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 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.
The decision about whether or not to include Converge at all was a tough call. Are they metalcore? Are they not? Well, fuck it: I make the rules, and given the ‘technical’ definition; big metal riffs, hardcore M.O. — rather than the culture of crap now associated with the term — they more than count. They’re just 1000x better than anyone else has the nerve to be. With this cleared up, there was only one position they could take.
As a band they’ve put out a ton of great records, but Jane Doe is fucking bad ass. It’s just shy of ten years old at the time of writing, but still sounds as fresh as anything put out today. I think this is down to a bunch of reasons: great production; a combination of four great musicians; some killer riffs — but at the end of the day, truly great heavy music doesn’t age, and this really hasn’t.
Jane Doe was one of the first heavy records I was exposed to — one of the heaviest, in fact — and despite my fragile tastes and penchant for some serious pussy music, something within me clicked, and I didn’t have the adverse reaction one might have expected. No — I fucking loved it!
Seeing them again recently crystallized my love for them. No-one sounds quite like Converge: the awesome tone that Kurt Ballou squeezes out of his Marshall; the unrelenting and thunderous bass of Nate Newton — always relevant, never filler; Ben Koller’s drumming, although rooted in hardcore, refusing to conform to the genre’s often boring — albeit furious — pace, making every fill interesting; and Jacob Bannon — whatever the fuck it is he’s screaming – is one of the best and most genuine frontmen in the scene. These four men have struggled to put a foot wrong in the twenty years that they’ve been a band, and nothing epitomises them more than this record.