LIGHT OF THE FINAL DAWN The Coming Strife Records Compilation

Labels don’t do compilations like this often enough anymore, and so it gladdened my heart to see that one of the top heavy music labels in the UK made the decision to hearken back to a different era with this set of fourteen tracks from both established acts and relative newcomers, such as recent interviewees Durendal. The compilation rips out of the gate with Cauldron's "The Last Words II: Seasons in the Dark," a manic bloodbath of frenetic metalcore featuring a snare cranked to high heaven and one of the nastiest breakdowns I’ve heard this year to close the track out. The aforementioned Durendal are next with the sprawling approaching six minute "By the Sword," an example of first-rate melodic metalcore that recalls early Parkway Drive with a dash of Poison the Well.

Really the defining feature of this compilation is that most of these bands have looked to the first cohort of what we would now recognize as formative of modern metalcore when it was still very much an outgrowth of and therefore closer to its roots in hardcore. I had very strong 2004/Trustkill Records-type vibes throughout, although having said that, it’s not like the contents are merely the next generation LARP-ing their elders. Instead, what I think it shows is that there was a lot more sonic ground to cover there that is now being re-visited and expanded upon by a new generation.

I don’t want to cover every song on the compilation for this review because I don’t want to spoil all of the surprises, but a few other tracks that I wanted to highlight included the album closer "Torturing Countless Souls" by Morbideity that sounds like vintage Throwdown with a soupçon of death metal guitar; Dandelion’s "Hawthorne’s Tea Stained Confession," Thrill Seeker-era August Burns Red mixed with some early Norma Jean and Killswitch Engage; Killing Me Softly’s "Light No Longer Rests on the Riverbed," a mix of Converge, early Every Time I Die, and mosh metal with this interesting almost 90s rock/Silverchair-type part in it; and xDeliverancex’s "To Walk With You in Paradise for Eternity," some premium ATTHEGATESCORE (if you were a Stuff You Will Hate reader back in the day you’ll know why I stylized it like this) with a healthy dose of nervous breakdown-core for good measure. The bottom line is this is a great compilation sure to delight both the core Furnace Fest set and new jacks alike in love with that sound brought forward into the modern era.

AUGUST SHOUT-OUTS VOL. II: SUNBLEACHED, ENUMCLAW, WORN OUT

Sunbleached-I Crawled Into the Hole

I’ll echo my high praise for German "grungegaze" outfit Poppy Wizard here for Brisbane, Australia’s Sunbleached, a band that are sonic kindred spirits, albeit one that hews a little more closely to the cohort of bands like Touché Amoré and Troubled Coast. This five-song EP takes us from the sun-dappled yet bittersweet territory of the first two songs in "No Cure for Life" and "White Lace" to the Poppy Wizard-esque Nirvana-meets-shoegaze with a bite on "Beware of the Dog." This track marks more of an overtly anguished atmosphere, sprinkling in a little "core," which figures most prominently on the EP closer "Hell Is Repetition." It’s very strong work that shows range both aural and emotional.

Enumclaw-Home In Another Life

We next travel to Tacoma, Washington to visit Enumclaw, another band that mines the sonic territory of emo, but unlike Sunbleached, where the influence is one of several others that underpin the band’s shoegaze primacy, here the emo—albeit emo in flannel—is preeminent. I wasn’t necessarily going for a shoegaze theme over my August Shout-Outs, but there did seem to be several excellent shoegaze-centric releases that came out this past month (and, though their EP released in May, I also interviewed Manchester, England’s Deathbloom in early August as well!). Indeed, even here on Home In Another Life one can hear the ghost of shoegaze at the end of "Sink," and as with Poppy Wizard and Sunbleached, there is a clear incorporation of grunge and 90s alternative rock. There are even a couple moments in "Haven’t Seen the Family in a While, I’m Sorry" that vaguely recall Chris Isaak’s "Wicked Game," but overall jangly, deliberately difficult emo is the name of the game here. Further, the vocals are very unusual, almost like a Lou Reed-ian approach to the band’s Reality Bites-type emo. It’s a challenging record in a lot of ways, and like the nutrient-rich multivitamin it doesn’t necessarily go down easily, but what’s good for you isn’t always easy or pleasant, is it?

Worn Out-Low

Lastly we come to Irish metalcore/metallic hardcore stalwarts Worn Out and their relentless four-song EP that sounds like the love child of The Bled and Burnt By the Sun.

The sonic equivalent of a nervous breakdown in action, Low is infused with the intensity and unbridled passion that made me fall in love with heavy music in the first place. It is in many ways a conscious rejection of the polished brand of metalcore that has come to predominate the scene in recent years, and while I’m a noted fan of that variety as well, it is in danger of becoming much like the Risecore days of the early 2010s in terms of an oversaturation of over-similarity. Low, however, feels like it should’ve come out in 2009, and as any consistent readers and/or viewers know, that is about as high a compliment I can pay a metalcore or hardcore band. While adjectives like "feral" best describe the EP’s contents, there is also plenty of groove to sink your teeth into amidst the chaos. Really impressive work by these guys.

You can also check out my interview with the band here.

