3 - Dark Days Coming

3's ' Dark Days Coming'

3's sound in retrospect comes off as a early example of the impact of 'revolution summer' in DC. The music here while similar to the previous Dischord "sound" is also drenched in acoustic guitars, more varied tempos, and singing rather than yelps. 3 features members from Minor Threat and Gray Matter. In general it seems like the band was very influenced by the song 'Salad Days', but that might just be the sound of the actual production of the record which has that really pristine and sharp tone. The group sounds pretty similar to Gray Matter which makes sense with two of their members (Geoff Turner the vocalist and Mark Haggerty the guitarist) making up the four piece. A lot of the songs here are really whimsical and impassioned and the timing of the record makes it come off almost as a period piece. The record rules in short.

3 - Dark Days Coming (1990)

Pissed Jeans - King of Jeans

Pissed Jeans established themselves as a great throwback to the late '80s and early '90s with their two previous releases. 'King of Jeans' continues this same trend while at the same time expanding the palette of a band clearly indebted to others. Part of this comes from the continual progression of guitarist Bradley Fry. The sound of Pissed Jeans is anchored by a very lively rhythm section and vocalist Matt Korvette's performance. Fry on the other hand seems to prefer to embellish the group's sound rather than drive it which really has come to fruition on 'King of Jeans'. Guitar solos echoing No Trend, the building of distortion throughout 'Spent' Pissed Jeans have seemingly embraced the aspects of traditional rock and roll into their immensely untraditional sound.

Pissed Jeans' 'King of Jeans'

'Hope For Men' was a very lyrical album for how volatile the sound was. 'King of Jeans' is still just as lyrical, but gone are songs concerning issues as mundane as ice cream and Whole Foods. The topics have dissolved into even starker reflections of everyday life. 'Dream Smotherer' concerns the lack of sleep of its narrator, 'Spent' a seemingly typical day in Korvette's life. The presence of vocals has also reached its pinnacle with a more diverse take. Korvette has imbued his yells with a somewhat more melodic tone as is evident throughout the record especially 'Goodbye (Hair)'. More over bassist Randy Huth and drummer Sean McGuinness have propelled Pissed Jeans' previously sprawling sound into a more apt attack. Few tracks on the album dip over the 3-minute mark and tracks like 'She is Science Fiction' and 'Half Idiot' are a flurry of drums aided by slow droning bass lines. Pissed Jeans have polished up their sound as much as is seemingly possible and because of that they've crafted their finest record yet.

Pissed Jeans - King of Jeans (2009)

Lowercase - Kill the Lights

lowercase's kill the lights

I don't know much about Lowercase's history. This is noisy post-hardcore from the late '90s blending early Swans with the sounds Shellac or Unwound were playing with. Fantastic stuff. Vocals are really alt. rock inspired and the album definitely has a great sense of dynamics.

Lowercase - Kill the Lights (1997)

Brainworms - Brainworms II: Swear to Me

The sound that Virginia's Brainworms have become notorious for is definitely different. Early material was notable for short, explosive post-hardcore tracks that were marked by their extremely melodic guitars. 'Swear To Me' marks a distinct change for the band though, as the material here seems to be diving into much more eclectic territories. Brainworms have always embraced the style of hardcore that was made popular by groups like Split Lip and Grade. All of the group's discography bleeds of a melodic hardcore influence, but the fact is they hardly ever sound that clean or restrained. Whether it is punk, hardcore, or even indie rock, Brainworms are able to spew a dissonant yet catchy mix of numerous genres.

Brainworms' Brainworms II: Swear to Me

'Swear To Me' improves on Brainworms' former material by taking a more progressive approach. Blues style solos, group vocals, and various studio techniques are taken to make the sound more layered and diverse. For reference, think Bear vs. Shark's evolution from debut to sophomore release. The guitar attack of the group has been stepped up a notch and the addition of Josh Small layers the sound nicely. The odd fit in Brainworms has always been lead vocalist Greg Butler who physically resembles Tim Harrington of Les Savy Fav fame. Butler's voice has a distinct distorted sound to it whether it is synthetic or natural. This really helps his voice contrast with very high frequency guitar and bass parts that the group likes to employ. Butler's lyrics also show themselves to be just as sophisticated as the song structures. His penchant for illustrating hardcore concepts in a personal way echoes other Virginia groups like Haram or Malady. His lyrics on 'Swear To Me' seem to be focusing on the various realities that accompany the term home, whether it is a person or place. Butler seems to be aching to find and define his own "home" and these thoughts seem to be a basis in the lyrical side of 'Swear To Me'. Of course the material strays into other realms whether it be the political 'Whatever, That's How You Get Famous' or the two instrumental tracks 'Vulgar Display of Flowers' and 'The Pinnacle of Story Telling.'

