Due to the overwhelming success of Jimmy’s ‘Five Reasons Why Deathcore Isn’t Total Shit‘ series last summer, Heavy Blog Is Heavy will be backing further up the ladder of ‘core’ for the next two weeks, and counting down the five reasons why metalcore isn’t totally full of shit. It gets a bad rap sometimes, and being the underdog(?) champions that we are, we’re making a stand for the fat kid and suplexing the skinny elitist bully right on his stupid face.
Make sure to throw your $0.02 at me and tell me why I’m completely wrong in the comments section, if you wish. I shall use it to buy soap to wash the spittle from my forehead, safe in the knowledge that I’ll be your boss at the plant some day.
We start this week off with a relatively new entry for the genre: Long Live, the most recent album from Georgian five-piece The Chariot. Released last year, it blew me away by being the first Chariot album I listened to that I didn’t have an immediate distaste for. Now I know this doesn’t sound like the intro for a band that deserves a spot on a list about great metalcore, but stick with me.
Barring the Unsung EP, every album these guys have released has left me a little cold at first. Everything Is Alive, Everything Is Breathing, Nothing Is Dead, and Nothing Is Bleeding was a bit too chaotic for me at the time, and both The Fiancée and Wars And Rumors Of Wars were a bit lacking in hooks – or so I thought.
I’ll admit that they’re a hard band to swallow, but persistence has always paid off — but it wasn’t needed with Long Live. I mean sure, the lo-fi into “Evan Perks” left me a bit confused at first, but it immediately made sense in the context of the rest of the album. In short, Long Live is an album that both epitomises everything metalcore should be — loud, riffy and chaotic — whilst at the same time doing something that no other band, to my knowledge, does.
Take “David de la Hoz” for example. The fantastically original video aside, the track has everything you could want: simple but effective riffing, an impassioned vocal performance and a superb climactic breakdown – along with the bizarre but endearing spoken word section from the charismatic Dan Smith of Listener.
The riffs on this album aren’t particularly technical (very often), but if you think they should be, then you’re really missing the point. The pure discord and don’t-give-a-fuck attitude perfectly embody what metalcore should be; not whiney bullshit about how your mom won’t let you get bigger gauges and your girlfriend left you for the quarterback with crap guitars and the first guy with tight trousers you could find who could scream, but ballsy metal-infused hardcore about stuff that’s worth giving a shit about.