In my roundup of the Converge/Genghis Tron show from last Friday I mentioned that Converge played two new tracks from their upcoming album. Turns out Metal Injection filmed the set and will be posting it in installments, which is pretty rad. Here's one of them, head over there to check out the rest of the set as they get it up (tee hee)...
Showing posts with label hardcore. Show all posts
Showing posts with label hardcore. Show all posts
31 March 2009
28 March 2009
Converge, Genghis Tron @ Europa, 3/27/09
Last night, as most nights at this Polish dance club-cum-hardcore venue, was an odd one. Six bands on a lineup that featured three who hold their own as headliners. According to the bill there were to be three bands (Ceremony, Rise & Fall, Pulling Teeth) before even Genghis Tron took to the stage. Coliseum was to follow GT and then Converge would top it all off.
A rather large cohort of us pregamed while the openers did their thing. None of us had heard of any of them (not that that means much), but we figured with limited energy to use, we'd rather spend it all on the big fellas. We got word that GT was playing at 11, so we headed over just before that. When we arrived some medicore hardcore-ish band was playing and nobody could tell us who they were (which should say something I think).
Tron set up their lights and keyboards then proceeded to rock. I went to college with these guys and even played with Hamilton (in a band called Storm the Bastille, hence the name of this blog). Though I supported these guys early on, I wasn't a huge fan of their early material and it really took me until last year's Board Up the House to enjoy their work. That album is pretty brilliant and now I'm getting more into Dead Mountain Mouth though I think their latest is a much more coherent, enjoyable listen. It's still challenging and disparate, but the elements all congeal perfectly whereas the earlier stuff was a bit jagged and awkward.
Anyway, I'm super stoked that GT have done so well for themselves and made a record that a lot of folks pegged for best of '08. They are awesome live and if anyone is on the fence about them, take a listen to Board Up the House. Oh, and they threw in a Big Black cover for good measure. I can't remember the title, though, because I'm lazy and stupid. But it was awesome.
When GT's set was done, they shocked the whole lot of us by announcing that the mighty Converge was on next. What happened to Coliseum? The shitty band we entered to, though they were using Coliseum's equipment, was emphatically not Coliseum. This was a huge letdown, as a bunch of us really wanted to see them. The last time I tried to catch them—at the old NorthSix—I got booted for immaturely bodyslamming a guy who kicked me in the back during the set. I don't really engage in pit antics, especially now, so I figured I'd last the whole bout this time. So it sucked that we missed them. The end.
Converge came on and took maybe three breaths between songs their whole set. It was one into the next which made for a pummeling, energy-filled performance. I've been lucky enough to have seen these guys for quite a few years now, but this was one of their best shows. The pit wasn't overwhelming to the point of ruinous, so that was a major plus, but they also pulled out the usual crowd faves like "The Saddest Day", "Locust Reign" (a particular favorite of mine), a couple from Jane Doe ("Concubine", "The Broken Vow"), a few from You Fail Me ("Last Light", "Eagles Become Vultures", and a bunch of new ones from No Heroes ("Heartache", "No Heroes"). I know I'm forgetting a couple at this point, but they also managed to squeeze in two brand new as-yet-untitled songs from the album they'll be recording in May. Both were fucking rippers, so there's no sign of letup from these guys. As long as Jacob refrains from singing on the upcoming record it should be all gravy.
~ ~ ~ ~ ~
It would be remiss of me to mention the origins of this blog and not post the actual song. Sure, I'm totally exposing Hamilton's pre-GT life (sorry dude), but I can also lay my claim to being GT's 4th member, as I'm 87% positive that my (lack of) drum skillz led directly to Ham's use of programmed drums. (No, I no longer play drums, as a few years ago I returned to the guitar, which I am much, much better at.) If anyone likes this Storm the Bastille (not to be confused with the PA screamo band) track, get in touch.
Storm the Bastille - "Spaceship Bastille"
A rather large cohort of us pregamed while the openers did their thing. None of us had heard of any of them (not that that means much), but we figured with limited energy to use, we'd rather spend it all on the big fellas. We got word that GT was playing at 11, so we headed over just before that. When we arrived some medicore hardcore-ish band was playing and nobody could tell us who they were (which should say something I think).
Tron set up their lights and keyboards then proceeded to rock. I went to college with these guys and even played with Hamilton (in a band called Storm the Bastille, hence the name of this blog). Though I supported these guys early on, I wasn't a huge fan of their early material and it really took me until last year's Board Up the House to enjoy their work. That album is pretty brilliant and now I'm getting more into Dead Mountain Mouth though I think their latest is a much more coherent, enjoyable listen. It's still challenging and disparate, but the elements all congeal perfectly whereas the earlier stuff was a bit jagged and awkward.