'Swear To Me' is a great record both because it is extremely enjoyable to listen to, while at the same time it helps carve out its own niche in post-hardcore. Fans of Bear vs. Shark, Hot Water Music, or a Dischord association would be wise to check out 'Swear To Me' - it really is a great and new sounding example of that sound.


Brainworms - Brainworms II: Swear to Me (2009)

Gray Matter - Take it Back

holy fuck, here is an old record. i remember blasting this when i got my first car some kinda subaru sedan from the early '90s. i guess the record was older than the car. anyways, this is one of the best examples of that Rites of Spring sound coming out of DC in the mid to late '80s. Gray Matter had a vocalist who could scream but still be melodic. Perhaps, think that Moss Icon record two posts down? The guitars are extremely schizo shuffling through a variety of chords in seconds and the rhythm section mirrors that of Rites of Spring or Fugazi during this time just subtly filling everything excellently. Gray Matter is a one of the legends of DC hardcore and 'Take it Back' is a fucking classic, like seriously one of the best Dischord releases ever.

gray matter's 'take it back'

Gray Matter - 'Take it Back' (1986)

Cursive - Mama, I'm Swollen

cursive's 'mama, i'm swollen'

'Mama, I'm Swollen' is an anomaly, presenting Cursive simultaneously succeeding at their new sound while falling into pitfalls of being redundant. Most of the criticism is easily lodged at lyricist Tim Kasher. The head lyricist attempts for grandiose themes to go along with the grandiose instrumentals of 'Mama, I'm Swollen'. The problem with this approach is as witty and sarcastic as Kasher attempts to make himself his true attraction lyrically has always been his bare honesty. Oddly 'Mama's' strongest tracks in lyrical terms are ones that regurgitate the romantic narcissism that made the group rivals to their Saddle Creek peers. 'What Have I Done?' and 'I Couldn't Love You' are lyrical concepts that have been present throughout both Cursive and The Good Life's discographies. The truth is somewhere along the line Cursive musically matured and that maturity is what remains attractive about this record.

Praising Cursive for their innovation on this record is definitely easy. The mix of Cursive's post-hardcore heritage and influences from new wave groups like The Cure makes many of the tracks here succeed. 'Donkeys' is as ominous as it is catchy. The aforementioned 'I Couldn't Love You' seems like an easy follow up for 'From The Hips' for the group's next single. On that note the more accessible tracks on this album may spurn curiosity of Cursive's bid for mainstream attention. Not to say it is intentional at all, throughout the record Kasher remains even darker and unforgiving than fellow label mate Conor Oberst. Though through the new set of industry rules that groups like The Shins and even Bright Eyes have achieved for indie groups one wonders when Cursive will wedge itself in the public conscious. Perhaps the arrangements on this record are to out there for the average indie rock fan and the attention towards being orchestrated while accessible is what truly makes tracks like 'Mama, I'm Satan' and 'We're Going To Hell' succeed.

Where does 'Mama, I'm Swollen' not succeed? First off, the identity crisis that Cursive seems to be going through makes it seem like The Good Life should have no reason to exist. While 'The Ugly Organ' was bombastic to the point of annoyance Cursive's new record stutters due to its inability to settle on any likeness at all. 'Let Me Up' and 'Caveman' may not be bad tracks, but their quirkiness and stoic arrangements make them feel like complete mistakes in terms of the track listing. When Cursive first revealed many of these tracks signs pointed toward the group moving back into a more stripped down electric group. What has resulted is something much different instead 'Mama, I'm Swollen' seems to be Cursive's most studio produced record yet. Sadly, that isn't a positive as Cursive's main strength has always been the power behind Kasher's voice and this record seems to be doing everything it can to not rely on that.

