Artistic in their craziness, Shook Like Dead Men bring the hectic. As much of it as they could fit in their recent stint... The Five Solas EP. In todays music, it is hard to find hardcore that can paint such a beautiful canvas with true hectic hardcore atmosphere. Hardcore riffs, shrieking guitar effects, blistering drums, a thick bass line, and pure raw screams come at you like a swarm off bees. And if your a true hardcore kid, you fight these bees with swinging legs and elbows. And even if that style of musical body movement is not your forte', moving your head up and down will do just fine. Matter of fact, I know that is what you will do regardless.
"Slave < Master" immediately kicks off the record in fury of all that is Shook Like Dead Men. Leaving nothing to the imagination of who they are. With songs like this, Christian underground hardcore can be a sleeping giant (pun intended). "Tetelestai (It Is Finished)" starts off in an incredibly moving groove. With the same formula as the opening track, it amuses just the same, if not more, being my personal favorite track on the EP. "This Is How We Starve" slows down the momentum a bit in the middle of the EP. This song has the presence of an interlude disguised in a 6-plus minute worship song. Reminding all of us listeners as to why they do what they do, and who the glory ultimately is given to. The record then finishes out in two really solid songs in "Soli Deo Gloria" and "B.G.Y.A.S.", which both featuring guests. Nick Detty of Wolves At The Gate makes an appearance in the finale, "B.G.Y.A.S.", bringing a good performance to contrast the two vocal styles.
The Five Solas EP is raw in talent, and production, which is perfect for this brand of hardcore. Overall this record is extremely energetic. Exactly what you would expect from a band that grabs from the same box of goodies as bands like The Chariot, Norma Jean, and Every Time I Die. And if you are looking for another band to add to your mix of bands just named, look no further. Give them more time and Shook Like Dead Men with make their noise heard from house to house.
This is a house show on a cd. Do not pass up on this release.
4/5
Tuesday, August 20, 2013
All Became New
At Home In The Gutter
hardcore/punk
1. Frozen Over (feat. Patrick Scholz of From The Eyes of Servants)
Every once in a while you come across a band who is evidently anointed by God. Even in today's culture of Christian music it is still difficult to come across bands that seep His anointing in their music, even though they may be spreading the same message. Foreverlin does not fall into the generically bland of Christian rock, but brings the atmosphere of God with them with their combination of beautiful music and lyrics.
The album starts off with "Blueprints", an instrumental intro that builds an anxious anticipation for the album.
"A Thousand Umbrellas" immediately show us what they have brought to the table. Listening to the rest of the album you will know this; showcasing their instrumentation and hopeful lyrics. Immediately I found myself lost in the music. Not in a boring, bring on what is next kind of way, but in a still way, a way that finds you just listening to what has been made before you with what is Foreverlin.
The title track falls next in order, and is almost inexplicably gorgeous. Its power is clearly evident in the lyrics. Living a life in denial and thinking everything is going fine, but really, longing to see the King. It is delivered in such a way that brings the spirit of God through worship.
"Josephine" is an acoustic track put together softly, quietly, with love that softly tugs your heart strings like a baby tugs a mother's pant leg.
In the middle of the album is another instrumental track in "They Shall Run And Not Be Weary". Like the opening track it no doubtingly sets an atmospheric tone, but with this one being more upbeat and hopeful, with less anticipation and more satisfaction.
"Your love is everything", claims "Bound to Fail". Put together with hope, love, and positivity to explain the failing love of man and the perfect love of God.
"When My Voice Lost All Words" sounds like you are listening to the band perform in a dark echoic room, then listening more and more the band comes to light to put together a powerfully strong and catchy worship song. They have come to make a track that relates to us all, when we are in those times that we cannot find the words to say to God but yet are deep in the middle of His presence. You will find you with your eyes closed, with the chills, singing...worshipping along.
Piano and Peter's vocals and lyrical content are the focal point of "Take Heart", where he is softly but passionately singing of hope. "Take Heart" flows right in to "Keep Me Always" that delivers the same message of a pure hope through the positive scenery their music builds before you.
The album concludes with a heartfelt acoustic track in "A Father's Words". Whenever a band leaves the listener sad because the album had to end, you know it's a good one. But the sad feeling is only because the album had to end at some point. The album itself is filled with love, hope, and passion that paint a canvass of pure beauty. This album is 100 percent truth... true lyrics, true feelings, true presence, and true musicianship that does not rely on production in attempt to make the best record possible. Foreverlin, left their heart on their sleeves with this record and with that they will reach yours. Whether you are a Christian or not this is a record for everyone. It is filled a message that every person is in search for. A message that changes lives, reaches hearts, lifts spirits, and fuses individuals together for a greater purpose beyond themselves. Musically Foreverlin knows their niche and use that to build the overall atmosphere to each and every song. Red Cord Records found these guys early; perhaps they knew it was because they knew they did not have long before this band would reach the world. Foreverlin has made an outstanding debut record with "Long Lost". Everyone needs bands to listen to that does not fall under their go to genre. For all you Hardcore/Metal kids, Foreverlin should be that band.
