I am writing this with to illuminate one of my favourite releases this year. This album defines chaos to me, and I say that from the best place.
Ten tracks of just madness and noise. I fucking love it so much, and I am actually having a hard time finding the words why without devolving into comparisons that do NOT express this band. They are unique, brutal, lovely, and strange. Did I mention that I love it?
Okay, let’s just get the bad comparisons out of the way. I hear Buried Inside, Tugnut and At the Drive In. That last one is harder to explain, but the vocalist just gives me vibes in that direction. The music is far too heavy to make a comparison that way. Also, some of the juxtaposition of notes used, especially in the song Oceans or Other.
Does not help that I do have personal connection to this band, them being from my hometown and sharing connection with a few of my friends. That does not paint my opinion, however. It just ensured that this beast got on my radar.
Anyway, this post has been a ramble. I mostly just needed to put this on the general scope of everyone. Below is a video for the first single from the album. Personal favourite is Oceans or Other, and it might have become one of my favo
My succinct note is go buy the album from their bandcamp. They are doing vinyl and tapes later, but they don’t have those yet. This is a great holdover until those come out!
I usually take off the Christmas season because I do not want to bother everyone with depression and philosophical arguments for why life is both tragic and amazing, but I feel like writing something. In spirit of not doing what I normally do, I want to highlight probably the most technical, and brutal, album in my collection. No, it’s not death metal, and I am sure that someone would argue that I have heavier and more technical, but I still feel like this album needs more attention.
After the Burial have done a lot more than I have. I think they are kind of amazing, and I do not see enough love for this group. It is probably because they are in the “scene” part of music, somehow. i will never understand how that could be.
The first track is the most brilliant introduction for this band. Berzerker opens with a blistering dueling guitar riff that would make Van Halen’s jaw drop. From that point, it’s nothing but the most orchestrated chaos for the next 5:30.
I am proud to say that I figured out the drums in this song at the pique of my abilities, but that was after many hours of failing. I probably never figured them out perfectly, but even the version I had crafted was close enough to be nearly as impressive.
The song has an amazing ‘bop’ to it. Starting around the 2:50 mark, the swing being demonstrated will get even the most ardent haters of this band to tap a toe. That goes on for about 30 seconds, before the heaviest bits.
After a beautifully crafted flourish on guitar, a devastating breakdown that does not follow any conventional musical crafting. Then. a reprise of the first bit of the song before quite literal chaos reigns over the last minute.
Fuck, that’s only song one and I have already written that much. I will not be writing about the rest of the album, but that first track is a great example for the ear-bleedingly good time you are in for.
No, this album is not for everyone. It is a perfect example of what conventional metal can do. It is heavy. It is technical. It is brutal and loud. I never have to put my headphones too loud to enjoy the sounds. I mean, I DO crank the volume, but I don’t have to.
I don’t give enough attention to the bass, but this video gives an idea of the musicianship portrayed in this song. Please, watch and enjoy. (There are no vocals, so go this route if you do not wish someone screaming at you)
Before I started writing this, I had assumed that this band was a five-piece. The “dueling guitar” that I mentioned, is done by one guy. Fuck me, this band somehow got MORE amazing.
The first live show I ever saw was Farewell to Freeway opening for The Reason. There were other bands, they were also very good, but those two stood out. Not just because they were the headliners, but also because. well, the formed a basis for my taste in music for the early 2000’s.
To be clear, and to flex my independent music knowledge because I’m a pretentious prick, I realize that Farewell to Freeway was initially Sewing With Nancy, and they changed their sound dramaticallly from almost a skate-punk sound to emo in 2000. Hell, Like Home was my introduction to the band roughly two nights before I saw them.
Again, I feel that it must be stated how amazing the whole lineup for the night was. Those two bands stick out for me because I really had no referance for heavier music. The absolute heaviest that I got at that time was Tool’s Lateralus album. If you know that album, saying that it’s not metal is rediculous, but seeing it as heavy is laughable.
If memory serves, Farewell to Freeway (hereby refered to as F2F) started their set with songs from the Between Yesterday and Today album. Still a rather emo-tastic album, but they perfected the sound from that point on.
I was in bliss. They went from being a really solid local-ish band to being something amazing to me. They closed their set with the title track from their, at that time, upcoming album (song here). I am not too man enough to admit that I cried, I thought it so beautiful. Even though I was silly and considered it metal (oh, baby me…), I didn’t dare mosh for fear that I would miss a note.
So, yes, I was floored. The Reason topped off a fantastic night. Ironically, that was the last time they were heavy (that I saw on stage) before they made the jump to a more mainstream sound three years later. (The Reason Meta-ish)(The Reason Pop feat. Sara Quin from Tegan & Sara fame)
Anyway, the reason I write about this album (aside from how instrumental it was in my taste in music) is: even though music has evolved and “improved” since this simple eight track album came out, I still return to it with great anticipation for everything to be okay for the 27 minutes that it takes to make this beautiful journey. If you are a fan of 2000’s emo or anything in the punk world from that time, I am very sure that you will love this piece of 519 history.