AUGUST SHOUT-OUTS VOL. I: TWIN ATLANTIC, HEARTLINE, POPPY WIZARD

For those that have read any of my previous month-based shout-out installments you know the drill, but for those that haven’t, the premise is very simple: we look at a handful of releases from either the current or just-passed month that caught my ear and deserved a shout-out! Here we have a trio from the current month almost in the books, and we’ll discuss the second trio probably next week.

Twin Atlantic-Meltdown

Glasgow’s Twin Atlantic may lead off Meltdown with a riff that sounds an awful lot like Incubus’s "Privilege," but the heart and soul, if you’ll pardon the pun, of the album lies much closer to that of bands like You Me At Six. Twin Atlantic have written a number of legitimately great rock songs throughout their career, but Meltdown is their most complete offering to date, with the songs falling roughly into one of two camps: the buoyant, arena-worthy pop-rock numbers like "Get Out" and the more pensive—but no less impressive in their careful crafting—ones like "Sorry." Beyond the top-tier songwriting, the album is lyrically strong and often deeply resonated with me. Meltdown is one of my favorite releases of the year so far.

Poppy Wizard-Holy Spirit Gang

Not to overstate the contents of this five-song EP, but ah, what the hell: German outfit Poppy Wizard are a revelation. They remind me of a dreamier version of Higher Power or if a band decided to take Dead Swans’ My Bloody Valentine cover "When You Sleep" and build it out into a sonic ethos, mixed with a healthy dose of 90s alternative rock and especially grunge. I’ve seen their style described as "grungegaze," and while I think that’s accurate, there is a foundation in hardcore that is lost in said description. Poppy Wizard have crafted a really powerful sound that hits "all the feels."

Heartline-Pink Lemonade

Lastly we come to Adelaide, Australia’s Heartline, an intriguing blend of post-hardcore, metalcore, and EDM melded together in their version of electronicore. The video for "Lovers" below is a good microcosmic starting-point for their sound (it slaps), but some other highlights from the EP include "Synthetic," which reminded me a lot of what it would sound like if Bitter Kisses (shameless self-plug, you can view my interview with Bitter Kisses here) ratcheted-up the metal of their recent single "Dissolve" even further, and the 808s and modern R&B meets Depeche Mode of "New Immune." There’s a lot of potential on display on this release, and I eagerly await to see where Heartline go from here.

GRAVEMIND-INTROSPHERE

Melbourne, Australia-based outfit Gravemind have after half a decade returned with their sophomore LP Introsphere, ten tracks of huge-sounding modern metalcore. Indeed, the first thing that jumps out at the listener is the massiveness of the production, which elevates the songs and adds further heft to the band’s already substantial heaviness. Scottie Simpson (Alpha Wolf, Polaris) is credited with the production and Jeff Dunne (Make Them Suffer, Knocked Loose) is credited with the mix and master. Credit the band for crafting a set of songs that belong elbow-to-elbow with any of the other A-listers in the genre.

The second, and related, thing that jumps out is that "modern" may not be the best descriptor, as the band’s sound really belongs with the cohort of metalcore acts whose music sounds like the soundtrack to some futuristic dystopia or other, reinforced by the Matrix-esque cover art, the Mick Gordon feature, and the electronic textures. While there is a growing swathe of the metalcore scene that’s embracing the rawness of the earlier days of the genre, for a band like Gravemind, incorporating these electronics, depending on their particular use case on this record, adds dynamism, emotionality, the sense of being in some robot-dominated future hellscape, and/or a more chaotic dimension to the songs.

As for some of the particular highlights, the chaotic hyper-futuristism of "Failstate" with Mick Gordon comes to mind, as does "True Life," which opens up with a little bit of a modernized For the Fallen Dreams vibe and features frequent forays into what is essentially deathcore. The breakdown about a third of the way through the track is particularly tasty. Album closer "Pranic Lift" spends roughly the first third of the track slowly winding up to the band’s delivery of its haymaker with an almost post-rock feel; after the dystopian djenting, we’re ultimately left sweating and exhausted as the final nasty breakdown serves as the exclamation mark to the proceedings. Overall, this is a record I’m positive will be readily embraced and praised by the scene.

GOBLIN SOAP-GOBLIN OFFENSIVE

Upon metaphorically popping in Goblin Soap’s Goblin Offensive tape (although you can get the real deal here), I quickly in recording quality, atmosphere, and sonicality felt like I had returned home with a cassette tape of an obscure gem from the 80s I happened to find at the local record store. Dungeon synths lead us down the dank, dark steps into, well, the dungeon on the "Intro," and after close to a minute a squeal of feedback comes in followed by blackened vocals and finally the full band in all its ferociously abrasive lo-fi glory.

While the offering is clearly indebted to early-80s hardcore punk and that is the most obvious touch-stone, Goblin Offensive is also more than that in its intriguing fusion of sounds. D-beat, black metal (more in vocal styling, atmosphere/"vibe", and deliberate lack of polish), TSOL, and Joy Division—interspersed with these hellish dungeon soundscapes—collide in visceral yet often haunting fashion. This is blood-soaked ritual music, the should-be soundtrack to some of these A24 Studios films, or perhaps, as referenced on the Goblin Soap Bandcamp page, 1985’s The Black Cauldron (aka "the film that almost killed Disney Animation"). At any rate, the likelihood you’re going to hear this played at a neighborhood barbeque (unless it’s at my house) is pretty low.

