Amok – Necrospiritual Deathcore (2015)

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Tagged as a death/thrash sort of cross-over band, Amok, at least in the present album, sounds much closer to hardcore stemming from the tradition of Discharge Hear Nothing, See Nothing, Say Nothing and filtered along the line of Amebix Arise!. Some gestures of 80s heavy metal show up but only briefly and not prominently enough to turn this into one of the many kinds of  so-called “melodic death” bands out there. In Necrospiritual Deathcore a healthy, coherent mixture of different punk and metal expressions collide to form an enjoyable album.

Like any hardcore album worth its salt, we find fragments of speech taken from television or radio, snippets of urban audio, coughing, among the rough scream-barks of the vocalist. All this, combined with the great pains to which Amok goes to give this album musical variety despite the fact that the music is primarily percussive (and simple in its percussion). Commendable are the smooth tempo changes in the album that are never abrupt even though they change the music drastically. Voice and instruments conspire so that the “line” is never broken when going from a faster speed to a slower one. When it comes to accelerating, though, the punks show themselves.

On the other hand, given the simplicity (and I mean real simplicity) of each song and the fact that the album is a song-collection (rather than a concept album, or a greater work, or a set of variations), the staying power of this kind of record is very limited. Sounding like a more single-minded, less flexible Amebix, Amok Necrospiritual Deathcore will please and entertain, but there is little reason to continue listening to it when there are albums like Arise! lying around. All in all, it is a refreshing hardcore album with heavy and death metal colors done by expert musicians.

Survival – Shayda (2015)

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Hardcore punk band Survival offer us a humble release that although meager can give us a lesson on several album-writing guidelines that any metal band should follow. Shayda is a good example that riffs that are usually attributed to this or that subgenre of metal can be used in different contexts to different effects and reach. These Californians also show us the value of self-control, avoiding self-indulgence in favor of a juvenile honesty that is only fitting for a band in their genre.

There are a few moments in Shayda where one will recognize the predominance of an influence from 1908s hardcore punk bands , but then one will stumble over a happy punk riff, and then one or two brief moments that will flash by with the taste of deathcore breakdowns and even a little 90s hard rock. These are encased at very specific points and are only used extremely measuredly to push the song forward or twist it for a moment with a different taste only to warp back into focus. Their are also a few samples from a movie or a narration that are used as introductions or interludes in the middle of the album with incredibly effective results.

A major highlight of the album from the songwriting point of view is how aware these guys are of the “useful life” of an idea in the context of a style. According to its nature, punk is a genre of simple, direct and clear expression which does not lend itself to infinite variations of the pseudo-mathematical Bachean type. To remain fresh yet not start diverging, the length of the songs is necessarily short. Each of them gives the listener a very clear and single-minded idea. But as a whole Shayda provides a multifaceted experience that remains both consistent and coherent.

Like big brothers Blood, Survival dominate their tools of choice in their genre and work well within their limitations, creating a memorable and musically solid work that can and should be appreciated regardless of taste.

Obliterations Expands North American Tour

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Punk/hardcore band, Obliterations, have announced additional dates to their previously-announced impending Eastern North American tour with While Lung, including a set at this year’s ultra massive NXNE Festival. Additional Obliterations shows are being added to the routing to be announced as the tour begins, at which time the band will also release their next official video from Poison Everything, being finalized for the track Scapegoat.

Obliterations Tour Dates:

6/06/2015 The Studio At Webster Hall – New York, NY

6/08/2015 DC9 – Washington DC w/ White Lung

6/09/2015 Rumba Café – Columbus, OH w/ White Lung

6/10/2015 The Demo – St. Louis, MO w/ White Lung

6/11/2015 7th Street Entry – Minneapolis, MN w/ White Lung

6/12/2015 Underground Lounge – Chicago, IL

6/13/2015 PJ’s Lager House – Detroit, MI w/ White Lung

6/14/2015 Beachland Ballroom – Cleveland, OH w/ White Lung

6/15/2015 Mohawk Place – Buffalo, NY w/ White Lung

6/16/2015 Great Scott – Allston, MA w/ White Lung

6/17/2015 Bar Le Ritz PDB – Montreal, QC w/ White Lung

6/18/2015 Ottawa Explosion Weekend – Ottawa, ON w/ White Lung

6/20/2015 Lee’s Place – Toronto, ON @ NXNE w/ Girl Band, Mission Of Burma, California X, Grooms [info]

Obliterations released Poison Everything through Southern Lord in October 2014.