cursive

'What Have I Done?' is different. 'What Have I Done?' gives Cursive fans what they want when they hear Cursive. Not to say that artists must satisfy their fans, but if Kasher wanted to fully make up for those that hated 'Happy Hollow' one would think 'What Have I Done?' would be the answer. Breaking the track down it simply relies on the overused soft to loud dynamic that Cursive has been implementing since their beginning. Kasher mumbles a tale of futile realization over the track and when the guitars finally crash at the end you feel like for once on this record you can fully relate to its composer. He's much older than he was on the embarrassingly public 'Domestica' and much more concise than on the sprawling 'Ugly Organ', but as he is attempting to say throughout 'Mama, I'm Swollen' he is still the same. Kasher still embraces his flaws and while that may not work to the record's advantage when it does Cursive hits hard as ever.


Cursive - 'Mama, I'm Swollen' (2009)

Unwound - Corpse Pose / Everything is Weird

The task of making one great record is not as difficult as it seems. While, I'm not trying to say that creating an expression of art is an easy task I believe if one is artistically inclined then they can easily craft something great throughout their career. What is hard in the realm of music is to remain a relevant and respected act. The band in my eyes that represents a continual sound of progression paralleled with a linear sense of quality is Unwound.

'Corpse Pose' in essence represents Unwound's complete sound pre-Leaves Turn Inside You. Combining angular guitar riffs that seem to illicit Gang of Four with the steady monotone of Justin Trosper the track comes off as the bridge between the aggressive Fugazi minded post-hardcore and the more laidback an artistic nature of post-punk groups like Sonic Youth. Unwound simply being described as the meeting point of Fugazi and Sonic Youth would probably be a better relation, but who really cares. 'Corpse Pose' is especially accented but some very heavy synth playing that helps draw out the melodic nature of the song's chorus in a very subtle yet intelligent way. B-side 'Everything is Weird' is far less structured than 'Corpse Pose' and as a fellow reviewer says "('Everything is Weird') is also awesome, with lots of stabs and a krautrocky ending drenched in xylophone & vibraphone; think Black Flag meets Philip Glass." If you are interested in more Unwound Time Isn't On My Side recently posted the band's supposed magnum opus 'Leaves Turn Inside You'.


Unwound - Corpse Pose / Everything is Weird (1991)

Goodbye, Blue Monday - 7"

goodbye, blue monday's self titled 7"

I am originally from Pennsylvania. During my search for various emo bands I've invested time in finding groups that originated there. Frail, The Spirit Assembly, Ethel Meserve all of these bands have been groups I've grown to love mainly because of their association with my home state. Goodbye, Blue Monday is an off shoot of Frail in some form. I originally got this record from a blog post on Used Bin Forever. The album represents that midwest emo sound that is so prevalent in many Pennsylvania bands like Frail and Ethel Meserve. The group isn't as spastic as Cap'n Jazz or Spy vs. Spy instead relying on building up more melodic portions in the style of more indie based groups like Mineral and The Get-Up Kids. Great pretty unknown record though. 'Chicago Coin' is clearly the highlight.


Goodbye, Blue Monday - Goodbye, Blue Monday (1996)

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)

a moment for..

fugazi's 'long divsion'

"it's a long time coming,
it's a long way down,
it's long division,
crack and divide.
this is a parting,
some separation,
we lay in pieces,
cracked to survive.
i'm not your villain,
not your adversary,
i'm not your reason to crack and divide.
it's long division,
crack and divide."
-fugazi - 'long division'

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)

I Hate Myself - 2 Songs

i hate myself's '2 songs'

I Hate Myself was a Gainesville emo band. their claim to fame seems to be the penchant the band had for satire and how they incorporated it into their image. I Hate Myself played subued hardcore that is reminiscint of Saetia in the angst department. this seven inch is less layered than their other releases and instead is very simple both in composition and production evoking a Mineral type feel. Two tracks are on this record. 'Drama in the Emergency Room' is a slow building track that jumps between loud and quiet dynamics before finally collapsing in the final repetition of "doctor". 'Darren's Roof' is a brooding counterpoint to the more strung out 'Drama in the Emergency Room'. distorted verses make up the majority of the track. the guitar playing on this record always seemed to remind me of Modest Mouse in some ways 'Darren's Roof' especially the track feeling like a more menacing 'Dramamine' both in sound and topic.