Anyway, I'm super stoked that GT have done so well for themselves and made a record that a lot of folks pegged for best of '08. They are awesome live and if anyone is on the fence about them, take a listen to Board Up the House. Oh, and they threw in a Big Black cover for good measure. I can't remember the title, though, because I'm lazy and stupid. But it was awesome.
When GT's set was done, they shocked the whole lot of us by announcing that the mighty Converge was on next. What happened to Coliseum? The shitty band we entered to, though they were using Coliseum's equipment, was emphatically not Coliseum. This was a huge letdown, as a bunch of us really wanted to see them. The last time I tried to catch them—at the old NorthSix—I got booted for immaturely bodyslamming a guy who kicked me in the back during the set. I don't really engage in pit antics, especially now, so I figured I'd last the whole bout this time. So it sucked that we missed them. The end.
Converge came on and took maybe three breaths between songs their whole set. It was one into the next which made for a pummeling, energy-filled performance. I've been lucky enough to have seen these guys for quite a few years now, but this was one of their best shows. The pit wasn't overwhelming to the point of ruinous, so that was a major plus, but they also pulled out the usual crowd faves like "The Saddest Day", "Locust Reign" (a particular favorite of mine), a couple from Jane Doe ("Concubine", "The Broken Vow"), a few from You Fail Me ("Last Light", "Eagles Become Vultures", and a bunch of new ones from No Heroes ("Heartache", "No Heroes"). I know I'm forgetting a couple at this point, but they also managed to squeeze in two brand new as-yet-untitled songs from the album they'll be recording in May. Both were fucking rippers, so there's no sign of letup from these guys. As long as Jacob refrains from singing on the upcoming record it should be all gravy.
~ ~ ~ ~ ~
It would be remiss of me to mention the origins of this blog and not post the actual song. Sure, I'm totally exposing Hamilton's pre-GT life (sorry dude), but I can also lay my claim to being GT's 4th member, as I'm 87% positive that my (lack of) drum skillz led directly to Ham's use of programmed drums. (No, I no longer play drums, as a few years ago I returned to the guitar, which I am much, much better at.) If anyone likes this Storm the Bastille (not to be confused with the PA screamo band) track, get in touch.
Storm the Bastille - "Spaceship Bastille"
18 March 2009
Kylesa - Static Tensions
Man, I've missed seeing Kylesa the past couple times they've come through town and now I'm feeling kinda silly about being lazy like that. In some fashion or another I seem to have missed every advance review of their latest, Static Tensions, that just came out yesterday. I knew it was coming, but I just didn't read anything about it. That's probably for the best anyhow, since my ignorance left me with no biases going into this listen.
Gotta say I'm quite pleased. They still have the awesome sludge/psychedelic/hardcore thing going on, but they up the ante a bit by throwing in some more metal riffs into the mix. I've always enjoyed Kylesa's vocals; Phil's and Corey's gruff, tuneful deliveries contrast beautifully with Laura's haunting, angel-of-doom-in-a-nightmare singing. I also love that Laura just plain piledrives her own growls in there for good measure just to revel in the fact that she can sing and scream in equal measure. I could be mistaken but I think she has more parts on this new one than I remember, though I'm most likely wrong. Anyway, I really dig it.
When I first heard that they'd be opening—alongside Intronaut, whose latest, Prehistoricisms is rapidly growing on me—for Mastodon I was a bit taken aback. There's the whole heavy Georgia thing they share, but Kylesa has always been more "hardcore" in my mind than "metal" (not that they're exclusive). This album changes that for me, as it's a much more "metal"-ish release and snuggles them nicely in that ambiguous zone between labels that's often the signifier for an original, noteworthy act. Not sure why they have two drummers, still, as I couldn't notice any points where it's actually necessary (no Dale & Coady f'n around anywhere to be heard) and, thus, is superfluous. But the drumming is solid, if unspectacular and provides a foundation for the other three members to experiment a little more (perhaps this aspect is why they're still "hardcore" in my head).
Definitely worth picking up, in my opinion, and this may have pushed me back into the "yeah, I'll hit up the Mastodon show after all" camp. Well done and now I know what I'll be listening to on my way to work tomorrow.
Gotta say I'm quite pleased. They still have the awesome sludge/psychedelic/hardcore thing going on, but they up the ante a bit by throwing in some more metal riffs into the mix. I've always enjoyed Kylesa's vocals; Phil's and Corey's gruff, tuneful deliveries contrast beautifully with Laura's haunting, angel-of-doom-in-a-nightmare singing. I also love that Laura just plain piledrives her own growls in there for good measure just to revel in the fact that she can sing and scream in equal measure. I could be mistaken but I think she has more parts on this new one than I remember, though I'm most likely wrong. Anyway, I really dig it.