5/5
Thursday, April 4, 2013
Toarn
Brood Of Vipers
metalcore
release date: April 1, 2013
1. The Blood Has Been Shed
2. Lions Become Lambs
3. Brood of Vipers
4. There's Something About Your Name
5. Separation of Body And Mind
6. Bloodstained Love Story
We all know somebody that has been asked by someone "why are you with that person" or "why do you like them?" And their response has been "I don't know, there is just something about him (her)." That person may have even been you in your middle school days....don't lie. This same scenario goes for Toarn, a band that seems to blend all aspects of the core genres. Why is this album enjoyable to me? I do not really know, there is just something about it, something about them that gets my head and hands moving to the sounds of this record.
The record kicks off with "The Blood Has Been Shed" which can come off as a little repetitive, and probably would have liked to see this song in the middle of the album. But really that is the only song I think this off. "Lions Becomes Lambs" is the complete opposite. It has different elements thrown in making this track more versatile and more enjoyable. This seems to flow throughout the rest of the record. The title track's intro kicks in with immediate mayhem and serves the position of being the titled track well. There is even some screeching guitar work similar to the old Korn days that make their way in this song. If I am the only person who sees that resemblance, then maybe I am dwelling in my high school past. Each song has its own element that makes the song enjoyable, whether it be cool catchy intros like "Brood of Vipers" and "Separation of Body and Mind" or a breakdowns that will get some physical body part moving, like in the ending song "Bloodstained Love Story", which is an extremely solid track in itself. Something I found underrated after listening were the drums. The drums silently flow the whole record together and glue each piece together.
Overall this is a good record for a band to build and grow on. A debut for most bands usually leans more towards a certain sound, but not here. Toarn has many roads to take in the next album from this record, while still being Toarn at heart. There is a lot of promise with this band, and with time they can hone their instrumental, mature vocally, and really make an impact in the Christian metal world.
With such breath taking cover art, one would assume the same reaction would come from the music. In alot of cases, the art work tends to out do the actual band... not here, not with Vices. A hardcore band from the mighty Australia.
"Vices Go!" the lead vocalist yells, and from then on the band pulls you in, weather your ready or not. In a genre that is filled with focusing on self-entitlement, antigovernment, anti-religion, and believing that the simple word of love will solve all the world's problems (among a million other things), Vices come with a message of pure positivity. Being a band of all Christians, they know the real meaning of love, and that it is above the human perspective. With the average song barely topping over 2 minutes, it may seem short for the norm, but it is just enough to get their lyrics across over the soundtrack of hardcore that leaves you day dreaming, sitting peacefully in the Blue Mountains.
The instrumentation is sharp and on point, the vocals are perfectly blended, with some surprisingly good lows sprinkled here and there to mix things up. The lyrics are raw and positive, even when explaining the lows in life, "in our failures... we found a home", exemplifies. "Devine" is a song I have been looking for in this music scene, specifically from Christians. Though it is not uncommon for Christian bands to stick up for their God, Vices say it in a way that is real, and address those who do not believe to stop cutting down Christian beliefs and forcing their unbelieving and ungodly beliefs on them. "Lines" is a song of complete surrender of soul to God, and ends out the record in sheer perfection.
There is nothing more attractive to a fan then a band that brings ruthless hardcore and melodies equivalent of the secular scene but with true lyrics, of true faith, love, perseverance, and brotherhood. Brought by a passion from all the right places. And as a new listener to this band, they have gained a lifelong fan because of this, and in all realness I pray that they never lose sight and lose this passion, focus, and meaning of their music.
This is in no doubt a beautiful record. It is such a great listen for any occassion and any mood, which is a rare thing to find. So press play, erase your mind of all of life's troubles, sit back and enjoy the view of the mountains.
The riffs kick in... "Let the kingdom come, let your will be done" follow soon after. Making it clearly evident where they stand in their beliefs, Killing Goliath pours their spirit into this 4 track EP. Hailing from The Netherlands, evident in the lead vocalist's accent, they aim to reach a European scene that desperately needs to hear their message. Something hardcore has done a lot is fall away from the true hardcore roots with all its punk elements, and go towards a more metalcore sound. Killing Goliath goes against that pattern and stick to the true hardcore structure. "Take Over" is straight to the point introducing their spirit filled sound. "All I Need" is a song that can hang with any hardcore band that has made it big; starting off slightly melodic then kicks it in gear. Probably the most solid track on the EP, if the end of this song does not get you jumping then your speakers are not loud enough. The most upbeat song, which is the shortest, follows in at just over 2 minutes long with " New Directions". The intro to "Lost The Way" automatically feels that it will be a more dark passionate song then the other three. And it surely is. It is not the heavy of the extreme metal genres, but the mood of this track is evident in the vocals, guitars, and even drumming. It ends in a way that shows that this genre really does have versatility.
