Don’t Mention the War – Whack-A-Mole
DMTW are probably one of the only post-2000 post-hardcore bands worth mentioning, alongside Alexisonfire. It seems wrong addressing the style this way, since it has definitely seen its day, but at this point, one can’t even say these bands are beating a dead horse – they’re beating its rotted carcass, as it has been dead long ago, and now its decay is just further deteriorating the music industry.
But, bands like DMTW are what keep the raw, aggressive roots of post-hardcore alive in these shaky conditions, even though they are few in number. The band is instantly relatable to early Converge, and unlike many recent rehashes of the mathcore kings, they actually do the style justice. Even beyond their aggression, lies a strong sense in bringing out their softer side, with the post-rock in tracks such as “#5”. Nothing particularly stands out, about Whack-A-Mole EP, but in terms of musical direction, this band has made a great start.
Don’t be fooled by the name, because this EP shows great promise from a seemingly young band. They have time to screw up of course, but let’s hope they take the more honorable route, in keeping post-hardcore breathing.
(6.5/10)
Down to Nothing – All My Sons
There is a great deal of criticism directed towards the modern core scenes – especially the deathcore scene – and rightfully. Bands like Emmure and Recon make it comparable to mainstream hip-hop, in that both seem to parody what they actually take seriously. But, though hardcore-hardcore really has no part in this comparison, it really isn’t all that different from deathcore, at times – with one you can measure breakdowns per minute, and with the other, breakdowns per second.
Down to Nothing is another hardcore band that exemplifies exactly this notion. The presentation of the music is much more sensible in hardcore, as it does not go to embarrassing extremes to express its bro-ness, but there are still ridiculous amounts of get the fuck up moments, and repetition of the same boring riff, over and over again.
To their credit, DTN have been around much longer than most of the bands that play in this style nowadays, and for what they play, they have put together an exceptional EP. However, this reviewer can’t help but think they would be so much better if they stepped beyond the boundaries, from time to time. Bands like Integrity have proved that it is possible to play this style of hardcore, while bringing something fresh to the scene. Thus, while the record is well-written, breakdown-happy metallic hardcore is very lacking in originality, at this point in time, so to keep playing this type of music just signifies an acceptance of its mediocrity.
(7.0/10)
Gilded Age – Gilded Age EP
Painfully short, yet beautifully slow, Gilded Age’s debut EP barely clocks in over five minutes, but packs quite the powerviolent punch.
Thankfully, since His Hero Is Gone has been reworked in enough variations that thinking it over would give Dr. Manhattan a headache, GA actually brings a modest amount of their own to the crust table. There is considerably more sludge present in their style of powerviolence, as can be seen with the mean, nihilistic tone of opener, “Golden Heart” – a song much akin to something one would hear from Grief or Dystopia. Tracks such as “Head First” also showcase their punk elements, which they embrace much like The Hope Conspiracy would.
While it is a powerviolence record, and also an EP, the length is the largest setback of this record. Even with the latter circumstances, it seems more like a split-length release, and a few more tracks would have certainly made it more convincing. Also, though there are some interesting patterns at work in the song structures, there really isn’t all that much going on. Given the style, it certainly works, but especially the guitar work could do with a little more than hammering down-tuned chords, and then pausing for sections of feedback.
All in all, Gilded Age’s debut is a great first effort, especially for such a young band. Not to bring age into it, but one couldn’t believe how many simply terrible young locals, this reviewer has seen, somehow, get through a set of music. Still, as things stand, a significantly longer – perhaps more complex, as well – record, from Gilded Age, is earnestly awaited.
(7.0/10)
Patrick Molloy and the Manifest – Who Will Listen?
It seems ingrained in the human condition, to obsess over what one can’t have. In this case, this reviewer is referring to the voracious desire in modern music, for a piece of the past – a time to which a gateway, unattainable through any physical means, is satisfied by the resurrection of the music that defined it. Of course, every generation will rave over the music of its predecessors, but it seems interesting to explore the result of this in music of the 21st century. Most commonly, it seems that rock and roll of the 60s and 70s is brought back; in our case, by the likes of Wolfmother, Sam Roberts, The Darkness, and so on.