"Cauldron Born" has a little more of a metallic hardcore-style riffing, albeit one run through the filter of Joy Division; "Total Extinction" felt like belonged in another 1985 film in Return of the Living Dead. "Side Quest" (remember: TO THE GOBLIN YOU’RE NOTHING BUT A SIDE QUEST) is the track I think most indicative of the band’s sound encapsulated in one song if you wanted to give someone a "bird’s eye" snapshot of what they’re about. Overall, Goblin Offensive is an interesting release that manages to seamlessly blend diverse influences into a unique and sinister—yet not without tongue planted firmly in cheek—whole.

REVOID-EVERGREY

The Australian metalcore scene has been an embarrassment of riches for some time now, so where does the latest EP from Brisbane outfit Revoid stack up in the increasingly-crowded field?

The EP starts off with a bit of a curveball, as bands will often rip out of the gate with one of their heavier or more aggressive tracks, whereas here the band opts to showcase the strong clean singing of vocalist Dale Dudeson on the more somber and sedate "Everything." "Visionary" follows, with strong 2010s Architects vibes, saturated in the melancholic atmosphere that defines records like All Our Gods Have Abandoned Us and is, indeed, a fixture of Evergrey as well.

On the third track, "Let You In," Revoid once again settles into softer confines, suiting the vulnerability and rawness of lyrics like "It was the night I tried to kill myself and change you with the guilt." Track four, "Euphoria," is a different kind of gut punch, scarcely cracking two minutes of nasty heaviness, but is no less raw emotionally. Penultimate track "Nevermind" is similar to "Visionary" but feels more like a single; "Fray" closes us out with a bit of a microcosm of the preceding five tracks, a suitable, conclusive closer.

Overall, this is a strong EP with crisp, clean production that showcases the band’s versatility and, in particular, breakout potential with their ability to incorporate melodicism and the quieter moments that have found such a ready reception in the modern metalcore scene.

DISTORTED REFLECTION-DOOM RULES ETERNALLY

Greek metal band Distorted Reflection’s full-length Doom Rules Eternally arrives on the back of Sorrow’s Path co-founder and guitarist Kostas Salomidis departing and pursuing this new outlet, with Salomidis also handling vocal duties. It is a project that stays much more in the Candlemass lane of doom metal, eschewing more modern conventions and embracing this more traditionalist vein, though not to the exclusion of other influences to round out the offering, most notably power metal and traditional Greek music. The music at times reminded me of the Irish band Darkest Era, who also pull from this strain of doom and traditional music (in their case Irish rather than Greek). Both also have their moments of theatricality, and are unafraid of incorporating melody, to their benefit. In the case of Distorted Reflection, the opening of "Colours" is one prime example where the melodic aspect actually steals the show.

With metal like this, the star is usually the riffs, and that holds true throughout Doom Rules Eternally. Guitar-heads will certainly find plenty to sink their teeth into. That isn’t to say the other 2/3 of the outfit don’t hold up their share of the bargain, either, but simply to state that the almighty riff is front-and-center here. "Twilight Zone" would be the track that tickled my taste buds, if you will, most on that front.

Overall, this is a record that most fans of metal should have no difficulty finding something they enjoy, again, particularly if riffs are high on your listening priority list. Given the often grandiose nature of the compositions, best use cases for Doom Rules Eternally are probably things like marching into battle or sailing into unknown horizons.

SKI MASK THE SLUMP GOD-11TH DIMENSION

The much-anticipated official sophomore full-length from Floridian rapper Ski Mask the Slump God has finally arrived, delivering a kaleidoscopic vision of dark trap-adjacent tracks that reach out tentacle-like across the modern rap landscape and beyond. There’s "Headrush" with a kind of "Crazy Train"-sounding riff in it, the heavily distorted trap beat of "Hulk," the unique, house fly buzz beat of "Tuk Tuk," the beat on "KillStreak" that sounds like a Nintendo console gone homicidal, and The Weeknd-like "Go!" featuring Corbin.

"DragonTooth" leads us off with a beat that sounds like the electronics in Bring Me the Horizon’s "Dear Diary," and I had to laugh at the SEGA line that reminded me of House of Pain’s "Jump Around." In addition to the scope of the music, Ski Mask exhibits impressive flow and versatility throughout, with a bunch of great lines—some of them hilarious one-liners—on here, too. Songs like "Wake Up!" featuring Juice WRLD and "Earwax" find Ski Mask spitting serious fire. With hardcore band brevity—only two of the twenty-one tracks even hit three minutes, and barely at that when they do—Ski Mask the Slump God rips through high energy bangers like "Full Moon" or the dripping with menace "Part the Sea" in a pretty short drive from there to a full-on mosh pit, and yet he proves he can throttle it back where necessary, too, such as on the first verse of the chilled-out ballad "WDYM," or, in moves which really evidence his talent and versatility, in showcasing his strong singing voice on that track and "Go!"—two of the best cuts on the record.

Overall, this is my favorite rap album to come out so far this year, and as Ski Mask says in "Shibuya": "Let it bang!"