I Hate Myself - 2 Songs (2000)

...Who Calls So Loud - ...Who Calls So Loud

...who calls so loud's self titled

Funeral Diner encapsulated a dense and nostalgic view of hardcore. Their seminal release 'The Underdark' was anchored by its dynamic songwriting as well as a fantastic drum performance by Ex-Portraits of Past member Matt Bajda. When the group broke up guitarist Dave Mello and aforementioned Matt moved on to a new project under the name ...Who Calls So Loud. Their debut definitely makes the fact clear that members of the band were previously involved in Funeral Diner. The record is a combination of thoughtful longing and intense build ups. While there certainly are a lot of similar threads connecting Funeral Diner and ...Who Calls So Loud there are also numerous key differences. First off ...Who Calls So Loud isn't as dense as "The Underdark" the guitars act more as melodic anchors than heavy distorted sound scapes. 'Sleep-like' plays out this idea when it breaks into a serene bridge featuring lush guitar parts with drummer Matt releasing a flurry of impressive fills. The band also seems to take a more introspective look in terms of the lyrics. Funeral Diner's lyrics most of the time came across as very dark and preachy words on the current state of society where ...Who Calls So Loud's don't echo accusation. 'Any Color I Want' encapsulates this idea;

'it's been years since i've stood on your porch.
several memories flash all at once.
i don't even know if you still live here.
attached is everything you've written me.
i've highlighted all the lies.'
...who calls so loud - 'any color i want'

If 'The Underdark' represented what the Half Moon Bay breeds ...Who Calls So Loud is attempting to portray how the members of that community were actually bred. The record as a whole echoes lost sentiments and forgotten peers. The music is desolate and while it is not as basic as a standard hardcore affair it feels human in how it gradually builds itself up just to fall back into a more appropriate section. Highlights of the record include '4.4.4.4.' which speaks on feelings of life's futility. The cycling guitar portions in the introduction of the track help slowly cascade the song into the rolling repetition of 'there was a presence.' The song has probably the heaviest section of the record when it expands into its conclusion which almost echoes the feel of a breakdown. From that apex of heaviness the record drifts into the slide guitar of 'Assume the Power Focus' which is such a startling shift in feel that it works excellently.

...who calls so loud

Complaints on this record are easy to assume. The band isn't living up to the complexity of their former incarnation, the sound is too typical for a post rock influenced emo group, the lyrical content is trite, etc. While there is some validity in some of these statements listeners should examine ...Who Calls So Loud's debut album for simply what it is; a continued development of the sound Funeral Diner was striving to create and in that regard it succeeds.


...Who Calls So Loud - ...Who Calls So Loud (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'

Off Minor - Some Blood

In terms of concepts Off Minor's latest 'Some Blood' is not an album I'd label as comforting. Where there previous records tackled very specific areas of the band's social interactions 'Some Blood' is a more visceral, more encompassing, and in general more mature effort. This assertion puzzles me because it seems that as time passes hardcore bands tend to start off being a little more accusing and end being more introspective. Perhaps, the most impressive part of Off Minor is in fact the length of their existence and how focused and similar their message has been over all of that time. 'To An Ex' may seem to be walking along ground that was covered on the groups' first record 'The Heat Death of the Universe', but that album exposed the personal trials of the band in a very short direct way. The songs presented on 'Some Blood' are dealing with overarching concepts of social commonality. Off Minor is one of few bands that speak directly to the hearts of a community while at the same time applying moments that are so moving that it creates a certain brand of philosophy. 'Everything Explicit' examines the tragedy of words left unsaid not in a selfish way rather mournfully examining the issue. It is important to take note of the ages of this band and their contemporaries because most people playing this type of music simply aren't breaking thirty. In turn this leaves Off Minor with a little more to prove than your average hardcore band. Simply judging by the bands the members of Off Minor have been in the group is certainly going to have a certain amount of anticipation surrounding their releases. So, when the group stretches out and exposes itself with a track as bare and uncharacteristic as 'Practice Absence' it is both surprising and common place. Off Minor is a radical thinking version of a high school genre and on 'Some Blood' the groups' trademark blend of 'jazz like' phrasing with extreme aggression has reached a point of finality.