When I first heard that they'd be opening—alongside Intronaut, whose latest, Prehistoricisms is rapidly growing on me—for Mastodon I was a bit taken aback. There's the whole heavy Georgia thing they share, but Kylesa has always been more "hardcore" in my mind than "metal" (not that they're exclusive). This album changes that for me, as it's a much more "metal"-ish release and snuggles them nicely in that ambiguous zone between labels that's often the signifier for an original, noteworthy act. Not sure why they have two drummers, still, as I couldn't notice any points where it's actually necessary (no Dale & Coady f'n around anywhere to be heard) and, thus, is superfluous. But the drumming is solid, if unspectacular and provides a foundation for the other three members to experiment a little more (perhaps this aspect is why they're still "hardcore" in my head).
Definitely worth picking up, in my opinion, and this may have pushed me back into the "yeah, I'll hit up the Mastodon show after all" camp. Well done and now I know what I'll be listening to on my way to work tomorrow.
11 October 2008
Torche - Meanderthal
I know this has been out for a few months already and the dudes have been touring in support of it, but I just got my hands on it. Let me say it is super crush smashed face floor writhing awesome. Get it if you don't have it. Could you call it "stoner pop post-metal"? I don't know, I think I just did. There are vocal harmonies, catchy dirge riffs, slow parts, fast parts. Hell, it's almost like it made me forget how to write out complete thoughts.
Dude, this record will Palin-ize your brain! Yowzers!
02 August 2006
A day off 'cos of heat? Sure!
Due to the intense east coast heatwave and the fact that I work in a poorly ventilated warehouse with no AC, I was told I didn't have to come into work today. This means that I can put up another sweet post. Me posting on consecutive days? When did that happen last, what with my laziness and all?
Comadre - The Youth.
Blood Town Records
Isn't it strange that when a band stitches into its songs a patchwork of identifiable genre references and does it well we give them credit for paying homage to the innovators, but when they do it poorly they're called copycats? Well, I'm left stuck thinking about that because of The Youth. Comadre is a band of fine East Bay gentlemen who are doing the whole screamo hardcore thing at a time when the subgenre has grown out of its exuberant underground childhhood and into an uncomfortable mainstream adolescence. While it became trendy a couple years back for young guys to copycat this stuff to get girls and seemingly shirk any DIY obligations, most of the originators had long since moved on to more diverse and (surprise, surprise!) novel projects.
I'm pleased to report, then, that Comadre makes inspired, turn-of-the-millenium music and, for all I can tell, stick to their DIY guns wholeheartedly. Listening to these cats you get a near complete picture of where a band like Hot Cross could have progressed after their A New Set of Lungs EP (and if they had better drums and vocals. "It ain't bad rap, I just don't feel it. There I said it.") had they taken on some of the darkness and speed of pg99. It's great that an American band is able to capture this sound because most of the quality screamo material is coming from Europe right now (France in particular). Aside from the completely unnecessary cover of "I Think We're Alone Now" (When I saw them they covered The Refused's "Deadly Rhythm" and it got me so psyched. I'm glad it was that instead of "I Think We're..."), The Youth. gets everything pretty much dead on. It's a couple years late, but whatever, it's quality material from guys whose heads and hearts are in the right place.
This is the bands first full length from late 2004 and apparently their new release, Burn Your Bones is out now. I don't have that one, though, so I can't review it. Hopefully it's as good as this one.
Comadre - The Youth.
Blood Town Records
Isn't it strange that when a band stitches into its songs a patchwork of identifiable genre references and does it well we give them credit for paying homage to the innovators, but when they do it poorly they're called copycats? Well, I'm left stuck thinking about that because of The Youth. Comadre is a band of fine East Bay gentlemen who are doing the whole screamo hardcore thing at a time when the subgenre has grown out of its exuberant underground childhhood and into an uncomfortable mainstream adolescence. While it became trendy a couple years back for young guys to copycat this stuff to get girls and seemingly shirk any DIY obligations, most of the originators had long since moved on to more diverse and (surprise, surprise!) novel projects.
I'm pleased to report, then, that Comadre makes inspired, turn-of-the-millenium music and, for all I can tell, stick to their DIY guns wholeheartedly. Listening to these cats you get a near complete picture of where a band like Hot Cross could have progressed after their A New Set of Lungs EP (and if they had better drums and vocals. "It ain't bad rap, I just don't feel it. There I said it.") had they taken on some of the darkness and speed of pg99. It's great that an American band is able to capture this sound because most of the quality screamo material is coming from Europe right now (France in particular). Aside from the completely unnecessary cover of "I Think We're Alone Now" (When I saw them they covered The Refused's "Deadly Rhythm" and it got me so psyched. I'm glad it was that instead of "I Think We're..."), The Youth. gets everything pretty much dead on. It's a couple years late, but whatever, it's quality material from guys whose heads and hearts are in the right place.