DARKO US-STARFIRE

Two quick observations before we get into the contents of the latest full-length from Darko US, a band that is effectively the Legend to the For the Fallen Dreams of Chelsea Grin, if you will: 1) I love the affixing of "US" to the band’s name; it reminds me of when Architects used to put "UK" after their name (presumably because there are multiple bands with that name out there, but I still like it—it makes me think of the Olympics or something), and 2) How are they this prolific!?

I have long characterized Darko US as Emmure for the Space Age, and this album only solidifies that comparison as we are taken on a skronky hell-ride through the cosmos, albeit not one without moments of intense beauty, especially on "Finding Love in a World Full of Tragedy" (the video is particularly heart-wrenching). Songs like "Starfire" and "Distant World" lead us off sounding like The Prodigy gone djent, while elsewhere Scarlxrd goes off on "Virtual Function" and "Bunny Suit," presumably a reference to Donnie Darko, sounds like a full-scale meltdown in the engine room of whatever spacecraft we’re on before the zen-like interlude about two minutes in; from there, Darko stacks the heaviness back in, ultimately giving way to the dream-scape outro.

The trash talking voicemail or whatever it is at the beginning of "Death Charge" reminds me a little of that "wanner-diddle-danner-diddle" smack-talk Veil of Maya put in "Punisher" before mocking it by playing a savage breakdown that mirrored the original mockery. Marc Zelli of Paleface Swiss (another band that is into placing the location in the band name) adds some ruthlessly unhinged vocals to the track. "Shanghai" is another standout, serving as a microcosm of the combination of otherworldly heaviness and soundscapes the duo have synthesized to such powerful effect.

Starfire is their best work yet, and that’s saying something given how strong their other releases have been.

MAY SHOUT-OUTS: MOONCHILD SANELLY, ONE STEP CLOSER, ANNALYNN, LAKEVIEW x GIDEON

Moonchild Sanelly-"Scrambled Eggs"

The South African Moonchild Sanelly reminds me of M.I.A. or early Poppy in terms of fearless genre-blending and experimentation. In Moonchild Sanelly’s case this is with the incorporation of kwaito, hip-hop, dancehall, pop, and more in really creating this unique sound she describes as "Future Ghetto Funk." "Scrambled Eggs" from earlier this month follows her upward trajectory as she further embraces this vision, at once refining and expanding it, crafting an earworm of a track that continues to push the boundaries of experimentation while perhaps paradoxically also leaning into accessibility. It’s an impressive accomplishment and a great song.

One Step Closer-All You Embrace

With the energy and edge of hardcore, the rawness of emo, and an ear for the melodic, One Step Closer sits at the nexus of multiple genres on All You Embrace, a release that fans of bands like Crime In Stereo, Title Fight, Koyo, Shoreline, and Troubled Coast will almost assuredly dig. Representative highlights include "Leap Year" and "Your Hazel Tree." This is a very strong record front-to-back that also has a few wrinkles up its sleeve. "Giant’s Despair" is one such instance, with its more expansive soundscape interlaced with alternative rock; album concluder "So Far From Me" is another, bringing more of a shoegaze element into the band’s sound.

Annalynn-Failure Will Find Me

Over two decades into their career, the Bangkok, Thailand-based outfit Annalynn return with this four-song EP of super heavy, electronically-reinforced modern metalcore in a style that would fit in on the Arising Empire roster alongside bands like Defocus. Their new home in Greyscale Records (Alpha Wolf, Diamond Construct, Paledusk) is also a perfect fit. Very much a take-no-prisoners affair, yet balanced out with some melodic elements, this is a strong offering fans of the above-mentioned bands should gravitate to.

Lakeview & Gideon-"Money Where Your Mouth Is"

This is what we call "getting in touch with your roots." Best described as "Octane countrycore," this catchy yet belligerent track is an absolute banger I can’t get enough of.

ALLEN’S HAND-CHICKEN KING

Athens, Greece-based alternative/progressive band Allen’s Hand, self-described facetiously as "a cult boyband dedicated to the reverence of the one true Chicken King," despite the zany imagery and strangeness have produced a record in Chicken King that is really quite good. In fact, I appreciate that they’re not so self-serious while still clearly taking their art seriously. What you’ll find here is an album with strong instrumentation and vocals that pulls from a variety of influences resulting in a diverse and rewarding listening experience. As a frame of reference and perhaps signaling where the band’s collective sonic head is at, the three albums Allen’s Hand recommends on their Bandcamp page are Don Broco’s Amazing Things (one of my personal favorite records from the past half-decade), Shiny Eyed Babies by Bent Knee, and Nearer My God by Foxing.

Getting in to some of the specific numbers on Chicken King, "Thermochemistry" is an interesting song that flirts with a kind of funky new wave vibe in between its rousing emotive choruses. "Deep Space" follows, taking the atmosphere of the choruses on "Thermochemistry" and pushing it out into the cosmos, a sort of hybrid of post-rock and the soaring melodicism of a band like Young Guns. Following "Deep Space," "Dellabongo," featuring one of the best bassists in the game in Skyler Acord (ex-Issues), circles back to the funk with a tune that felt like a breezier version of Incubus’s "Summer Romance (Anti-Gravity Love Song)."

