Karate - Cancel / Sing

karate's 'cancel / sing'

Maybe self indulgent, but everything comes together throughout this record. One of Karate's finer moments.

Karate - Cancel / Sing (2002)

90 Day Men - 1975 - 1997 - 1978

90 Day Men's '1975-1997-1978'

If 90 Day Men is a name unfamiliar to you I suggest that you immediately download 'To Everybody' and 'Panda Park'. Uniquely progressive 90 Day Men over their three album career produced a variety of sounds and coming off somewhat as a psychedelic post-hardcore band. '1975-1997-1978' is devoid of all those fancy genre names though acting somewhat as the strict derivative of Louisville and the respective Chicago math rock scenes. 'Sink Potemken' comes off much like a Slint b-side. Opener 'My Trip to Venus' foreshadows the band's pop sensibility anchoring everything dissonant and unpleasant out of the math rock genre and coming off as entirely beautiful. Reference points are made on 'Streamlines and Breadwinners' to the legendary Vidablue or Ten Grand how ever you wish to label them. Conclusion 'Hey, Citronella!' reveals the progressive tendencies that the band would fully build on with their first LP. Fantastic EP and definitely a great foreshadow for the rest of the band's career.

90 Day Men

'Sweater Queen' reminds me of a mid '90s emo song. The band comes off sounding like a more placcid Maximillian Colby and that is probably a good description for this entire album. Although I think it would certainly be a stretch to label the band as 'emo', they certainly ride that line between post-hardcore and emo very well.


90 Day Men - '1975-1997-1978' (1998)

Young Widows - Old Wounds

Louisville's music scene has always been seen as defining a more sophisticated version of aggression. Bands from the area tend to be associated with "math rock", a sound that groups like Rodan and Slint created in the early '90s. In the current music scene in Louisville applying this generic influence to a heavy base of post-hardcore seems to be the new style. Pusher, Breather Resist, these bands all represent an extremely noisy complex brand of hardcore that in today's climate is strikingly original. In turn the Louisville sound has provided the scene with a national following. Young Widows is perhaps the most esteemed collective in Louisville these days featuring the entire instrumental bulk of Breather Resist with guitarist Evan Patterson taking up vocal duties. Young Widows originally sounded like yet another Jesus Lizard clone on their debut 'Settle Down City', but with 'Old Wounds' they have crafted something between the stolid side of Fugazi and repetitive style of groups like the Melvins and Big Black.

young widows

'Old Wounds' begins with the pulsating bass tone of Nick Theineman. 'Took a Turn' is the opener and definitely one of the highlights with its perfectly composed dynamics. Patterson's guitar tone shows itself half way through the track in pure fabricated noise that shifts in and out of the music creating bursts of industrial sounding melody. 'Old Skin' follows showing the band hasn't lost any of their aggression from the Breather Resist days. Hammer ons and a relentlessly heavy beat from Jeremy McMonigle make the track an excellent transition from the more subdued intro. Speaking of the sound of this record Kurt Ballou and the band took a different approach to recording it as they recorded all of the songs both live and at Godcity Studios. I don't know how much this technique was used in terms of layering the record, but the production on this record is probably the best Ballou has done since 'The Moon is a Dead World'. Every tone on this record is absolutely pristine. 'The Guitar' which is built off simply chord strumming and Patterson's reminiscence on his instrument is accented by brilliant overlaying melodies that sound just as lush and distant as they would on a Ride album.

‘Old Wounds’ is strictly ‘90s influenced it seems. The ideas here are all from the last decade, but something feels different. Young Widows aren’t simply saying silence is a dangerous sound like those before them. ‘Old Wounds’ has crafted something desolate and fractured out of the past. The record sounds completely of this era and with its distant sound yet dark imagery crafts a perfect record for a nation and area that is suffering economic turmoil. In turn it should provide very little shock that the stories on this record seem like an update on Big Black’s ‘Songs About Fucking’ which came out during another Republican spawned economic crisis.

young widows' 'old wounds'

In terms of criticisms there are little. 'Old Wounds' represents a band feeling comfortable in their own skin and stretching out their ambitions. In return they've crafted an excellent sounding and composed post-hardcore record that has clearly been getting a deserved amount of acclaim. Perhaps 'Old Wounds' is not Young Widows' 'Liar', but as they continue to stretch their limbs into areas that aren't Jesus Lizard influenced their sound and persona swell. Suppose that should've been expected though since the band is from Louisville.