This is the bands first full length from late 2004 and apparently their new release, Burn Your Bones is out now. I don't have that one, though, so I can't review it. Hopefully it's as good as this one.
01 August 2006
Nothing to do with the Middle East.
Fascist Fascist - s/t
Reptilian Records
So this is one that I got here a little while back, but didn't get around to at the time. In the months that have passed, though, this band has seen some lineup changes. Most prominently, vocalist Ellie Beziat has moved on --and hopefully we'll hear from her on some new projects, because she's what made this band for me. Her exuberance and attitude reminded me of an even more pissed off kathleen hanna fronting a band that sounds alternately like Black Flag and Career Suicide. This is no female-fronted gimmick band, dammit, she IS the band. Musically they're not really anything special, it's basically uptempo punk rock that's a bit on the sloppy side. But the vocal delivery and the message in the lyrics (and I'm not sure who is responsible for those) is what truly stands out here. If their live show was anything like the record, they must have been fun as hell. I think the remaining members will have a difficult time replacing Ellie so I'm very interested in what any new material will offer. At least check out this album, though.
Reptilian Records
So this is one that I got here a little while back, but didn't get around to at the time. In the months that have passed, though, this band has seen some lineup changes. Most prominently, vocalist Ellie Beziat has moved on --and hopefully we'll hear from her on some new projects, because she's what made this band for me. Her exuberance and attitude reminded me of an even more pissed off kathleen hanna fronting a band that sounds alternately like Black Flag and Career Suicide. This is no female-fronted gimmick band, dammit, she IS the band. Musically they're not really anything special, it's basically uptempo punk rock that's a bit on the sloppy side. But the vocal delivery and the message in the lyrics (and I'm not sure who is responsible for those) is what truly stands out here. If their live show was anything like the record, they must have been fun as hell. I think the remaining members will have a difficult time replacing Ellie so I'm very interested in what any new material will offer. At least check out this album, though.
12 July 2006
Movies + Music =
Graf Orlock - Destination Time Yesterday
Level Plane Records
13 June 2006
4 stars
LA's Graf Orlock—fittingly named for the vampire in the film Nosferatu—specialize in what they've dubbed "cinema grind." This is infectious grindcore that, while not absurdly technical, is advanced in its production and presentation. The "cinema" aspect? Well, leave it to a bunch of Angeleños to gain inspiration from late 80s and early 90s action flicks. Each track on Destination Time Yesterday begins with a sample to introduce chaos. Surprisingly this tactic doesn't get old and this can probably be attributed, actually, to each song containing a sample. In that manner the samples seem to be more integrated into the overall album structure.
Now, the question should be raised, "Do you know which films each of the samples comes from?" And I must answer, "Certainly not." I've never been much for action movies, but I will say that I completely understand the use of the motif. Most of the films from this era were apocalyptic, dystopian and "Futuristic" (as in technologically-engaged). Graf Orlock has taken these themes and run with them to create an album that is brutal (there's that word again!) and totally unsentimental from the lyrical content through the instrumental attack. The fantastic album art is also similarly in"spy"red (hint, hint). Overall another great release from level-Plane that adds diversity to their label lineup.
Level Plane Records
13 June 2006
4 stars
LA's Graf Orlock—fittingly named for the vampire in the film Nosferatu—specialize in what they've dubbed "cinema grind." This is infectious grindcore that, while not absurdly technical, is advanced in its production and presentation. The "cinema" aspect? Well, leave it to a bunch of Angeleños to gain inspiration from late 80s and early 90s action flicks. Each track on Destination Time Yesterday begins with a sample to introduce chaos. Surprisingly this tactic doesn't get old and this can probably be attributed, actually, to each song containing a sample. In that manner the samples seem to be more integrated into the overall album structure.
Now, the question should be raised, "Do you know which films each of the samples comes from?" And I must answer, "Certainly not." I've never been much for action movies, but I will say that I completely understand the use of the motif. Most of the films from this era were apocalyptic, dystopian and "Futuristic" (as in technologically-engaged). Graf Orlock has taken these themes and run with them to create an album that is brutal (there's that word again!) and totally unsentimental from the lyrical content through the instrumental attack. The fantastic album art is also similarly in"spy"red (hint, hint). Overall another great release from level-Plane that adds diversity to their label lineup.
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