Elsewhere, ghosts of 90s rock haunt the record, while "Barbae" has a Tracy Chapman-"Fast Car" feel to it at times and "Poutsatron" closes the album out riding an absolutely sick Southern-fried riff that reminds me of Blood in the Gears-era The Showdown crossed with some Mastodon vibes. Chicken King is an interesting listen that displays a lot of range and showcases obvious talent while focusing on songcraft. It’s a record that feels very cared-for, and that translates over into the enjoyment of an album that continues to deliver delights over repeat spins. Highly recommended!

WITH SAILS AHEAD-INFINITE VOID

After years of labor as vocalist Sierra Binondo recounted to me in our recent interview, the Springsteen Country-domiciled progressive post-hardcore outfit With Sails Ahead have finally set the LP Infinite Void out to sea. One of the first things that stood out to me about this band is that they can seriously write hooks. What’s more, while there’s a clear instrumental proficiency, this never overwhelms the songs themselves. The songwriting and songcraft is clearly prioritized over showiness, and it shows. "Honey," for example, follows the playbook of most pop songwriting where the vocals drive the melody of the chorus, which pays major replayability dividends; the appearance of pulses. later in the track signals a climactic burst of aggression that has as an interesting darkness-and-light kind of interplay and is a surprising but effective resolution to the song. Another surprising and intriguing moment occurs on "Lemongrab," where the band fairly abruptly fades out and from what sounds like another room a lone acoustic guitar accompanies Binondo’s ethereal vocals to haunting but beautiful effect. I don’t want to spoil all of the surprises here, though.

Some of the most distinctive moments of the record occur where the band seems to reimagine the more accessible in their own sonic context, such as "Peach Tea (Obituary)," which almost felt like prog Paramore at times. Much of the delight in this record is exemplified by a song like "Picture Perfect Pixels" where this accessibility occurs alongside their clear musical talent and around the band’s willingness to explore unconventional detours. That is, after all, the nature of something that is actually progressive, is it not? A listening note here before I highlight some of my other favorite tracks: though I am talking about these songs out of sequence, Infinite Void is a cohesive whole, and the band recommends listening in one sitting, if you can! Other songs I wanted to note include the gorgeous, bittersweet album opener "every day the sky falls" and the harder-edged penultimate track "Catastrophe," with its incorporations of punk, screamo, and metalcore.

Though just one listen exhibits the care and craft that went into making this record, the listener is rewarded on repeat spins as its intricacies continue to reveal themselves. Songs like "Honey," though, demand repeat in their own right through sheer catchiness, and therein lies the listening pleasure of Infinite Void: in subtlety and in boldness, in accessibility and in experimentation, this is an album that has both ambition and tasteful restraint, and never bores. I don’t give album scores or anything like that on this site, but if I did, Infinite Void would get a high one.

VILIFY-FEVER DREAM

It’s only a matter of time until Vilify takes off, and frankly I am at a loss for why they aren’t much bigger already. I’ve been thoroughly impressed with their output to date, and this new EP Fever Dream is no exception—and in its often oppressive, claustrophobic heaviness and feverish intensity it lives up to its title. The best adjective I can think of to describe it is that it’s more compacted. Despite having a song called "Light Bringer," ironically there isn’t much in the way of daylight here.

Fever Dream isn’t dramatically divergent from Vilify’s previous material, but is a further refinement of their sound and sharpening of their identity. Though the band has one foot in the modern metalcore camp, its other remains in the relatively recent metalcore past, with the sound, more apparent now than ever, a synthesis of the two ("Save Me" is probably the most representative of said synthesis in-track). Indeed, when I interviewed vocalist Amy McIntosh in November, she stated, "From the first EP and foundations it would have to be the likes of Every Time I Die, Norma Jean, that sort of thing. These days we are all massive Spiritbox, Sleep Token, Alpha Wolf sweaters just like everyone else haha." One can hear skronky Diamond Construct-esque riffs on songs like "Save Me" and "Rot By Design" and a panicked riff that is reminiscent of Every Time I Die’s "Fear and Trembling" in "Hang.Draw.Quarter." Fans of crushingly-heavy early- to mid-2010s metalcore bands like Legend and Those Who Fear will also find much to like on this EP.

Elsewhere, suiting the subject matter perfectly, the filthy and nasty "Split Tongue" spits venom at the venomous: "Split tongue is about those slithery, slippery little snakes that are only out for themselves," explains the band. The electronic elements in "Light Bringer" add both melodic touches to the chorus and atmosphere throughout a track that’s more in the modern metalcore camp. In what is catnip for this reviewer, the song has a killer two-step part leading up to a breakdown that will devastate live. The whole EP will, really. Fever Dream is a rousing success in Vilify’s mixing of different styles and eras of metalcore on their palette to produce something fresh and distinct.

MARCH SHOUT-OUTS: COMEBACK KID, DEFOCUS, ZOMBI

Comeback Kid-Trouble

Don’t call it a comeback, they’ve been here for years, rockin’ their peers, puttin’ suckers in fear. While melodic hardcore has been overshadowed of late by the more death metal-influenced and Merauder varieties of the genre, Manitoba’s finest Comeback Kid is still carrying the torch over two decades into their career. Whether it’s the live show energy captured in recording, the ready-made for the circle pit of "Disruption," or the singalong chorus in "Chompin’ at the Bit," all the hallmarks fans love about the band are here and are proof positive they’re not slowing down any time soon. Indeed, the EP’s lead track "Trouble in the Winner’s Circle" is a perfect encapsulation of everything that makes Comeback Kid great and stacks up with any of their best songs.