Jamie Behar

‘Some Blood’ is proof that the band has blended their previous sounds into one all encompassing effort. Opener 'Neologist' proves this perfectly in its short span of nearly three minutes jumping from traditional Off Minor heavy sections that are juxtaposed by a gorgeous interlude that succeeds at being both technical as well as transcendent. 'No Conversationalist I' cycles through more chord progressions than were found on the entirety of 'Group Sex'. The title track finds the visceral voices of Jamie Behar and Steve Roche taking a backseat to some more relaxed spoken vocals that help ease the listener through the rapid transitions found throughout the song. The key improvement on this record though seems to be the care taken in producing it. On Off Minor's last record 'Innominate' the drums seemed to appear simply as a toms and cymbal, while here we experience an extremely organic sounding set that helps emphasize the always moving bass lines of Kevin Roche. While previously the guitar and bass seemed to either tonally sound distorted or clean on 'Some Blood' the group seems to be stretching out their sonic palette. 'Practice Absence' represents this best with its multitude of layered guitar pieces that incorporate varieties of effects as well as singing portions that sound dissimilar to anything Off Minor has done to date. If this record is in fact Off Minor's final document let it be known that they have full evolved their sound into something completely unique from any current trend in hardcore.

Off Minor's 'Some Blood'

The final aspect I'd like to shed light on in regards to 'Some Blood' is the intelligence of its lyrics. Where most of their contemporaries are simply echoing usual white suburban male issues, Off Minor has crafted a literate assessment of hardcore values. As I said early 'Everything Explicit' is a muse on the deterioration of relationships but how the group actually visualizes this is what makes them such a special band.

'as we live these linear lives,
unidirectional, towards an inevitable end
we must make everything explicit.
that's how we left it: unsaid,
i'm at a loss for words.'

For simply the vocabulary alone Off Minor should be applauded. But, when you examine the actual things they are saying you being to understand why this group is held in such high regards. Few hardcore bands will ever have the honor of saying that every single one of their records is an essential buy and Off Minor is one of the few. In terms of quality in regards to quantity the last group to have such a solid discography in my opinion would either be Unwound and Fugazi and simply putting a band on that level is guarantying people to question my judgment. I don't mind though, I can unabashedly say Off Minor is my favorite band and that no contemporary group speaks as effectively as them. As the group themselves say

'this is not injustice.
this is poetic license
permitted by a nation's silence.'

Off Minor - Some Blood (2008)
(link takes you to digital ordering site for the record. Off Minor pulled a Radiohead so donate what you will.)

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)

Ampere / Funeral Diner - Split

i'm going to be seeing Ampere tomorrow evening. i've been wanting to see Ampere since I heard their first LP way back in 2005. obviously as we can tell from the last post on here, 2005 was a great year for "emo" or whatever. 'All Our Tomorrows End Today' was an excellent combination of early '90s hardcore with Orchid's rigid sophistication. that record is such a perfect capsule of what Ampere is all about. anyways, from my first day hearing them i've been sure they must have been a killer live act.. but every time they came somewhere near Pennsylvania something came up. hopefully no foul play is involved tomorrow. in honor of seeing Ampere or whatever I'm putting up their split with Funeral Diner. The track by Funeral Diner is released somewhere else, i believe a tour EP.. but both Ampere tracks are just on this record. 'Sleepwalkers' is definitely the highlight on Ampere's side throwing together all sorts of odd guitar lyrics and even a part that sounds like it is about to break into something that isn't fast as shit which is certainly uncharacteristic for the band. the Funeral Diner features an excellent track that feels very similar to the new Funeral Diner member laced ...Who Calls So Loud. all in all this split 9" was a great purchase and the etchings that are on the actual vinyl are beautiful. wish i had pictures.

ampere / funeral diner - split

asleep or awake, eyes open or closed.
we'll see through boarded windows and cracked concrete.
you & me - all of us - we will be discord, volatile & explosive.
we will write our histories.
we'll not let on to faking and plant a thousand lies.
they won't know; no one will know our truth.
we see the logic in revision & practice what we hate
- so revel in your contradiction, a wrench in some machine.