Stream and purchase Poison Everything HERE, and scope their video for “Mind Ain’t Right” at THIS LOCATION.

http://www.facebook.com/Obliterations

http://obliterations.bandcamp.com

http://twitter.com/obliterations_

Extreme Noise Terror – A Holocaust in Your Head

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Avoiding the pitfalls of repetition that normally afflict later punk-derived albums, A Holocaust in Your Head is a fire spitting, unhinged, high speed high intensity crust album. That is, if you ignore the first and last tracks, which are a political statement not a song and an insult track to the band S.O.D., respectively.

Extreme Noise Terror rip thourgh hardcore punk and primordial death metal riffs with reckless abandon. Dual singers give some variety to the vocal patterns. Though the political rhetoric in the lyrics can be tiring on some tracks, the music speaks for itself, portraying something quite like the album title suggests: a droning of madness with explosive texture within suggesting a writhing, disturbed and out of control chain reaction just under the surface.

Admittedly none of the musicians here demonstrate great instrumental prowess, but the sheer force of the music and performance makes this entirely irrelevant. It’s as if these fellows channeled their entire frustrated essences into this album; most punk albums get boring half way through, but by sheer energy alone A Holocaust in Your Head remains intense throughout. For the most part this album uses simple song constructions, but interestingly enough there is deviation from verse-chorus-verse format in some songs, which is rare for punk music.

Bands following and contemporary to this group were heavily influenced by Extreme Noise Terror’s hyper speed crust, which became a primordial influence on the rising grindcore movement. Even years after that genre branching and the death of hardcore, A Holocaust in Your Head remains not just essential listening from a historical perspective, but a thoroughly enjoyable musical experience that reveals a world of insanity lurking all around us still.

Assück – Anticapital

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Grindcore requires some magic to pull off convincingly in the first place, but it’s doubly hard because 95% of grindcore bands confuse music and message in importance. Grindcore is music first, message second. When the message comes first, grindcore becomes an incoherent advertising campaign, not art.

Assück’s strength is that they do not let the messages of the songs (which are often from a leftist angle) eclipse the power of their music. The music is the most important thing here. The first album from Florida’s purveyors of supreme grindcore is also their definitive work.

Few are capable of mastering a distinct fusion of styles, fewer still are able to take that fusion and lay it out coherently. Assück are one of those few. Hardcore, crust, death metal, thrash, and grindcore all register as present here riff­wise. Riffcraft is dissonant, harsh, constantly shifting in tempo (sometimes irrespective of the drums), and at times even catchy. There’s a sort of looseness to the playing that sometimes reminds of jazz improvisation, but not nearly as random.

Though a cliché, this album does evoke an aura of “organized chaos.” Assück are also masters of building and releasing tension, not just in songs but throughout the whole album. There are three distinct climaxes, one being “Feasts of War,” the next being the last section of “Civilization Comes, Civilization Goes,” and the third being the final track.

Assück know precisely how much material to pack into an album, as the album maintains its exertion of power throughout the fifteen minute run time. Anticapital is in the upper echelon of grindcore and deserves the highest recommendations.