This EP really did throw me off guard, I was not expecting it to be this solid, and it was such a pleasant gift. This is definitely a release for all true hardcore junkies to snatch up. They keep it raw, which is a trademark for the genre, with a great message, good instrumentation, and a good flow in atmosphere and overall feel of the EP. Spirit filled hardcore is alive, worldwide, and Killing Goliath is proof.
4/5
Monday, January 28, 2013
Phinehas
The Bridge Between
metalcore/acoustic
release date: January 21, 2013
1. Panhammer
2. Well If the Earths Are Stopped, Then the Fox Faces the Hounds
3. David And The Gate
4. A Pattern In Pain (Acoustic)
5. Endkindler
6. Crowns (Acoustic)
7. The Wishing Well (Acoustic) feat. Ann Marie Flathers
I am usually a little skeptical of metal bands that turn to doing acoustic releases. To me, it is a desperation sign to try to prove their musicianship. More often than not, I am usually bored with the outcome. Phinehas, however, has never heard of the word boring. It has been roughly a year and a half since we have heard anything new at all from them. In this day and age of music, that is almost unheard of, with bands pumping out new songs annually. And here we have "The Bridge Between EP" from the pioneers of mustache metal!
"The Bridge Between" opens with the same crushing attack that "The Godmachine" left us with, the same powerful screaming, harmonizing cleans, thunderous drums, and quitar work that sounds like Jason Combs has 15 fingers, with a few breakdowns sprinkled here and there. That is simply because the first three tracks are B-sides of "The Godmachine". Stereotypically B-sides are thought of as songs that did not make the cut, but with these three incredibly strong tracks I could not help but ask myself, "Why in the world were these not on The Godmachine"!? But that is fine with me, because they are now new to my ears. What I love about Phinehas is that they have their own style of belting clean vocals to go with their brand of metalcore, or may I say, mustache metal.
After "David and the Gate" is where I really became impressed. That whole skeptical thing with metal thing going acoustic thing, yea... well that was an immediate lost thought. Sean McCulloch was able to tweak his voice with adding a little range to mix with the acoustics to make such a beautiful arrangement. He did a superb job and really impressed me with how unforced he sounded, which is a downfall with a lot of bands that go acoustic.
"A Pattern In Pain" is one of their originals that they revised acoustically, along with "Crowns" and "The Wishing Well". And with all of these songs, they brought a raw emotion and passion that I have not heard in a long time. And with just under 3 minutes in, the 15 fingered man again takes his turn at his wonder and swoops you away to the end of the song. "Endkindler" is the only new material. It follows up nicely to the first acoustic track, flows perfectly, keeps the emotion living, and does not stick out and make it obvious that it is the only new track. Perhaps my favorite song and catchiest of the EP is "Crowns". It is so real, upbeat, yet, calm with emotion, and just flat out amazing. Since I have heard it, I have hummed "Kings of earth, bow down, and lose your crowns" endlessly. The EP ends out with "The Wishing Well". This song is the "softest" of the acoustics. It's flowered with piano which is a beautiful way to end out the EP.
I have not been able to get enough of these 7 songs. It is almost like they are teasing us until they release their new full length. Which seemingly, and clearly, I am eagerly anticipating. Phinehas fans have patiently waited for new music, and I know for sure this has satisfied their curiosity to what all the EP talk was about. And for the newcomers, and those who have not thoroughly been Phinehas followers, will enjoy this to, and hopefully grow an appreciation for their successful delve outside of metal.
Coming into this EP I have not heard much of Your Past, My Present's music, except for the few song leaks of this EP they were releasing on their Facebook, via Youtube, until the release. From those few songs I heard I immediately became a fan, and highly anticipated this EP.
The first thing I said to myself as soon as I started listening was... "Good Lord... them vocals". On the opening track, right after the opening crush of a breakdown, vocalist Matt Fortner immediately slapped me in the face with an amazing display of highs (the kind of highs that belong in some technical deathcore). The song from there continues to touch all elements... from the thumping riffs and breakdowns, to the cleans, even the electronic edit touches of today's metalcore and post-hardcore genre. The feeling of this song of an opening track was perfect, and had me stoked to hear what else this had in store for me. The second track, "A Conversation With Immortals" kept the momentum flowing smoothly. This track has a more progressive metalcore feel to it. They nail the progressive sound really well, and I prefer it much more than the post-hardcore elements of the EP. The cleans in this song were also really well used; really to the point where I favor them more than the opening track. After this song was over, I was almost sure that this was never going to slow down and there would not be a weak track on the EP. Then the next song started... not that I am not a fan of songs that tend to slow down the heavy and go for the more emotional feel, nor am I not a fan of some electronic touches in metal, and lastly it is not that I am not a fan of cleans or all clean songs either. All of these things are what make up the title track. For me, off pace songs are good ways to stretch your musicality. For most albums they are a good finishing touch, and with that I believe for such songs, song placement is crucial. As the third song and dead center of the EP, I believe it was not the best place. It abruptly slowed the momentum and cohesive flow, and probably would have better fit as second to last or the ending track. I also did not think it hit an emotional level that the song could have reached.