Defocus-There is a Place for Me on Earth

Defocus, from Germany, are one of the promising young bands pushing metalcore into the future, and I was privileged to be able to interview them recently about this record, among other things. They remind me in some ways of bands like Landmvrks or Novelists FR who refuse to remain within narrow sonic confines, while nevertheless still maintaining their immediately-recognizable sound. There were a few points in the album I was getting some Ten56. vibes as well. The production is crisp and full, and the music crushing; the experimentation is tasteful and the electronic textures accent the band’s strengths. Some highlights from the album would include the trap metal-influenced "hybrid anthem" featuring One.RF, the high-energy banger "Biased," and the Bring Me the Horizon Post Human: Survival Horror-esque "Let the Bond Be My Grave."

Zombi-Direct Inject

Years ago when I discovered Zombi, I was elated to find a modern band that scratched my vintage horror (especially zombie) film synth-centric soundtrack itch; I had not kept up with them since Surface to Air, though, so when I saw that they would be bringing us their seventh full-length in Direct Inject, I was intrigued by what I’d find after so long away from their music. Right off the bat, the title track had me in a time warp, with its first half mining Rocky IV soundtrack montage music territory and its second half switching gears into prime John Carpenter/George Romero movie magic mode. "The Post-Atomic Horror" is another song cut from that horror cloth. Elsewhere, "Sessuale II" orients itself around chilled-out 80s saxophone for a good chunk of the track, gradually morphing into more of what I would describe as "all-inclusive resort prog." Direct Inject is an interesting update and combination of vintage sounds ranging from Goblin to Kraftwerk without being mere tribute-paying. Consider me still a fan.

HERO IN ERROR-SELF-TITLED EP

I became a fan of Irish metalcore outfit Hero In Error through their exceptional 2011 debut The High Point of New Lows, an EP that has aspects of bands like Every Time I Die and SikTh, but which really boasts a distinct sound all their own. It still sounds ahead of its time today. It was not until 2016, however, that we got new music from Hero In Error in the form of a single that leads off the 2017 EP Obey, but that’s been it for recorded music from the band until now (for more on the backstory that brings us to this EP, as well as more context about the EP itself, you can watch my interview with guitarists Gary and Rob here!), with the band’s three-track self-titled EP releasing next month, their first new music in seven years.

Both of the first two tracks of the EP—"Enemy Within," released as a single in mid-February, which leads off the new offering, and "Moths to a Flame"—incorporate a lot of atmospheric elements that wash in and out of the songs, creating a dream-like soundscape that often comingles with the punchier heaviness. "Enemy Within" opens with some high desert, mirage-like ambience, which carries across large stretches of the track and ultimately makes the heaviness—especially the breakdown in the song’s home-stretch—hit that much harder. The song feels a little After the Burial-ish in its effect at times. "Moths to a Flame" follows a similar playbook, but this shouldn’t be read as "re-hashing," as it’s just as dynamic and interesting a cut with its skillful execution and dream-like, melancholy atmosphere; the introduction of clean vocals also adds some memorable variety.

"Left in Your Absence" closes us out as the sonic cousin of the first two tracks, but one which is much more hardcore in orientation with its Returners-era Ghost Inside vibe. It’s another very well-executed track that makes great use of melody to provide added emotional texture to the "core," a dynamic exhibited in its variations to strong effect across the EP. It’s an invigorating and welcome return from a band I've been waiting seven years to hear more from. Now, hopefully we won’t have to wait until 2032 for more new music!

PALEDUSK-PALEHELL

Japanese band Paledusk have been twisting heads since their arrival on the scene, and their latest EP PALEHELL does not scale back on their intensely forward-looking ambition nor do anything to derail the hype train with its level of craftsmanship, densely-packed songs, and dizzying array of abrupt stylistic left turns and genre shifts.

"PALEHELL" kicks the EP off with its pop punk meets hoe-down meets metal meets arena rock with an anthemic chorus; it’s a massively-catchy song that showcases a more restrained (relatively-speaking) side of the band. Track two, "SUPER PALE HORSE" featuring CVLTE, leads off with a deranged mash-up of what sounds like the kind of organ you might hear at a hockey game with an old Nintendo videogame soundtrack and some Sirius XM Octane-core with another anthemic chorus in tow; with yet more diverse influences incorporated, it’s another example of the band’s experimentation looking zany and all over the place on paper that counter-intuitively flows seamlessly and is not just a coherent song but is a rousing success. Similarly but more exhaustively, "I’m ready to die for my friends" featuring VIGORMAN is a wild ride of rap, reggaeton, rockabilly, drum n bass, Disney Channel-like pop, metal (there’s a nasty breakdown in there), some tongue-in-cheek cult-like vibes, and more, and although that reads like everything-but-the-kitchen-sink, it somehow works, and well.