Patrick Molloy and the Manifest are no exception to this army of revivalists, but they take somewhat of a modernized approach – a respectable modernized approach, at that, as hyper-produced MTV anthems don’t quite do the term justice. Why should one consider it respectable? Well, it’s clear that it isn’t mere revival music, as the band tries to be all that it aspires. They pursue other musical directions, such as the brit pop of Muse, and grunge, in the vein of Soundgarden, in the process of crafting a unique sound. Though, it’s more so a sigh of relief, one must also respect Molloy for the minimal use of production, in altering his vocals; hell, if anything, it just gives them a rawer, folkier feel, which is partially what they seemed to be going for.
However, though they don’t necessarily fall short at pursuing a different kind of sound, Molloy and the Manifest are just all over the place, throughout the album. One moment they’re playing a nice blues scale on the keys, but then the next song will break into synths, and ridiculous Bellamy-esque harmonies. Though, the songs are all quite well-written, Who Will Listen? seems more like a best-of record for a band that has played over twenty years, and in ten different styles. Not to mention, Molloy’s pseudo-rebellious Lennon-style lyrics come across as diary-poetry done by high school kids, who thought that Marx guy they heard about in History class was a cool dude.
So, Who Will Listen? Well, frankly, until Molloy and the Manifest actually figure out what exactly they want people to hear, it will be pretty hard to figure out a demographic for their audience. They are certainly fine and talented musicians, but until they find a more definite direction for their music, it can only have so much appeal.
(6.5/10)
Post Harbor – They Can’t Hurt You if You Don’t Believe in Them
Post-rock is one of those genres, made so distinctive by its pioneering bands, that the onslaught of Godspeed You! Black Emperor and Explosions in the Sky clones to follow, was not only relentless, but much expected. It is distinct, in the sense that, outside the genre, there is really nothing that expresses that same calculated, yet emotionally uplifting atmosphere. The climax-driven style of instrumentation and song structure, typically utilized in post rock, is essentially, what evokes this mood. So with such specific standards for what a band should create, musically, it is the subtleties that truly distinguish modern post-rock bands from others.
With a name like Post Harbor, one would imagine that they haven’t come across anything too special, but if They Can’t Hurt You proves anything, it is that this band isn’t your typical post-rock band. Its tone and production style, especially differ from most post-rock, due to the vocals sounding like they’re over the music, as opposed to within it, a la shoegaze – one can see this with records such as The Appleseed Cast’s Low Level Owl. Also, with tone, it is particularly noticeable in the heavier, distorted sections that the guitars take on a much warmer, bassier sound, such as something one would hear from Radiohead. This is also quite uncommon in modern post-rock, as guitars are usually given a more ethereal, reverb-driven feel.
But, despite this record being different, the band doesn’t completely succeed in making it well-written. It has flow, but lacks power and direction, as too many tracks seem act as interludes, or carry the sole purpose of leading into other tracks. The album is poorly paced, because of this; with this kind of intention, it would have made much more sense for the band to just write longer tracks, rather than break the album up into ten tracks. Also, because songs such as “Cities of the Interior” and “Augustine” are exceptionally written, the album just develops into an extensive collection of ups and downs – some parts being good, and others not, thus leaving the listener with a resounding meh. But, perhaps, even more than the writing, the vocals are unfitting to the atmosphere of the record. Particularly, with the way in which they are produced, their presence is much more distinct than the instruments, which seems pointless for a band that largely writes instrumental tracks. And to be frank, with the epic and drawn-out nature of the music, the vocals simply fall short of being remotely on the same level.
There is a great deal to enjoy, on this record, and Post Harbor seem to have great potential. Perhaps they have yet to find their sound, but regardless, this record shows that cohesiveness can never be compensated for by uniqueness, in the process of creating a truly strong work.
(6.0/10)
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