Young Widows - 'Old Wounds' (2008)

Richmond is a Hole

richmond, virginia

Richmond, Virginia and its surrounding areas have over the past twenty years been a great source of aggressive mostly hardcore based music. Groups like Gwar, Municipal Waste, and Undertow have all left their own mark on the scene. Perhaps the most universally acclaimed group from the area though is emo based pg.99 who personified an extremely aggressive and chaotic sound of hardcore that can even now be seldom mimicked. pg.99 and their sister project City of Caterpillar are two of the most important late '90s hardcore groups in terms of influence so of course when their specific members are release something new it causes some form of anticipation. Pygmy Lush's 'Mount Hope' and Verse En Coma's 'Rialto' are both records that encapsulate what their former bands were about in ideals, but in terms of sound these two records are far removed from their humble beginnings. Pygmy Lush has removed the heavier side of their sound and created a completely acoustic record. Verse En Coma on the other hand has crafted a record that seems like a lighter Malady.

pg.99

On the topic of Malady one must realize that the group was essentially the successors to City of Caterpillar. When Malady’s self titled came out there were definitely a lot of people disappointed with CoC’s sound not being kept in full. While Malady's self titled debut release does embrace the dynamics that were present in City of Caterpillar there is also a pronounced rock influence on the record. 'Yeah' the second track on the record starts off with an introductory guitar part that would not seem out of place on a Third Eye Blind album. If you're looking for sonic comparisons Malady is a tamer more controlled Gospel. If Gospel was Yes than Malady would be Zeppelin. The group can play their instruments, but they certainly aren't doing anything remarkable on the record in technical terms. That isn't the point with Malady though as the band has harnessed their influences of post rock and shoegaze using subtle tricks like layering their vocals to give stronger accents to the shifting nature of their songs. Where City of Caterpillar would extend a song for four extra moments to build to that final crescendo Malady inserts a repeating riff or a double vocal attack that quietly and more abruptly ends the developing guitars. Malady's attitude and song construction seems based in mid '90s hardcore, but their actual sound only flirts with the post-hardcore of Unwound and Fugazi instead the band is more set sounding like a really lo-fi Hot Snakes. The guitarists are playing as two separate people, but come together as one with their layered melodies. Drummer Johnny Ward does not play busy instead allowing the album to groove with the help of exceptional bassist Kevin Longendyke and finally there is vocalist Chris Taylor.

malady's self titled debut.

Chris Taylor has an extensive resume. pg.99, Pygmy Lush, Mannequin all feature his vocal meeting point between extremely aggressive screams and rather gruff singing. In Malady his vocal performance is crucial to the band's success. His vocals not representing the visceral nature of pg.99 here instead coming off much like Adam Drooling of Gospel in their background nature. Taylor is low in the mix, but his voice suits it. His spoken word build up in 'The World is a Tomb' helps the song reach new levels when the beat finally breaks. His repetition of the numbers '56, 17, 27, and 12' makes 'Bad Life' a strong contender for the best track on the record and this is all without mentioning the vivid detail of the lyrics he is actually yelling. Taylor clearly has a way of coming off like Tom Waits and in his lyrics you can see the imagery of Waits seen through the lens of Richmond and surrounding Virginia. Malady's self titled is a record with stories that echo drop outs, burn outs, and those left behind. Taylor's bridge in 'Bad Life' clearly representing the purpose behind his words,

'but from womb to grave
and everything in between
it gets real fucking mean,
and you wonder why i drink?
i wonder why we're not all drunks
sunk in our dumps where nothing changes.'
malady – ‘bad life’

Malady's debut record is a sharp commentary on the nature of towns like Richmond. The type of record that leaves the listener only hoping that the emotion the band is pouring into playing is what helps them deal with the issues on the record. In a long line of extremely fragmented views of today through the guise of post-hardcore Malady stands. Echoing the sentiments of 'The Underdark' and 'The Moon is a Dead World' Malady reflects the cold reality of our pain and desolation, but in doing that helps us examine ourselves. Certainly a record worthy of being the successor of City of Caterpillar and more importantly establishing the members of Malady as people to watch not only because of their past, but because of what their future might entail.