With "Kingdoms" the EP picks up where "A Conversation With Immortals" left off, but does not stick out. "Blood And Sand" fades in, and after about half way through I noticed a change in this song's and the previous in the cleans compared to the first half of the EP. They sounded different, they now sounded like a more mature metalcore band with these cleans, than the post-hardcore cleans that were displayed in the first few songs. This works way better with the sound they were portraying, but... "Viles" then switch them again, back to the sound of the opening track. Not at all a bad thing anyways. They perform both vocal styles well, and neither feel forced, over-used, or out of place. With that, the EP ends on a very good note leaving me with vicious screams and a heavy breakdown.
Your Past, My Present did indeed impress me with this EP. It fell short of perfect, which is expected of a debut EP, but that only means there is room to get better. And I look forward to hearing this bands "better" after this enjoyable little snippet of their talent. Other than a small amount of inconsistencies, it had superb production, spectacular vocals, and good all around play in the other instruments as well. This is definetly music that I want staying on my iPhone for a while.
It is inevitable that when you think of Love And Death, you picture a dread-headed Brian "Head" Welch, formerly of Korn. In case you have wondered for years where all the energy went in Korn, look no further. This album is filled with answers to where their sound has disappeared to. If you have ever seen Love And Death perform you will certainly understand all the emotion left with Welch. My mind is still flooded with memories of seeing Brian on stage sprawled out on the floor crying his lyrics, screaming to God. That same passionate energy has spread throughout the young band that he has built around him (JR Bareis - Lead Guitar, Michael Valentine - Bass, Dan Johnson - Drums).
This is Brian's second full length since Korn, and the band's first as a whole together. I was a huge fan of Brian's solo album, "Save Me From Myself". For me, it built a respect for him as a solo artist. But this album made it clear to me that he is no longer the name of his music, but a part of a band... a good one. "Between Here & Lost" has an overall tight sound. It has some of the same tendencies as "Save Me From Myself"; the heavy riffs, the mix of Brian using his grungy singing voice and clean vocals, and bellowing yells. All of those were evident right off the bat with the opening track, "The Abandoning", which is the perfect song to set the pace for this record. Next up is "Whip It"...and yes, "Whip It" as in the Devo song. Personally, this song is actually one of the stand outs on the album. They managed to do a total transformation of this song, to where it sounds nothing like the original. In most cases when a band does this, it is a total failure and leaves you with a horrible feeling. But for L&D it did wonders. They managed to make an 80's pop song into a good experimental hard rock song. The whole album flows together perfectly, and not one song really feels out of place. One thing is for sure, JR has picked up everything he could learn from Brian's guitar style, replicated it, and took it on as his own, and really is the stand out performance on the album. In "Meltdown" you find the band experimenting with a softer interlude backing Brian's whispers, with background vocals (screams) reminiscent of 30 Seconds to Mars. There is even a guest vocal performance for all the metalcore heads out there, specifically of the Christian scene. For Today's Mattie Montgomery is featured in "I W8 4 U", and fits in smoothly. Mattie's vocals are powerful, and he brings that sheer power to this song, making it the clear front runner to be everyone's favorite track on the album. Brian's writing style is a clear reflection of his life and all his struggles he has overcome; making themes of this album such as addictions, depression, and loneliness, among other struggles that go hand-in-hand, evident in songs such as "Paralyzed" and "Chemicals". The album ends out in an emotional rollercoaster with "Bruises", which is the most appropriate place for this song.
It's honestly a shame that whatever Brian does he will never lose that Korn tag. He was clearly the glue to that band with his signature sound, but he has moved on in his life with a band that brings light to the world through his experiences. If there was any shortcoming with this album, it's the fact that the only thing I could remember of this album first listen through was the vocals and guitar work. The other instruments were unintentionally overlooked. Also there are a few weaker tracks on the album (i.e. "Watching the Bottom Fall", "By The Way", and "Fading Away"), but with any release you're going to have songs that stand out more than others, and the other tracks certainly make up for it and give the album plenty of sustaining life.
Love And Death is full of talent and still relatively young, but with the cohesiveness of this album it is really hard to tell. This is definitely a good album, that is for sure. It left me wanting a few more songs, but until their next release, "Between Here & Lost" will serve all my alternative metal needs just fine.
