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Tracks like the frantic, frenzied, comically-entitled opening blast "The Spinning Heart Of The Yo-Yo Lobby," the explosive and breakneck "Model UN," and the throat-tearing "Revolutions In Graphic Design" really up-the intensity levels to almost palpable, and positively blood-pumping levels. (Two out of three of these songs are very short, too, clocking in at around a minute in length, but regardless pack a lot of punch and heaviness into their brief playing time.) Elsewhere, Converge skinsman Ben Koller's talents sure shift to the forefront of the mix on songs like "I Keep Living The Same Day," a brutal and bludgeoning grindcore attack with furious, pummeling, stop-start grindcore blasts and larynx-lacerating vocals. Also make sure you check out "Resolution #9," too, which opens with a really cool, deft, and dexterous, ten-second long drum solo.Read more ›
This record completely caught me by surprise. Not just because it exists, but because it's satisfies every expectation I could possibly have for it. One of the most confrontational records this year, this self titled release has enough twists and turns to be more than just your lo-fi, loud and angry punk album. Acoustic guitar graces "Filmed in front of a Live Studio Audience" before throwing it in your face. "Model UN" thrashes until a beautiful guitar tone rescues a melody. "The Shape of Punk That Never Came" cements and homages an influence. And a sax solo at the end? I'm sold, as long as I can only play it as loud as possible.
Scenesters beware! It is both cool to love this band for its throwback to the true screamo roots of the mid 90's, and to hate this band for being such a predictably "anti-scene" album from your favorite faggy jean wearing counter-culture popstars. You should immediately proceed on to the new Norma Jean album if you "don't get it" or find yourself feeling "so over it" or saying to yourself "soooo 10 years ago."
This album pulls very few if any punches. The overwhelming presence of dual guitar riffing harkens back to hardcore's punk roots, and the drumming is as brutal as a machine gun enema. The bass is expectedly grungy and serves merely to beefen up the bottom end.
Songs such as "The Shape of Punk that Never Came," "Revolution #9" and "Subliminal Testing" deliver an aural barrage akin to the b*stard child of Jane-Doe-era Converge and Thursday's least cohesive or melodic moments to date. Any old-school glassjaw fan who's been dying to hear Daryl's return to vocal form will undoubtedly be pleased with the thrashy screaming splattered all over this cd, like Tom Savini's blood in a slasher film.
The album is balanced out by a few breaks from form with strong tracks like "Filmed in front of a Live Studio Audience" and the closer, "Say Goodbye to General Figment of the USS Imagination," a dirge that showcases the diversely individual talents that have come together on this release. It doesn't hurt that the extended saxophone solo is remniscient of genre heavyweights Candiria or Yakuza, as it surely impresses upon the listener a sense of calm after the storm--even if that calm is eerily similar to the aftermath of Hurricane Katrina.
Most Recent Customer Reviews
The first two songs on this cd played fine. Every other song skipped. There package wasn't damaged just the disc.Published on January 19, 2013 by AdAm Dull
This album is so sick. If you like the heavier stuff Glassjaw put out, Thursday, and Coverge... Buy this. You won't be disappointed.Published on June 12, 2011 by Vega009