Sadistic Metal Reviews 12-21-13

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What are Sadistic Metal Reviews? We think heavy metal has artistic value. Advertisers want heavy metal to be the token rebellion of future generations of consumers. We have truth and cruelty on our side, but they’ve got the money. Read between the screams for the rare non-failures…

ghost-if_you_have_ghostGhost – If You Have Ghost

Stop. When you hear the name Ghost (or Ghost B.C., since they got sued for unoriginality) don’t think “metal band.” Think hipster product. Ghost create yet another social status pandering musical widget for frappuccino enthusiasts to feel superior to the rest of us. If you go look at your local independent coffee haven, they are there raising their left fists above their foreheads whilst tilting a pinky finger outward and staring down their noses at the rest of us who aren’t as pop-culture savvy as their enlightened Adult Swim-watching kind are. Ghost added a Roky Erickson cover to have “street cred” amongst the garage/psych-rock crowd that hipsters associate with (because it’s rock music, but different…), but then play a series of pop songs from ABBA, Army of Lovers, and Depeche Mode to feign a sense of “open minded-ness” which reveals the true money-grubbing ways that motivate the constant churn of vapid media products. Sure to be a talking point amongst latte experts, this EP culminates in a live take of an original song which sounds like a bad excuse for carnival music.

crystal_age-far_beyond_divine_horizonsCrystal Age – Far Beyond Divine Horizon

With their seasoned membership which includes former Liers in Wait personnel, a Necrolord cover and an overblown concept, this “seems” like a death metal gem, but it isn’t. Coming off like Liers in Wait after hearing too much Yngwie Malmsteen and Nocturnus’ Thresholds, Crystal Age play an unfocused form of late 80s Forbidden style melodic speed metal with “extreme” updates in the form of raspy vocals, Egyptian themed tremolo riffs, and blast beats aplenty. Considering the scatter brained riff salad nature of these songs, it’s a surprise these guys would even have the aptitude for writing commercially viable AOR power metal later on in Hammerfall. Nothing too offensive, but at the same time random and uninspiring, this band could best be described as “spectacularly mundane.”

bat-primitive_ageBat – Primitive Age

This is a NWOBHM with the rhythms of an American punk band playing in honky tonks. Riffs are less ornate than most NWOBHM except for the fills which are classic early Iron Maiden and the like. It has a local band vibe and as a high-energy act fits more in a live bar setting than being heard on record. Songs vary between having the punk side win out and the metal side win out. On the whole, it’s above average quality with good energy, and songs that develop in very simple but not inept ways. Why is it here among the sadism, then? I like it, but I wouldn’t want to hear it often. It would be a great local bar band, A+. For listening in the world beyond, it’s not yet ready. Most reviewers won’t tell you this, because most reviewers go through a 2.5′ pile of CDs at three minutes each and like anything that they recognize as being like the other stuff they like.

ceremonial_age-the_book_of_truthCeremonial Oath – The Book of Truth

A Tampa death metal influenced project that made compromises to fit in better with the Gothenburg crowd of their scene at the time, Ceremonial Oath manage to wear their influences on their sleeves without living up to the promise of any one single influence, much less the hope that adding them together would make a better teen rebellion sonic product. There are some well developed counterpoint riffs and some of the tracks have interesting structures but, aside from the awesome artwork provided by former At the Gates guitarist Alf Svensson, this doesn’t hold up well over time or when compared to other releases from it’s era. Like a less worthwhile and stadium rock cheese infused Swedish counterpart to Shadows of the Past by Sentenced, but with more rhythm riffs, The Book of Truth is best judged by its cover and recycled early.

abramelin-transgressing_the_afterlifeAbramelin – Transgressing The Afterlife – The Complete Recordings 1988-2002

This box set, lovingly released by Century Media on 3 CDs or 5 LPs, is a boon — if you like Abramelin. I am totally divided on this band, since they have many great ideas for song construction, but can’t get over the hurdle of writing obvious and somewhat painfully blunt and directionless riffs, which leaves the end result as a lot of potential left in the hands of implements too crude to realize it. This seems to be a national characteristic of Australian metal which often has great ideas for songs but doesn’t have the technical power of the Americans or the melodic flair of the Europeans that enables it to reach those goals. The production on these restored demos, 7″ records, live tracks and album grooves is amazing and this set does great credit to Abramelin. I just can’t see myself listening to it again.

