Implementing more into their sound than just metal influences, these guys find glory in the use of guitar pedals to design their sound, building thrashing power chords into layers of hell-infused volume. Drummer Dale Nixon fills more space than I think I’ve ever seen anyone fill with a kit that minimal—the perfect metal drummer. Being Brooklyn residents, they had one of the larger crowds of the night and everyone was left in some kind of volume-induced trance. After the set, there was no way you could talk to the person next to you or even communicate with the bar tender unless you physically pointed to whatever you wanted.
Latest Blog Posts
These guys scared the crap out of me. I forgot how loud music can get, and yeah it was like an actual herd of bison coming at you full force through those speakers. Never banking too much on guitar solos, this East Vancouver quartet used the power of numbers to play as loud and hard as possible, with their constant interplay providing some of the best low-end riffage I’ve heard in recent years. On their MySpace under the “sounds like” section it says, “Your heart exploding in your chest.” My ears are still ringing the morning after.
Going into the Metal Blade/Relapse/Lifeforce showcase I wasn’t quite sure what to expect. All I know is I needed desperately to get away from the scene I was in, and get a glimpse of some metal (which is highly underappreciated among the CMJ folk). This or the Apocalypse was a pretty good way to start making my ears bleed a little. Banking on a new era of hardcore/thrash, these relatively young chaps weren’t screwing around. Playing to one of the smaller audiences I’d seen at CMJ thus far (once again, the metal factor), they still gave a valid, solid performance to a small crowd of hardcore devotees.
This English trio have obviously been catching up on their early ‘90s quintessential indie rock and emo and formulating their own style upon that style. Not exactly a bad thing, but at certain times they were shooting for Built to Spill, others they were shooting for Sunny Day Real Estate type riffage. It’s fun to listen to on the surface level, but not much else. If that’s what they are going for, then they succeeded. But to provide an audience of industry folk with a formulaic sound is like sticking your hand on the stove to make sure its hot—frankly, a bad idea.
With much hype built around Michael Angelakos’ so-called project for his girlfriend (his songs started as a belated Valentine’s Day gift), it didn’t deliver much. Granted, Angelakos and his band were complaining about their synths not working properly, and that could’ve had something to do with it—but for me the songs just didn’t carry over live too well. They couldn’t find the right balance between all their equipment and the sound was just off. Something was always louder than everything else. The EP is great, and perhaps in a not so rushed environment the songs will fare better onstage.