the internet for a good while now. The video was premiered at the beginning of March, but its quality hasn’t diminished despite its now-tremendous familiarity. Chinese Whispers also reared its head fairly recently to a rapturous internet reception, and is (if my interpretation reads correctly) a well-deserved middle finger to the Calculating Infinity-era purists.

There is something here for every Dillinger fan, however. Good Neighbor, a perfectly formed burst of syncopated time signatures and staccato strumming, harks back to their early sound, whilst epic jazz-lounge (not even kidding) tour de force Widower wouldn’t be out of place on Ire Works.

In no way is this amalgamation an effort to please everyone though – more the logical progression of what’s come before.

I’d perhaps like to have seen a little more variation on the patented Dillinger ‘all-at-once’ formula. Whilst the combined force of immediate and simultaneous guitars, drums and vocals is a potent weapon, it is not one to be abused. But I guess it’s a moot point when the tracks still sound utterly amazing. View Full Article »

Bats Bother Beastie Boys

Or at least they try to, in the promo video for their cover of ‘Sabotage’. With mildly entertaining results. Crazy Candians.

To be honest, I was completely unaware that Cancer Bats were releasing an album this year. I like them, but have never been overly into them, which is weird, because they’re exactly the kind of band I should love, a-la Every Time I Die.

This album has the potential to change that though. I really really like this song, and as a result will probably be getting Bears, Mayors, Scraps and Bones when it hits stores on April 13th.

Job done, promotional advertising. Job done.

- CG

Stella Dawes Dot Com

I posted about these dudes a while back. Continuing the DIY ethic of their debut album Contrasts, they’ve built their own official site, on their own. In fact, I believe it was only one of them, and he knows squat all about web design. Props?

The main reason for posting this is the plethora of audible goodies you get as a result. Their Myspace page offers two of the best tracks from Contrasts, as well as some tasty new demos, but for those of you hooked by ‘When the Tiger Lost His Voice‘, ‘The Unspeakable‘ and ‘Happy Ever Afternoon‘, the player on StellaDawes.com also features the third recent demo, as well as album tracks ‘Dichotomy‘, ‘Everything Happens to Eeyore‘ and ‘Investment Intercourse: A Deposit‘.

These guys are one of my favourite unsigned British bands; blending chaotic screamo with atmospheric post-whatever, but always feeling fresh. Think how refreshing City of Caterpillar were, and you’re someway close to these awesome dudes.

I hope this spurs you on to supporting them, even if it’s the measly £3* offering, because they’re genuinely a talented bunch.

- CG

*$4.50 at time of going to press

Yerrrp.

Still pretty much crapping myself with anticipation for Option Paralysis, but it’s a nice view anyway. Trippy effects are trippy.

AZWAI: AsZerosWeAreInfinite

AZWAI live

It’s a good feeling when something you’ve been working on for a long time comes to fruition. After months of hard slog for very little gain, you might finally feel as if it has all been worth it, and you can allow yourself a pat on the back and maybe a few drinks down the pub. For Malvern-based hardcore quartet AsZerosWeAreInfinite, or AZWAI as they are more colloquially known, that drink should be at least three fingers, and the hand should belong to a big sweaty gorilla.

You see, their self-titled EP was recorded over a year ago, but only now do you, the lucky public, get to sample the fruits of their labour.

The opener, ‘God, By Any Other Name‘, kicks in with the lyrics “between my broken teeth and self-prophesied lies, you will discover salvation for your ache”. This could be as much a comment from anybody who has found their way to the front of the stage during one of AZWAI’s shows as it is about the actual subject, one Wayne Bent. Bent, also known as Michael Travesser, is the charismatic leader of the Lord Our Righteousness Church in New Mexico, a religious community who were featured in the Channel 4 Documentary ‘The End of the World Cult‘.

It’s a belter of an opening track, driving home with the force of something big and forceful and un-clichéd as possible. You might be surprised that there is only one guitar at work here, as the entire band works hard to create a ferocious, full-bodied sound. Vocalist and lyricist Adam Murkin is great at taking a perspective and writing intelligently from it, no matter how bizarre or convoluted the perspective of that person might be. The clout with which he delivers his lines is unrelenting across the board, too, and conveys in part his mighty stage presence (both in front of and mid-crowd).

Next up is ‘Snakeskin in the Shape of Wedding Band, which claims the crown for the longest track on the EP – marginally. And that’s one of the great things about AZWAI’s refined style. The tracks are long enough to have enough substance to hold your attention (I’m looking at you, Ampere), but aren’t so long that the onslaught becomes wearing. I know that this will be a firm crowd favourite – enough breakdowns and catchy lines for them to really get into.

Closer ‘Poor Syntax’ stands out as my favourite. I am still in awe as to how drummer Dan Taylor can manage as many stick-clacks in the space of a single second as he does to bring in this track, but this is by no means the highlight of the track. The influence of The Dillinger Escape Plan is clear from the outset, but it’s no mere consummate rip-off: the guys know how to build on their influences, rather than rehashing existing songs.

The EP may only clock in at seven minutes and thirty-one seconds, but it’s more than enough. It is an unrelenting juggernaut, devoid of unnecessary trimmings or lyrical waffle. Hear me; salvation is coming – and it’s name is AZWAI.

AZWAI: AsZerosWeAreInfinite

  1. God, by Any Other Name
  2. Snakeskin in the Shape of a Wedding Band
  3. Poor Syntax

Myspace // Get It

- CG


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