solefald-pills_against_the_ageless_illsSolefald – Pills Against the Ageless Ills

Let me tell you something about the term “avant-garde”: it works when other people use it to describe you. When you use it to describe yourself, it sounds like an excuse for low quality. Claiming to be “avant-garde”, Solefald play a style of black metal that uses the raspy vocals, thin guitar tone, and fast playing typical of the genre, but nothing else from black metal persists here. Especially not, you know, coherent songwriting, melodic development or atmosphere that isn’t a mile wide and an inch deep. Like Opeth, Solefald use “metal” sections in juxtaposition to “outside” elements in order to create “contrast” which is apparently the opposite of writing a song. This results in a compilation of new wave, rock, and synthpop elements superficially dressed up as black metal, but it’s like a bag of puppies and snakes fighting it, i.e. visible from a mile away as not being in any way unified. Listening to this, one can imagine Ulver, Enslaved, Opeth, and Dimmu Borgir sitting around a conference table and patting each other on the back to see how, like AIDS, their muzak has spread its “influence” which will ensure the ruining of metal beyond them. After us, nothing but pop brain-death, as far as the eye can see…

cadaver_inc-disciplineCadaver Inc. – Discipline

Discipline is not too bad for a late model black metal aesthetic-ized theatre of blasturbation. The problem is the songs are way too similar for their own good and it gets grating, not because of style, but because of monotonously linear songcraft. Considering guitarist Anders Odden’s (playing here under the “Neddo” alias) imaginative and exploratory playing on Cadaver’s In Pains album, Cadaver Inc. seems like a waste of talent as he tries to make a more popular style that is literally too simple for his brain to do well. The music is worthier than Marduk or Dark Funeral, more heavily favoring a grindcore heritage than throwing pop jingles under blasts. Still, this band will perhaps be remembered more for its bringing of underground cynicism and morbidity into the “.com” era in the form of a satirical website than its music.

arvas-into_the_realm_of_the_occultArvas – Into the Realm of the Occult.

Good riffs, random order. Combine Bathory Blood Fire Death with Ancient The Cainian Chronicle. The result is black metal with a heavy metal feel and while it can build atmosphere, it can’t develop it, thus feels incomplete and deflated like early Satyricon, both in melody and song structure. This is too bad because there are some quality riffs on here, nothing groundbreaking but clearly showing a fair amount of thought. There are also some borrowed riffs which when used too blatantly without being in a new context can crush the atmosphere achieved. Still, the feeling here is that this band has a huge amount of potential but needs an editor to put the riffs in the right order to develop the moods so adroitly evoked.

karmatik-humani-tKarmatik – Humani-T

When something gets trendy, like metal, everyone else starts trying to shoehorn their own genre into it. Karmatik is basically a lite progressive band that like guitary riffs, but has nothing in common with metal other than a few moments of speed metal riff before the band gets back to the real business, which is extended space jams. They do a good job of this, although its somewhat personal nature will probably appear a bit cheesy to a metalhead. The hard rock riffs here are, for all that this band likes to be progressive, of extremely well-known types and so there’s not much to listen to there. Like other bands who have become metal when they wanted to be prog, this band shines when they’re doing what they enjoy, which is the space jam parts. This should probably be referred to a prog-rock audience, but their criticism will probably be most severe for the metal parts as well, since they are the weakest link here.

bones-sons_of_sleazeBones – Sons of Sleaze

One of these comes along every few years. In the late 1990s, it was Driller Killer. Remember them? ME NEITHER. Bones is late-model grindcore set up to have the energy and listening appeal of a late hardcore band. The embrace of sleaze/perversity is almost always a red flag that a band has zero in terms of ideas about life, thus zero in terms of musical ideas that aren’t based on what another band did. In this case, it’s a crying shame because these guys are good songwriters who can pump out quality (but not groundbreaking) grinding riffs. These songs hold together, have emotional content and are memorable, for the most part. The problem is that like Hollywood stars they don’t connect to anything but themselves.