As I mentioned recently, I have been asked by .no funeral records. to look at a few of their releases. To start the collection of notes, I have chosen to focus on a split by Amitié and Karloff.
Full discretion: I am friends with two members of Karloff. I feel like pointing that out is important, though I promise you that it has not tainted my opinions at all.
Music is music. To say “you love it or you don’t” feels antiquated. I rather go with the idea of someone either understands and relates to what you are trying to say, or they don’t. In the case of these two bands (they each do a song on this EP), they define that idea. This sound is incredibly off-putting if you are not quite sure where to place your attention.
I know, I fucking know, that grindcore (and all its many facets) are not everyones bag. When it comes to the -core’s, even I become quite discerning. I tend to lean heavier on the mathcore side of things, because I’m an arrogant fuck. This does NOT mean that I cannot appreciate incredible skills when I hear them.
Amitié starts off the two track journey with a slow, low toned dream scape. That dreamscape, however, turns into a nightmare quickly. The track is only 1:18 long, and transforms into a high-end massacre of all that you expect. The drums use a much higher ratio of cymbal/snare, where as the intro was almost exclusively toms.
Karloff opens their track with a simple hold of anticipation before the hammer falls. They take a more jazz chord structure, and delve further into a feeling of anguish before just leaving the song where it began. At 1:03, this song packs in everything you could want from metal track minus the annoying 80’s guitar solo.
I would say Karloff reminds me mildly of Buried Inside (in regards to crushing oppressive tones mixed with blistering fast metre), where as Amité elicits feelings closer to Fuck the Facts. Amité has a more polished sound, but the Karloff doesn’t sound out of place: just the mids seem a bit wonky.
Overall, if you like heavy music, I very much recommend this split. It is everything one needs in less than 4 minutes.
Arbeitary number rank: 30912385 out of a possible 2.865
I posed a question to my Facebook asking whether I should do a comparison between this and Mudvayne’s End of All Things to Come. The response was just to do the review of LD50 that I did the other day, but there were a few people that said I should just focus on this album.
This album sits in a strange place in regards to all the other metal from the early 2000’s. It starts with a pretty series of chords then quickly devolves into chaos. Ironically, in a bubble, the first song is probably the weakest on the album. That really is saying something when it slaps so fucking hard.
The best part of this album, in my opinion, is how it feels like a pop’d up David Botrel production. For those who don’t know, David Botrel is famous for the work he did with Tool as well as various other emotionally heavy albums.
What I find interesting, also strange for an album that I hold in high regards, is how the vocals are the centre of the mix. It is actually mixed like a pop album that way: where the instrumentation takes an almost backseat to the vocals. Most metal I listen to is very much the opposite, and this makes the lyrical dynamics much more important.
This is a double-edge sword, however. Some of the lyrics are (for lack of a better term) stupid. On that note, I do get the over arching message this band is trying to portray. They tend to lean in heavy on the idea that society is messed up. Unfortunately, the phrases they choose to highlight sometimes fall flat (see the repetition of “Kill That Motherfucker It’s All That I Think About”). It tends to quash any respect this band might have garnished from the general public.
On that note, some songs are amazing lyrically. Ether stands out as one of those, where the content is talking about the systematic disillusionment of the masses starting at a young age. Songs like this save the album from coming off like it is written by a 15-year-old who can’t get a girlfriend.
I cannot talk about this album without bringing up the drums. On first listen, they are not impressive. All the songs (minus the occasional hit) are in simple meter, so one can be forgiven for thinking that the accompanying rhythm would be simple, as well. Once you sit down and try to figure things out, it is quickly apparent that this drummer is a beast.
I say simple, but the song “I Wish I Was A Community” opens with oppressive crushing hits that do not, in any way, sound simple. Actually, before writing this retrospective, I had forgotten about this song completely. Not my favourite on the album, but damned close.
I comfortably put this album in my top list of all time, though I never bring it up as an example for my taste. Not because I’m embarrassed to admit it, but simply because it is a outlier. Very few things (that I have come across) have this sound. You can find things that have elements, but nothing that has the complete package.
Talking to a couple of friends, they pointed out that Violence is the better album, and I fully admit that I don’t know that album. I have probably missed something amazing, and if this album is any indication, I should probably go back and check that out. IN THE MEAN TIME, enjoy.
This was not my choice, but a choice made on my personal FaceBook page. I wanted to do either Skeletons by Nothingface of The End of All Things To Come by Mudvayne, because I felt that these two made similarities that go unmentioned. Then, people pointed out how amazing LD50 is, and now I am going to go down that rabbit hole because I have been screamed at to.