city of caterpillar

Verse En Coma represents Malady and City of Caterpillar's future. Featuring 3/4ths of the original City of Caterpillar line up as well as 3/5ths of Malady, 'Rialto' was a record most have been looking forward to for a very long time. In early 2006 with the release of the track 'Young Ones' (which has now been renamed as 'In a Factory) it was obvious that Verse En Coma was clearly tonally in line with Malady. What Verse En Coma does differently though is remove the post-hardcore sounds that are present in Malady and instead embraces the more alternative and grungy side of that band. Saying that Richmond and its surrounding areas are essentially playing grunge filtered post-rock is certainly not going to win them any new admirers, but I'm sure the bands could really care less. Verse En Coma is a lyrical reminiscent journey that is in sharp contrast to Malady's themes. Malady represented the desolation of the rural nature of areas like Richmond where Verse En Coma embraces that nature and happily plays in fond memories of growing up in those areas. 'In a Factory' perfectly accents this telling the story of two lovers who find love at a small workplace with the band seemingly celebrating their rebellious blue collar nature. Malady's other half went on to join the group Pygmy Lush who certainly sonically represent Neil Young and Bob Dylan much more than Verse En Coma, but the lyrical themes of Verse En Coma are so strongly reminiscent that the group seems to be clear fans of the heart on sleeve styles of Dylan and Bruce Springsteen.

verse en coma's 'rialto'

In terms of Verse En Coma sonically, think Malady yet much softer. The strong shoegaze influence that Malady brought to the City of Caterpillar sound is present with Verse En Coma, but the places where the band should break heavy are replaced by even prettier sections like the conclusion of opener 'Through Ice Patches and Pine Trees'. 'Tiny Speakers' has a beautiful group vocal section that adds an even more intense layer to its conclusion. A key part that makes the sound of Verse En Coma a successful change is Ryan Parrish whose drum performance on 'Rialto' is absolutely amazing. The plodding post-punk of 'Disappearing Glaciers’ is cut extremely well with Parrish essentially playing fills over the entirety of the verse. His heavier more dynamic playing on 'In a Factory' makes that track such a successful anthem. Without the return of Parrish to this trio of players its doubtful Verse En Coma's new sound would sound as good as it does. On other important sound adjustments the guitar playing here is much more airy than Malady. Malady's debut had a strong devotion to riffs where as Verse En Coma sees the band instead playing hardcore tainted post-rock instead of the other way around. What is most surprising is that by switching to less hardcore oriented music that band has become even more unique with their only comparison in my mind being 2008's critical darlings Have a Nice Life. I guess the sound that Verse En Coma and Have a Nice Life both share comes from both bands having members that were previous involved with post-hardcore projects and are now attempting to do something that is more alternative and punk based. Whatever is the case 'Rialto' is a fine example of how to make an alternative rock record.

Pygmy Lush's 'Bitter River' was an interesting release in 2007. The most polarizing part of the record was how strange the material was. Where Chris Taylor would sometimes fully embrace his Tom Waits influence there were other times when the music of the group would sound even heavier than pg.99. Also, somehow on the record the group had somehow showed off how much they enjoy Elliott Smith and Birchville Cat Motel. Luckily 'Mount Hope' isn't that scatter brained. The group does delve into rockabilly and drones a few times, but overall this record seems to establish the softer folky sound that Pygmy Lush is going for. The sound is somewhere between the aforementioned Elliott Smith and Neil Young with the group taking strong melodic points from Smith and coming of as Young with their incorporation of lush electric guitar touches. Tracks like 'Frozen Man' and 'Tumor' clearly evoke a dedication to early Iron & Wine and other pitchforkmedia.com folk darlings, but Pygmy Lush manages to make 'Mount Hope' sound not like a hardcore band playing folk rather just a solid somewhat different folk record.

pygmy lush's 'mount hope'

'Mount Hope's' most successful track is opener 'Asphalt'. A calmly orchestrated acoustic guitar track with a nice snare backing that is accented by Chris Taylor's deeply effected vocals. The song basically features what sounds like two looped acoustic guitars for its entirety that almost echo Ben Chansy's finger picking style. Where 'Bitter River' had extremely mournful acoustic tracks, 'Asphalt' is bright sounding. Lyrically it still represents the darkness that has begun to become associated with the group, yet it isn't as ominous as 'Bitter River'. Tracks like 'Send Bombs' seemed to represent a disconnected sadness where 'Asphalt' is simply reminiscing about lost,

'i'm sleeping in a basement;
it's cold and undusted.
the pictures are hanging
all my walls like a guillotine.
i know you know there is nowhere.
laying down here trying to think of nothing, i know you know there is nowhere to go.'
pymgy lush - 'asphalt'