reverted-sputter_the_wormsReverted – Sputter the Worms

Despite attempts to appear otherwise, this is LA strip styled hair metal re-shaped with modern sludge/metalcore drumming and a few aesthetic touches such as an alt-rock influence in the vocals. However, it’s the hard rock riffs from the late 1970s with just enough groove to slide into the vocals and the decadent simplicity mated with period touches of guitar virtuosity, as if showing a once-vital civilization under the collapsed ruin. It’s not bad but there’s no real reason to listen to it either. I am always repulsed when bands try to disguise their inner nature, and also, when metal bands try to dumb it down to the point of appealing to a rock audience. Just be a damn rock band. And unleash that guitarist. There’s a lot of talent here in mating up these riffs, keeping up with the drums, and making the whole thing work. Unleash some solos, go Van Halen and play more of those epic riffs that sneak in toward the end of the songs. The vocalist is too dominant, as is the giddy slaphappy shuffle drumming, which detracts from any attention span the listener might have had. Then again, if you’re marketing to morons, that’s a good bet.

Interview: Wan

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Swedish band Wan recently released Enjoy the Filth on Carnal Records, creating an album that’s most similar to 1998-faire like Impaled Nazarene Latex Cult and Disfear Soul Scars.

As Wan is trying to break in to the post-modern metal scene, where outside genres often get disguised as metal for the sake of riding the coattails of black metal’s 1990s notoriety, they are emphasizing their metal nature and associating with black metal.

We were fortunate to be able to catch a few words with Wan, who write to us from the darkened winter wilderness of Sweden.

When did Wan form, and what influenced you at the time?

As the song “Day of Reckoning” suggests, we formed in July 2009 with the aim to celebrate the oldschool metal scene. The influences are as obvious as they are filthy. Bands like Venom, Bathory, Celtic Frost have a deep impact in our minds and in our tunes.

Are the members of Wan metalheads of long standing, or is this a recent discovery?

We are four old bastards who have been breathing, eating and crapping metal for ages!

What other types of music do you or have you in the past listened to?

Some of us emerged from the early punk I guess. Personally I enjoyed different types of music as a youngster. Depeche Mode was a band that I liked a lot, and I still think some of their earlier stuff is great.

Coming from Sweden, which is a tiny country from which many important metal bands come, it seems it might be difficult to get known, like the bar is higher. How do you hope to overcome this?

As you say, there’s a lot of quality bands hailing from our dark regions. To be honest there’s even more shitty bands as well that, in my opinion, never should have been! So yeah, there’s quite a competition in the scene, but we’re not going to do anything other than to let our music speak for itself. Some people will enjoy our filth, some will be ignorant bastards.

Were the members of Wan active in other bands or artistic activities before Wan? Can you tell us about these?

We have all been in numerous bands and acts throughout the years. The list would be long and bore your readers out of their minds! It has been various styles anyway, but always metal or dark music in one way or another. Also at the present time we keep ourselves busy by playing in other bands. Not gonna ramble any names though… If you’re interested you’ll find out.

This is an awkward question, but I must ask: why do you classify Enjoy the Filth as black metal when it sounds more like late-period hardcore? Do you know of any other black metal releases that sound
like this, and how do you separate them from hardcore bands like Driller Killer, Disfear, etc?

Hmm… we obviously don’t share the same musical references. There’s a lot of punk influences within our music, but all in all I’d say that we sound a whole lot like Venom, classic Bathory and Darkthrone. Rock ‘n’ roll blackmetal that fuck bands like those you mention in the ass!

Enjoy the Filth inspired me because it seems very deliberate; there are no random riffs or bits out of place. How do you write songs, and what’s your “quality control” process?

