Philadelphia upstarts BINARY made waves in the screamo/emoviolence scene in the second half of 2017 with a killer three-song demo that seemed to perfectly encapsulate all that one would expect from the genre: l... Read More...
Starting over is not the easiest thing in the world, but it does have its benefits. There is freedom in going back to the point of inception because there are no preconceived notions of what is to come. Even if people remember what came before, that was the past and this is the future, which stops for no one. When Vattnet, previously known to us as the post-black metal band Vattnet Viskar, lost one of their two founding members, they saw an opportunity to go back to the beginning and build from the ground up. Cleaving their band name in half, they looked toward the future and decided to make a self-titled album album that, in the words of guitarist Chris Alfieri, "we could listen to forever, even if no one else liked it."
The late 90s and early 00s saw the rise of a little label called Vagrant that churned out band after band and release after release of tuneful, essentially, power pop that took elements of emo, punk, and guitar-driven pop, mixing them together in a way that proved irresistible to many a sensitive punk who wanted something else to latch onto. Somewhere in the territory between “easycore” and Get Up Kids-style emo, the label launched careers for bands who arguably deserved a little longer in the spotlight than they received. By the time a second wave of soundalike bands emerged, the public’s appetite for such had largely subsided or moved on as did a number of the progenitors of it.
It's been five long years; five long years since Converge, the forefathers of emo leaning metalcore, have released music. That all changed last week, however, as the band put out a 7" with not one, but two brand new tracks. They still remain slightly controversial, with some in the Heavy Blog camp dismissing them. Here at Grind My Tears, however, those tracks are nothing but pure gold and the exact music the band should release after a five year absence. It is for exactly that reason that those tracks will be explored in depth below, putting them under an intense microscope and examining their every detail.
Each month, we always seem to come to the same conclusion when it comes to our Editors’ Picks column: Friday release days open the floodgates and unleash a seemingly endless stream of quality new music. But while some of our Editors and Contributors sit down gleefully each week to dive into this newly stocked treasure trove, others find themselves drawing a blank at the end of the month due to the breakneck pace needed to keep up to date with what’s been released. Which brings us to this Heavy Blog PSA: a weekly roundup of new albums which pares down the the week’s releases to only our highest recommendations. Here you’ll find full album/single streams, pre-order links and, most importantly, a collection of albums that could very well earn a spot on your year end list. Enjoy!
I present to you Grind My Tears, the cleverly named screamo and post hardcore centric counterpart to our series Grind My Gears. Below you will find a slew of the most promising screamo acts and records that have caught my attention in the past year or two. The first featured spot on this segment belongs to probably one of my favorite releases of this year (so far), the split LP between modern screamo mainstays Ostraca and Fleshborn. Titled Faces of the Moving Year, the split works well to showcase both bands unique takes on screamo, highlighting the vast differences within screamo itself, as well as playing off the tension created between the drastic contrast of the two bands.
Jeremy Bolm and his band Touché Amoré have kept me good company lately as I've grappled with these questions under the red glow of cancer. Their album, Stage Four, detailing Bolm's grieving process after his mother died of the same terrible illness afflicting my father-in-law, lives on a loop in my mind and heart now. The lyrics are honest, passionate and absolutely heartbreaking. Bolm's incredibly vulnerable declarations of hurt, loneliness, regret and suffering are absolutely necessary and equally wonderful. I find myself comforted, listening in gentle communion, to a work of art that shares my grief brilliantly and empathetically.