Mathcore, hardcore, and metalcore collide across 27 minutes of music. Salespeople put me in mind of the past quite strongly, while also keeping a firm eye on the here and now. Continue reading
Featuring current/ex-members of Converge, The Red Chord, Cave In, Hatebreed, and Trap Them, don’t let these band names fool you – this might not be what you are expecting. Rust on the Gates of Heaven is not a hardcore supergroup. Rather, it’s a 53-minute journey into reflective post-rock waters, and has more in common with bands like Crippled Black Phoenix, Mogwai, Angels of Light, Russian Circles, and, yes, hints of Cave In, than any of the other bands listed. Continue reading
Final Transmission is born out of and shaped by the trauma of catastrophe; the band’s bassist tragically died in a car accident prior to this album being finished. He plays on each song here, however, with the tracks fully Continue reading
Brond’s music mixes riff-focused modern rock and post-hardcore/rock, with progressive, stoner, and noise/math rock tendencies. Wow. Now there’s a description. Delivering eight tracks across almost 44 minutes of music, Graveyard Campfire is a well-realised and enjoyable release, despite my mangling together of various subgenres in an attempt to loosely categorise it. Continue reading
Although Deftones are the obvious starting point for comparative purposes, elements of The Unguided, Poison the Well, Glassjaw, and Cave In can also be heard in the band’s sound, as well as some more atypical moments in the style of, perhaps, Norma Jean, Between the Buried and Me, and Isis. Feelings of the late 90s/early 00s are strong with this band, and from my point of view that’s no bad thing at all. Continue reading
Minor/Minor play modern, emotive rock that takes influence from a few different places. Think a mix of bands like Arcane Roots, Pink Floyd, Coheed and Cambria, Cave In, Filter, and Radiohead as starting points, maybe. Continue reading
Last Moments of Misery is a 34 minute mix of hardcore, punk, metal and sludge.
Starting with a firm punk/hardcore base to their music, metal and sludge influences are liberally thrown over the top of it to get the end result that they want. Continue reading
Sealclubber play abrasive Progressive/Post-Sludge Metal that takes in elements of Crust and Hardcore to produce a lively and gritty 44 minutes of music.
The sharp Hardcore energy of some of the riffs is also alive in the harsh shouted vocals, which are full of both threat and feeling.
This is juxtaposed against the slower, more atmospheric parts that have a dirty Post-Metal sheen to them, like something struggling to be born whole out of a world of filth.
Add to this the emotive Sludge elements that the band seem to pull out of nowhere when they need to and you have a very well-rounded release that shows Sealclubber to be an uncompromising and multifaceted band who are capable of many moods throughout these six songs.
This puts me in mind of the old Cave-In and Botch releases where both bands really pushed what it meant to be a Hardcore band. Sealclubber have similar ambitions it seems, only coming from a Sludge angle and delving deeper into both, (quite divergent), Hardcore and Post-Metal routes at the same time. This split focus shouldn’t work, but it really does, marrying what little common ground there is between the two styles with a murky Sludge Metal coverall.
With divergent influences, comes great risk, but with great talent, comes great reward.
This is heavy stuff, in the style of Botch, early Cave In, Knut, Zao, et al. This style hit its biggest point in the late 90’s/early 00’s and Teeph sound like they would have fit in just right back then.
Solid Jobs burns with a refined anger and a timeless appeal of pure heaviosity. The songs are impressive and gather influences from a range of sources, merging them into a cohesive whole.
As well as the loud and heavy parts they also know enough about their genre to add in slower, more introspective sections so that they use light and shade to maximum effect.
Teeph also show a bit of a Sludge influence to some of their riffs, greatly enhancing their songs. There is even the odd Stoner riff detectable, such as at the end of Marijuana Chaos.
Vocally the shouting is strong and deeply satisfying; the singer rages and snarls and really hits the spot.
This kind of music takes me back and it’s great to hear a band do it so well. This is an outstanding EP – it’s like listening to an old favourite for the first time.