The songwriting is more like a beerswinging metal process. We just meet up and create our songs more or less spontaneously. This is who we are and the kind of filth we have inside of us, so it comes rather naturally.

How does Enjoy the Filth differ from your earlier release, Wolves of the North?

It differs in the sense of production and that the drum-machine thankfully got a knee in the crotch, and Dimman did one hell of a job! Music and lyricwise it don’t alter that much.

Do you think as a practical matter that a black metal scene still exists, or has it been absorbed by other forms of music?

The underground scene as it once was doesn’t exist today. Still there’s a big metal scene in Sweden even if the focus lies elsewhere these days. The genuine music and minds involved will never be absorbed or replaced by any other forms, and will forever stand strong!

What’s next for Wan? Will you tour on Enjoy the Filth, and/or write more music?

We sure hope and aim to go out on some live performances. A few organizers has showed interest. And perhaps we’ll get together and spit out some new material in the inspiration of the approaching dark cold winter.

If someone wanted to understand Wan, what bands and albums would you recommend they understand first?

Early Venom, Bathory, Hellhammer, Celtic Frost as mentioned before. If you would prefer some more “up to date” bands, I’d recommend you to torture your ears with acts like Aura Noir and Styggelse.

The origin of all underground metal

discharge-hear_nothing_see_nothing_say_nothingSuppose that you’re a dying society (“the human race was dying out / no one left to scream and shout” – the Doors) and that you decide to give it one last hurrah. To try honesty instead of manipulation.

You might come up with punk music. It strips out everything that reeks of manipulation. The good production, gone; the complex chords, gone; any pretense of musicianship, out the window.

But then people realize that you’re going about it backward. You can’t change your methods to change your goal. You have to change your goal. That means you’re thinking about composing music in a new way, not just how you’re going to play differently with something rather familiar.

This lets loose the dogs of war.

No longer is music carved from a known pattern; the song is the pattern, and it obeys no rule other than its content. Face value is made secondary to internal value. Like it is in human, whether we have souls or not.

This is what Discharge did to the world of punk — and later, to metal:

Musically, punk’s first wave hadn’t been all that far removed from regular rock’n’roll. “God Save the Queen,” with its hummable melody and simplistic chord changes, is clearly a relation, albeit distant, of Chuck Berry and the Rolling Stones. The difference is in the attitude, in Johnny Rotten’s adenoidal snarl.

Discharge’s revamped version of punk bore little resemblance to anything that had come before. It was faster, harsher, and often almost entirely lacking in melody. The riffs were generally three-chord affairs, but they were played at warp speed, accompanied by a rumbling bass and a merciless, galloping drumbeat. The songs rarely topped the two-minute mark. As Garry Maloney, who drummed on some of the band’s best recordings, explained to a ‘zine called Trakmarx, “We just embraced speed—the concept—not the drug—took it to its logical limit.”

Away went the blues scale, playing in uniform musical measures, and having pop song format work for you. Instead, the new vision was the lawless chromatic scale, a lack of key and thus of soaring bridge and chorus, or even any fixed song format. It was repetition made into its own undoing, a type of ambient music made from noise.

Rock ‘n’ roll died with Discharge. Others, like Amebix and The Exploited, followed. On US shores the Cro-Mags and thrash (DRI, COC, Cryptic Slaughter, Dead Horse, Fearless Iranians From Hell) further put metal into punk. With metal’s phrasal riffs and punk’s lack of structure, music got closer to ancient times.

Suddenly, the melody determined the song, and since the songs were topical, the melody was determined by the idea. Like ancient Greek dramas, where the chorus sang poetry as the story was acted out on stage, the new punk-metal hybrid entered the world of motifs and mimetic meaning, where art imitates life to tell the story of a journey or adventure and how it changed those who sallied forth.

The end of the second song, nearly eight minutes in, elicited a weak cheer, a few claps, and a robust chant of “D.R.I.”—a local thrash band on the rise, which had played earlier that night.

