Hands down best press sheet I’ve ever been given. Instead of the usual bullshit discussing who they sound like, what obscure band their members were a part of, and filled to the brim with adjectives and prerogative of music nationalities, this one was a story. A story of a young man who was on the phone with his then-girlfriend, the conversation lasted for over 2 hours and this young man had to piss. Badly. And he tried to hold it not wanting her to hear him and yet somehow unable to simply escape for a quick moment. He rushed to the bathroom finally and was just about to make it, only to pee himself. She says just as he’s doing it that she needed to get off the phone because dinner was ready. What devastation and annoyance must have, excuse the pun, flowed over him. So you probably are glad that this story made its way to you. Now you want to know, “so what, what of the music”? Well let me assure you that’s just as great of a story; this one told through the voice of art-punk and chaotic yet measured angular indie rock. Screamed vocals, hummed melodies, strict breakdowns, and layered filthy guitars, “Teeth Union” by the funnily titled Ice, Sea, Dead People is a fast and violent slap-in-the-face. So many post-hardcore groups are doing this or that, but not focused on truly creating an epic masterpiece. Not so with this British-based group. “Teeth Union” is fucking essential cranium blasts.
Posts tagged post-hardcore
You gotta love the thicket of guitars that are wrapped around the axle of melodic and crunchy. Leatherface’s vocalist blends his version of raspy melodic crooning amid the chronically addictive songwriting. While the lyrics can range from bleak to even more dour, the music is typically quite the juxtaposition of very uplifting and spiriting. The renowned British punk band is for fans of Hot Water Music and independent music in general.
Young Livers evokes post-hardcore gritty dank guitars that drop bombs similar to seminal outfit Drive Like Jehu. “Of Misery and Toil” burns no bridges as they embark upon a steady diet of breakdowns, odd song structures, and tinkering with what we’ve all come to expect from post-indie rock outfits. Mid-range rhythms with some blasts of devastation that are few and far between remind me of a Far that doesn’t deploy a melodic singer (think Hot Water Music) and nods firmly in the direction of punk rock. Each song evokes an immediate attention span quadrant that scans the horizon looking for something better but comes up empty. I swear they are a few decades removed from the DC hardcore scene.
Atlanta may not be best known as a haven for post-hardcore outfits, but perhaps with the self-titled EP by Lakehurst is Burning from one of my personal favorite indie labels, Reason Y Records, that could all change in a blink of an eye. Angular guitars combine with splendid melodies that brine together the best offerings of DC post-hardcore/indie rock ala Fugazi and the smart emocore (you know, what REAL emo is/was?) that so many rock musicians these days seem to have sadly forsaken for the ridiculousness of screamo and bland noise rock. The Paper Champions unfortunately fell apart after six great years in 2008, but Lakehurst is Burning, which features three out of four members of that super group, formed in its wake shortly thereafter. If you don’t know – and few that consider themselves “in the know” wouldn’t, The Paper Champions were gifted with plenty of success ranging from a prized inclusion on Deep Elm Records’ widely acclaimed “Emo Diaries” compilation series and also their “Ask Emma” was featured on MTV’s coveted Road Rules soundtrack – their ’04 debut full-length “Weekend of Compromise” being one of the early success of the aforementioned Atlanta imprint Reason Y, but it was their 4-song EP, “End. Transmission” that was their most critically acclaimed album. Sadly that band is no more, but if this self-titled debut EP shows us anything, it’s that the creative juices and intelligent songwriting that went into each passionate cut that The Paper Champions penned hasn’t been lost and indeed seems to have been fostered into something new being just as propulsive and essential. How’d they get this interesting moniker you ask? Well the band name is a reference to an air force base in Lakehurst, New Jersey where brother Jason (vocals/guitar) and Brad Neubert (drums)’s great-grandfater manned the tethers for the doomed Hindenburg zeppelin that tragically burst into flames killing 36 people. Despite the bleak band moniker, the album is a refreshing and captivating adventure of post-hardcore indie rock with gritty song structures of intriguingly paced time signatures and mature yet dark lyrics. Fascinating album that seemingly offers something new and exciting with each listen.
Watch a Live Video from their CD Release Party:
I can’t believe more people aren’t gushing and obsessing about Prize Country. “With Love” is a fantastic journey across the myriad of DC hardcore via their hometown of Portland, Oregon with firm nods towards the late great Quicksand. We should all band together and make this band a huge success so that guitarist Jacob Depolitte doesn’t have to drive a cab for a living anymore (unless of course he wants to do it as a side hobby). With artwork done by renowned Philly poster artist, Mike Wohlberg, “With Love” is the total package. Riff heavy guitar-centric post-hardcore that boasts bass-heavy glides and sleekly dirty production and engineering efforts that was polished perfectly by recording engineer and producer Stephen Hawkes. Songs like “Gamble” and “It Was a Night Just Like Tonight” will make you forget your deep seeded resentment towards the demise of groups like Quicksand and Snapcase. This is one of the most essential albums this year, taking Fugazi to task with their intrepid backdrop of caustic guitar chords and surging melodic vocal yells.
Minneapolis indie rock that is executed with punk rock mayhem and math rock’s precision (think a Tool babysitting a Fugazi). Tonally divergent guitars range from the left to the right speaker with distorted angular rhythms. “Endings” is a fantastic aural version of pulling the tablecloth out from under the silverware and nice china. Diagonal harmonies seem to deftly interweave with the magnificent melodies that recall DC-based rockers like Fugazi, but its their truly artistic vision and unimaginably grand instrumentation that sets them firmly apart from any comparison. This is Self-Evident.