"TRANQUILO!” is anything but—a savage, glitchy borderline deathcore cut that clocks in at less than a minute-and-a-half. At its outset, "RUMBLE" hints at the shape the song will take in its second half but not before some punishing metalcore followed by a part that sounds like the interlude in "Smack My Bitch Up" by The Prodigy; the band then segues back into its post-modern variant of metalcore, followed by this strange klezmer-ish part, then some throwback nervous-breakdown-core-style metalcore. Following that, the second half of the song finds Paledusk and Masato Hayakawa of Coldrain doing a soaring rendition of "boy band metal"-meets-Babymetal.

The penultimate track "NO!" flies by in less than two minutes of delirious djenting before we get the Crossfaith-esque "Q2," a comparison which makes sense with that band’s feature; "Q2" brings what is at times a rollercoaster of a listen in the best possible sense to a satisfying conclusion in its strength as a track and in its tonal symmetry with the EP’s opening. Fresh and invigorating, Paledusk are a force, and these seven songs are more evidence why.

FEBRUARY SHOUT-OUTS: HIGHER POWER, PROFILER, DESPIZE

Higher Power-"Absolute Bloom"

With a track that’s as much 90s alternative rock as it is hardcore, Leeds outfit Higher Power return with one of my favorite songs of the year so far in "Absolute Bloom." In terms of vibe, aesthetic, and to a degree sound in its framework of 90s alternative rock meets hardcore with a clear ear for the hook, "Absolute Bloom" feels like the younger cousin of Four Year Strong’s self-titled 2015 album, with vocals reminiscent of Perry Farrell of Jane's Addiction. It’s a cool, catchy spin "for the freaks, by the freaks."

Profiler-A Digital Nowhere

I characterize Profiler’s sound as nü djentcore, a modernized melding of influences from the past in late-90s and 2000s nü metal and alternative rock with contemporary djent-influenced metalcore. Illustrative would be the album’s first song "All In Forever," which showcases the band’s dexterity opening with what reminds me of the beginning of "The Mixture" by Volumes but nü metal-ified before segueing into something that sounds like it could’ve been on 311’s Transistor. From there, the track mines Deftones and Limp Bizkit with a contemporary metalcore flavor. There's a wide spectrum of sounds on A Digital Nowhere ranging from the more accessible "Delay," which feels like something off Morning View by Incubus with almost a little bit of Three Days Grace in there, to songs like "To Utopia" and "Zero," which get quite heavy. None of this range feels forced, though, or like it is a hodgepodge of assorted influences with no coherence. Among the several other surprising yet organic combinations throughout the record that hit, most notably is the sneakily really catchy "Operator," which feels like the love child of Filter and Vision of Disorder. It’s a record that exhibits a ton of potential from the group, much of it already realized.

You can check out my interview with vocalist and guitarist Mike about the album and more here.

Despize-Scotland’s Hardcore

If you’re going to position yourself as the hardcore of your nation, then you’d better bring the heat. Consider it brought. While Ben Brodie’s bona fides alone could enable him to speak for Scottish hardcore, this album isn’t a resting-on-laurels or phone-it-in affair for Despize, as if that would even be a possibility. This is a hard-as-nails, sweat-drenched, furious, no-frills offering of aural punishment. Listen at your own risk, as it’s going to feel like you’re physically smack-dab in the middle of the pit with appendages swinging by your face.

LITTLE SIMZ-DROP 7

Over the course of the past few years, Little Simz has gathered significant momentum behind her both in terms of a rapidly-growing fanbase and near-universal critical acclaim—and for good reason, as she is not just a towering talent, but remains unafraid of pushing her creative boundaries, an impulse on full display with this seven song EP Drop 7. Leading off with the intriguing paradox that is the danceable-yet-chill "Mood Swings," Simz serves notice that this isn’t going to be some paint-by-the-numbers affair with its mix of hip-hop, dancehall, and Afrofuturist dance; about half-way through the track, it picks up noticeably, shifting into a sound reminiscent of early M.I.A.

This M.I.A. comparison, particularly in the use of the kinds of percussion present and the melding of sounds, is apt for large stretches of the EP such as the next song "Fever," a sparser affair which includes a kind of Latin American vocal affectation from Simz, and "S.O.S," where Simz steps back from the mic for most of the track for the instrumental to take center stage; when she first comes in, she sounds a lot like Kelis in the chorus of "Milkshake." Track three, "Torch," has some M.I.A. vibes as well, but also feels a little like J.J. Fad thrust into the future.

Track five is "I Ain’t Feelin’ It" with its dreamy beat and strong performance from Simz, followed by the short-tight-and-emboldened "Power," where Simz boldly declares:

Got the power in my hands, now I can feel it
If you're lookin' for the truth, then motherfucker, I'm the realest
See them bitin' what I'm on so do not ask me if I peaked here
If I said that I'm the greatest then I mean it, mean it (Yeah)
I've been buildin' a new mansion up on Venus

Closing out Drop 7 is "Far Away," which showcases Little Simz’s singing voice over a jazzy, chilled-out beat; it’s a quieter, breezier, yet more reflective tune, a fitting way to see us out. If I had one critique, it would be that the song ends too abruptly; it would’ve been nice to hear her play it out longer, which speaks volumes—that the main critique is that I want more! Drop 7 showcases that Little Simz’s boasting on "Power" isn’t empty chest-thumping: she is, indeed, a special and visionary artist at the top of her powers.