A strength of 'Mount Hope' is although its feeling is essentially the same through its entirety the way the band makes you feel that way is not always the same. 'Red Room Blues' is a mammoth of a track with its length being just over eight minutes. Beneath mumbles of 'the bottles collecting old dust like trophies.' and other such personal images Pygmy Lush slowly builds soft blissful drones that eventually overtake the entire track. It is a beautiful technique that Six Organs of Admittance somewhat explored, but Pygmy Lush is much more simple and blissful in their delivery of acoustics counter pointed with noise. 'Red Room Blues' is immediately followed by the Tom Waits devoted 'Mount Hope' and Pygmy Lush's more eccentric nature comes out. The rockabilly territory that 'Mount Hope' represents is also revisited later on the album with the track 'Butch's Dream'.

‘Mount Hope’ sees Pygmy Lush at their most peaceful. Gone are the outbursts of screams and palm muted power chords. As the band has essentially been touring as a loud and soft entity, one assumes their next record will be entirely loud. While, I am excited it is kind of disappointing to think that the group will not revisit the beautiful sounds they did in making ‘Mount Hope’. Perhaps that adds to the intimate impact of ‘Mount Hope’ as it does feel like something that could’ve just been cast into any of the member’s closets. If one thing can be said about ‘Mount Hope’ it is certainly the most sincere record made by the members involved and that is saying something considering the alumni.



Malady - Malady (2004)
Verse En Coma - Rialto (2008)
pygmy lush link removed; check out myspace.com/pygmylush for ways to purchase the record as well as hear 'Asphalt'

Tabula Rasa - The Role of Smith

I'm not really sure how I came across Tabula Rasa's 'The Role of Smith'. I know I purchased it at a Warped Tour in Pittsburgh at which I was because I was interested in seeing Glassjaw, Rise Against, and like minded groups live. I was in the various booths section and while looking for something to purchase I believe somebody from AF Records came up to me and talked me into buying this record. That is the vague remembrance I have, anyways this was kind of different from the stuff I was listening to at the time. I was versed in Fugazi which represents the post-hardcore this group is based in, but Tabula Rasa has a distinctive math rock core. This is most likely because of their birthplace which also happens to be Pittsburgh. Don Caballero may be that city’s most important export and the influence of them is felt on this record immensely. What is interesting is that members of Tabula Rasa would in the future meet up with Mike Banfield of Don Cab fame. Tabula Rasa seems distinctive of recent groups like Kidcrash and Off Minor in terms of instrumental prowess, but the vocals and song structures do evoke a more poppy background. 'More Words Than Not' is a clear example of how catchy the group can be with its distinctive switches between calm, melodic portions to stretched out mini-crescendos. I guess simply put Tabula Rasa kind of sounds like the meeting point between At the Drive-in and Three Penny Opera.

Tabula Rasa's 'The Role of Smith'

Dynamically 'The Role of Smith is excellent. This group of musicians were perfect at letting the songs boil down and up at the correct time and also with their version of repetition. Songs don't really follow verses and choruses rather verses and choruses follow the songs seemingly popping up in between various guitar intricacies and drum fills. This works beautifully making tracks like 'How Old Are You..?' and the instrumental 'The Eating Contest' seem fluid yet extensively composed. The fluid nature of the music drifts into the playing of each member of the band and everything from the rhythm section to the vocals all seems to have a placement in the construction of the songs. The main problem of the record seems to be because of its rather spotty production. The guitars seem a little weak, the bass a little out of place, and the drums not pristine enough. I often over look this fact by simply rationalizing that it was on a record label run by Anti-Flag so obviously they weren't that concerned with releasing a completely amazing package. 'The Role of Smith' is a fabulous example of post-hardcore and should definitely be investigated by anyone interested in the genre.

Ghostlimb's 'Bearing and Distance'

I've also included Ghostlimb's latest record 'Bearing and Distance' on this post. I have the vinyl release of this record, but the CD version apparently possesses more tracks so I figured I'd upload that one. This record is one of the best hardcore records I've heard in '08 yet. It features members of Graf Orlock who I'm not really a fan of but to think that group has helped this one come to be justifies its worth ten fold. There are numerous nautical references all over the record and stylistically it sounds wrapped in despair similar to its themes. Essentially a trio playing some of the most aggressive and interesting hardcore these days and live they are equally as entertaining. Certainly a group anyone interested in aggressive music should check out.