This was the new legion, thrash and underground metal (death metal and black metal), and it ushered in a new era. Where music was plain-spoken like punk, but mythological like metal. Where it took metal’s criticism of human behavior and used that to explain punk’s extreme political dissidence. Where people started looking at what they’d die for instead of what they’d live for.

Since that time, metal and punk have both gone through many generations. None have gotten very far from those originals who broke free however. They had to destroy before they could create and, when the dust of destruction and subsequent self-destruction finally settles, creation will begin anew.

http://www.youtube.com/watch?v=3DmSbqmJaig

Call of the Void – Dragged Down a Dead End Path

PrintBack in the day, we would have called this hardcore. It doesn’t use metal riffs, and unlike metal songs, it doesn’t build an atmosphere of heaviness. It throws out a sense of distraction and then hammers you with it. Not surprisingly, it’s verse-chorus all the way in riff pairs, and the vocalist does that shouted vocal that sounds like a frustrated drunk person trying to explain something.

Much of it is expansive hardcore in the style of later Disfear with some overlap with newer Napalm Death, meaning that the ranting eventually picks up intensity and you get a trudgy-churny part over which there’s meaningful chanting. It isn’t bad at all. However, more than about four minutes of it results in scrambled brains, because it’s essentially about hammering out one message and then looping it.

This might appeal to fans of bands like Tragedy who want poignant moments of voices raised in protest with their riffs. It makes the mistake all modern music does, which is that by turning all the intensity up to eleven, it ends up with an intensity of a constant one as it drones on in the background. All instruments are competent.

Antigama – Meteor

antigama-meteorHardcore music shows us the paradox of the individual and the group. The more individualistic someone is, the more they want the group to like them. But to do that, they need to fit in, even if being ironically “different.” This phenomenon ate up hardcore music as former anarchists found out that soliciting support for their bands was a lot like, well, capitalism and politics.

Since that time, stretching from the dawn of the 1980s to late in that decade, hardcore has been contorting to find a new voice for itself. The best candidates came out of the late 1980s post-hardcore bands, who essentially “got postmodern” by deconstructing music into lots of simple bits put together into something bigger. But instead of becoming complex, it became disconnected, dissassociative and chaotic.

After that point, and the onslaught of grindcore, hardcore headed further into the breakdown model. How chaotic could something be before it fell apart? In the late 1990s, they reinvigorated the genre with a dose of metal, which gave it more complex riffing, but still the songwriting aspect of this new genre was elusive. One reason some bands around here get praised is that they’ve tried to make songs coherent again.

Into this drops Antigama, who use the techniques of the current time but are trying to get back to the punk ideal of simplicity. They use the math-metal slash “progressive hardcore” (emo/indie) riffs as much as the next band, and they feature the frenetic vocals that match eight syllables to each beat and stay slightly ahead of the beat as if commanding it like propaganda through megaphones. However, these songs are at heart very much in the classic hardcore vein of verses and choruses and, when a point has been established, some kind of break (not breakdown) before repeating.

The problem is that the “collage” mentality afflicts them still. Under this mentality, it’s bad to have too much focus on any one thing, but better to be open to everything. Thus you mix it all in your music, throwing in as many radically different things as you can to maintain high contrast. Antigama do this more as the album goes along (was this written in studio?) tossing in bits of hard rock, jazz, blues, and other genres.

The first half of this album is really the part to listen to, which is some good and focused hardcore dressed up as metalcore (the hybrid of metal and hardcore that focuses on high contrast through abrupt changes to unrelated riffs). If this band thought through this situation further, they might pick up where hardcore left off actual experimentation, and try some more complex but structured song forms or more articulated riff styles.

Like most record reviews, this one is essentially a “it’s good if you like this style.” This means the band are competent, but when dialogue is about style only, it means that the content wasn’t there enough. What did this record express? Better than average participation in metalcore by a band that should’ve written hardcore music instead and completed the album before getting into the studio.