Oh, and I really want to.
L.D. 50 has possibly my favourite bass in all of Nu-Metal that’s not Primus. I feel like that is an important point to state. Not many bands can be mentioned in the same breath as Primus, so that’s a thing.
L.D. 50 is one of those albums that influenced much of what I listened to for 20 years. Also, that album is 20 years old this year and that is all kinds of weird to think of. I saw the music video for Dig forever ago and was floored by anything so heavy. Keep in mind, I wasn’t 12 yet. I was stupid.
It doesn’t change the fact that Dig was interesting because it could be in the same vein as Korn and as Cannibal Corpse. It’s heavy, the lyrics are important, and it is strangely catchy. Assisted by the make-up worn by the band in the video, I remember every single hit from this song. I made it my mission when I was 14 to learn every part of this song on drums, and it took me another few years to get it to a point where I was happy with my abilities.
I purchased the album after Death Blooms became a single. The song revolutionized what I thought of metal lyrics because of it’s poetic prose and almost elegant handling of the english language. Yes, they deal a lot with violence and gore. They also explore mental illness (Internal Primates Forever) and grief (Death Blooms) in an almost elegance that most bands do not pull off with such finesse. The music embodies the overall message they try to convey. To this date, I cannot figure out what came first between lyrics and music. I want to say music, but there is just such as elegance that is portrayed.
My personal favourite songs from the album are not singles. It’s actually interesting to divide the album between singles and non-singles. If you had never heard of this band before, you could still figure out which songs were used to sell. Yet, the singles do not feel cheap. They feel like they belong, and were used as almost a pallet cleanser.
In writing this retrospective, I found out that there is a music video for Nothing to Gein. This is my second favourite song on this album next to Prod. Enjoy.
I just noticed that this album was almost 20 years old. I was in grade nine when then came out, I was just discovering scremo/emo, ska, and skate punk, I was very embroiled in the metal scene. Then, when watching some music video program way too late at night, I saw the debut for Pulmonary Archery. I did not get it, but Holy Fuck I loved it.
What’s absolutely brilliant about this album is how simple everything is if you remove the guitars. Yes, the guitar lines are incredibly ornate and demonstrate what can be done in punk music, but everything else is simple and fantastic! The bass drives the songs and keeps the structures attainable, the drums do little more than drive the beat, and the singing is just simple enough to get melodies trapped in your head forever. Even the screams are perfectly placed to ensure that you notice them.
Now, let’s get back to those guitars.
My prime example of how incredible the guitars are is the song Counterparts and Number Them. The parts individuly, though weird, are not difficult. The impressive part is in knowing they were ever not entwined. They bounce between being lead and rhythm every bar, and they never leave the listener bored. The best part about the guitar is that nothing, not even the drums, cast the dullest shadow.
There is something magical about how simple the drums are. They just compliment the music and never become overbearing. I think every not-real drummer in my high school could play Pulmonary Archery. Not as a slight! It just leant itself to being replicated.
Now I sound like an arrogant asshole so MOVING ON.
I started to write this, decided against it, and then discovered that they were inspired by Quicksand. I love that band to no end, but never hear anyone talk about them. I was forced into writing this because of that fact alone.
Seeing as there has been nothing this hard hitting in the punk-scene since Refused, and this is a fantastic tribute. I recognize that there have been other near-hits in regards to this sound, but nothing is near as iconic.
I don’t know why I got this album in my head. I was wheeling through my kitchen humming the chorus for What I Always Wanted when my wife, being rather concerned, asked what was wrong with me. The awkward thing is that song is not the only one on the album with singing, but has the least interesting pattern to get stuck in your head.
For being from London, Ontario, this album still scratches an itch that only a few bands can. I hesitate to call it Nu Metal, but it did come out around right around Untouchables by Korn (predating it by a year). Really, a better comparison is The End of All Things to Come by Mudvayne with less “David Bottrill” in the whole sound area.
Very simple guitar and bass. Almost too much (in a good way) drums. Vocals that pierce every inch of your soul. Beautiful singing. To be honest, that is why I have gone this long with never bringing this band up before. I love them, the first 3 albums anyway, but that is literally all I have to say about them.
If you just want something heavy, yet beautiful (in a broken way), you can do MUCH worse. They do the early ’90s sound yet still remain relevant. I mean, Mudvayne and Korn are my only (halfway) decent comparisons, and they really don’t describe this band at all.
Oracle is amazing. Spit and Until the End are good, but a bit more particular. They have one more album, but I hated it.
Personal note: don’t y’all enjoy how I am like “BYE SEE YOU NEXT YEAR” and then publish a review in the same week? I am going to not be doing blog stuff, and I am only going to be writing about music you should check out. I say that not expecting anything fascinating to happen in any other regards this year. I might be wrong.