Tabula Rasa - 'The Role of Smith' (2003)
Ghostlimb - 'Bearing & Distance' (2008)

singer - unhistories

Singer essentially acts as a meeting place for two fairly well respected math rock groups. Singer is composed of U.S. Maple members and one of 90 Day Men's vocalists Rob Lowe meaning there was obviously a base of excellence already in place before 'Unhistories' was even recorded. In terms of actual sound 'Unhistories' comes off as 90 Day Men's eclectic side with the pop sensibility literally gutted and replaced with a large emphasis on composition. 'Divining' is a dizzying piece that begins with some very beautiful multiple voice harmonizing with underlying keys that rhythmically evokes the strong basic rhythms of Battles. The first section dissolves and in its place is an acoustic conclusion that is at the same time completely unexpected while also being perfectly incorporated. 'Unhistories' in general really is a sound that is very different but also very logical. The supposed drum solo in 'Oh Dusty', the foray of kraut rock that extends it self through closer 'Mauvais Sang', all of these moments add up to make a truly unique experience which in some ways reflects the fluidness of Time of Orchids' 'Namesake Caution'. One of the key successes of the group is Rob Lowe's vocals which are really in a class of their own. I guess if we examine Chicago as a scene Singer is basically the older brother of a group like Owls. All of the same ingredients are included in these two groups but the maturity that Singer brings to the sound makes them far more successful. When songs like 'Please, Tell the Justices We're Fine' musically reach into realms that sound like mindless noise Lowe and his backing band are all able to vocally keep a control over the sound which in turn extremely helps support sudden changes like the guitar solo that appears out of nowhere about four minutes into the track. Simply put 'Unhistories' is proof that unorthodox methods of playing, singing and composing can still be used just as effectively as the orthodox methods.

singer's 'unhistories'

If I were to guess I'd imagine 'Unhistories' will be a one off project but it is clearly much more than a release from a "super group" of sorts. Singer in the vein of 90 Day Men's 'Panda Park' has crafted a memorable experience due to its complete uniqueness. 'Unhistories' is a great release and is certainly something any fan of the avant garde should take a look at.


Singer - 'Unhistories' (2008)

Top Ten of 2007: Meet Me in St. Louis - Variations on Swing

obviously, i dwell in music that takes itself to seriously. Meet Me in St. Louis, while serious do seem to have their own share of fun while playing their music. this in other words makes 'Variations on Swing' an anomaly in my favorite releases of this year solely based on how abstractly enjoyable it is. to me, this is how all pop music should sound. a series of microcosms inside a larger piece that is constantly progressing into something more and more. the range of influences that seem to become apparent on the first listen of this record range from pop-punk to glitchy electronica, not bad for a now instrumental quintet that seemingly popped up from nowhere. if you want similar artists, these guys sound like someone accidentally played the 33rpm 'Menos El Oso' at 45. they have their moments of lucidity, but mostly this is kind of embracing that whole idea of louder is better that currently is plaguing the recording industry. think of it as an underground Say Anything without the irony. there's humor here, but its not self realization in the form Max Bemis seems to embrace.

meet me in st. louis

in basic terms, 'Variations on Swing' instrumentally is the record At the Drive-in's 'Relationship of Command' should have been. highly technical, obtuse arrangements that easily transpose themselves into gloriously anthematic sections. heavy on riffing, but also heavy on a variety of other guitar techniques the two guitarists in this group aren't necessarily evoking Omar of ATDI but rather weaving their way through a quilt of Tera Melos, Million Dead, and Maps and Atlases. rhythm section of course effortlessly accents all of the gorgeous tones that the other two players are cascading over the forty five minutes of this record. Toby, the vocalist (now former) is the obvious anomaly (sorry for using that word again) in that his technique is kind of flawed, and his ability pales in comparison to the rest of his band mates. sort of a Tim Kasher of math rock, his lyrics echo that early Kinsella feel of nonsensical personal allusions. simply to declare this band as a derivative of their influence though would be a complete case of discredit.

meet me in st. louis's 'variations on swing'

what terms does this record hold in my year? car drives, easy listening, wanting something simple. certainly, some people won't find this record as easy to listen to as i do. in a sense it represents everything poppy about post-hardcore pushed to the very brink. of course, Hawthorne Heights already did that, so why even bring up 'Variations on Swing'? i guess just so i can act like i know a bunch of really unknown artists.

meet me in st. louis - variations on swing (2007)