SHORELINE-TO FIGURE OUT

In their third full-length and first for new label home Pure Noise Records, German band Shoreline deliver their unique combination of Fat Wreck-style punk, early 2010s pop punk (a la The Story So Far), emo, hardcore, post-punk, and new wave. I had the opportunity to chat with Hansol Seung from the band in January, and I would definitely check that conversation out as well as it goes into more depth on the band’s backstory, influences, a lot of what went into this album, and more, which can help paint a fuller picture of the band and give more context to what I’ll be discussing here in terms of To Figure Out’s contents.

There was much more of a dance-punk flavor on this record at times than I was expecting; "Health," for example, leans into Talking Heads-type territory, and "Workaround" reminds me a lot of Nuremberg post-punk/new wave band The Robocop Kraus. "Reviver" is an upbeat number that has hints of post-punk as well, but almost has more of a Monkees 60s pop rock vibe to it if it were to be executed by one of the cohort of those pop punk bands that broke out in the early 2010s. It’s a really cool song. "Yuppie Kids" isn’t necessarily in this bucket of songs in terms of sonic ground, but it is a relatively simple yet deceptively catchy number that adds to the feeling that although To Figure Out deals with a lot of serious subject matter, there’s often a lightness to the band’s approach that prevents it from getting bogged-down in overbearing earnestness. This also makes songs like "Needles" and "Seoul" that much more impactful. Along these lines of creating a variegated experience, the dynamics of a track like "Seoul" really serve it. The soft opening and the quieter moments of the track also draw attention to the lyrics, and set the driving chorus up to hit home. "Green Paint" and "Seoul" are encapsulations of the band’s influences from the first part of the list at the beginning of the first paragraph, with "Seoul" a meditation on identity, in Seung’s words from our interview:

I am talking about my experiences as a German-Asian. We started talking about this on the last record already (GROWTH 2022, End Hits Records), but the approach was a very different one. It’s much more introspective and realizing what my cultural heritage is, trying to unlearn internalized stereotypes that I did not reflect before and connecting with other Asian kids, trying to enter and create a community.

"Cold Feet" closes the album out on a high note, a straightforward pop punk number that doesn’t overcomplicate things and instead relies on the band’s ability to execute the style at a high level.

To Figure Out is a strong offering with a lot going for it. It’s full of pleasant surprises, a fresh combination of different sounds, all of which feel organic and flow together seamlessly. The future looks bright for Shoreline: they’re touring their asses off, they’ve got the support of a great label in Pure Noise, and they’re clearly talented and have something meaningful to say. I already can’t wait to see what they do next, but in the meantime I’ll keeping returning to this record!

JANUARY SHOUT-OUTS: ROUGH JUSTICE, SPLITKNUCKLE, BILMURI

I’m not sure if I’ll make this a monthly installment, but I wanted to do a post on a trio of noteworthy January releases I wanted to give a shout-out to, two from the UK that were actually released on the same day and one from the heart of America, the, to quote Bilmuri’s Tweet from January 19th, "OHIO EMO ANTHEM…BETTER THAN ANYTHING EVER WRITTEN BY HUMANS EXCEPT FOR THE 1995 DISNEY CLASSIC HEAVYWEIGHTS." Very advanced reference that was well-received in these quarters.

Rough Justice-Faith In Vain

Sheffield, UK outfit Rough Justice serve up their brand of chunky, metallic hardcore here with an album that’s 100% made for the pit. I always take it as a good sign when a band belts out their own name on a track ("Overruled"). MLVLTD is on a roll lately between this album and Guilt Trip’s phenomenal Severance from a few months ago. Amongst the otherwise pummeling offering, the instrumental track "Rusting" adds atmosphere (I was reminded of a couple tracks off This Is Hell’s Sundowning used to similar effect) and the surprising inclusion of clean vocals on the title track as part of the memorable chorus created as close to a genuine "single" as you’re going to get in hardcore, similar to Guilt Trip’s "Sanctified" or Bodyweb’s "Synthetic." The opening of "When It Comes" almost felt like it could’ve been on an early Pelican release. These guys can bang with the best of them, but it’s those other touches that add that extra something and round the release out.

Splitknuckle-Breathing Through the Wound

If you like a healthy helping of old school death metal in your hardcore—and it seems like these days very many people and bands do—then Essex, UK band Splitknuckle is for you! Adjectives like "nasty" and "filthy" come to mind. The album is generally unrelenting but not without some variety, such as the Leeway part in "Essex Kingz," the slowed-down more subdued "Gethsemane" and its clean vocals that strikes a much more melancholy note (although a track that still has plenty of opportunity to head bang over the last minute or so), and the "Gethsemane"-esque opening of "Stay Keeping Count." The band saves the best for last, though, with the final track "The Sickness" representing Splitknuckle’s punishing distilled essence, although a similar argument could be made for the title track.

Bilmuri-"Better Hell (Thicc boi)"

He’s done it again! Johnny Franck (Bilmuri) continues to level up with another country-core banger. Insanely catchy chorus? Check. Some djenting? Check. Relatable, evocative lyrics? Check. Short, sweet, high re-playability, 10/10 video. If not the second-best thing ever written by humans, it’s still damn good.