- Sleepwalkers; Ampere

Ampere / Funeral Diner - Split 9"

Gospel - The Moon is a Dead World

gospel at a firehall in altoona, pa

Gospel will always remain in my head as the best example of hardcore I've ever seen expressed live. When I walked into the firehall where they played in Altoona, Pennsylvania, the four members of the band looked like they belonged in an Andrew W.K. video. When they came through my town with Hot Cross, I immediately decided to go to the show after I heard a couple of things. One, that their debut record "The Moon is a Dead World" was produced by Converge guitarist Kurt Ballou. Two, that said album was going to be released by Level Plane records who at the time had put out a fury of really, really great material. Gospel was certainly poised to be quite the enjoyable show from my viewpoint, but I didn't expect anything close to what I heard when I actually got to the venue. Comparatively there are two big things Gospel seem to have a love for; Yes and mid-90s screamo. Vocally clear indications that Gospel is following in the steps of Northeast bands like Shotmaker or Three Penny Opera. But, instrumentally the band produces a bizarre form of progressive rock with 12-string guitars, synths, and an extremely impressive drummer. Every member of the band is extremely skilled, but the drummer really is the force which helps blend songs like "Golden Dawn" into gigantic progressive anthems eased by the prowess involved in their numerous rhythm shifts. Gospel's music is heavy, dense, and technical but most of all it's emotionally aggressive, something that makes the band have a timeless appeal.

gospel's 'the moon is a dead world'

As I said before "The Moon is A Dead World" was produced by Converge guitarist Kurt Ballou. Ballou has a production sound which is known for giving a raw aggressive edge to already extremely aggressive music. Clearly the production is extremely important to an album that is as textural as this one and the way Ballou makes this band sound is nothing short of amazing. It is lo-fi prog. rock which sounds like it would never work, but ends up marvelously. Touching back on "Golden Dawn" most bands that have lengthy songs tend to using ambience or slower softer sections to help ease the listener through the song, "Golden Dawn" is heavy the entire way through. By heavy though I'm not implying the singer is screaming the entire time or that guitar solos are just extending to nowhere. "Golden Dawn" is heavy because of its sense of urgency, a constantly plodding track that seems like it is constantly building itself for a bigger and better moment. It's bittersweet with emotion and it seems at any moment it could just collapse into an incomprehensible mess of noise. Somehow the track never does though; right as you expect it to collapse, it just ascends back into the original riff that started the song off, aided by a subtle synth part. The track is desolate and seems to represent some kind of poetic description of the apocalypse both lyrically and musically.

"and its only just a matter of time
before we all gotta go underground.
and for whats its worth
they ain't got no drugs down there."


"Paper Tigon" and "And Redemption Fills the Emptiest of Hearts" follow with a less progressive tone, touching more in a post-hardcore realm. "Paper Tigon" is highlighted by a guitar solo that occurs around 2:23. It's further embellished when the synth line plays the exact same progression that the guitar was playing and it builds the album back to the tense nature that we felt during "Golden Dawn". "And Redemption Fills the Emptiest of Hearts" starts off very frantic, but during its bridge breaks into a very melodic and slow paced guitar solo that is a side of Gospel we have not seen up until this point on the record. It helps shift the mood into a more ethereal instrumentally soft atmosphere. Preparing us for the instrumental "Opium" which somewhat acts as a break in the madness that we've heard so far. "What Means of Witchery" starts off with one of the most stereotypical emo build-ups ever. Gospel is clearly wearing the influence of City of Caterpillar and Funeral Diner during the first few minutes of the track. I'm not saying that this makes the introduction to the track bad; it’s probably one of the most well composed portions of the record. What Gospel does with the build up is even more impressive though. While you would expect an explosion of aggression after the build-up it never comes, the drums are pounding, the guitars are drifting and when that point of urgency finally arrives everything goes silent except for a simple drum fill. The track then bursts into what can only be describe as psychedelic. It is probably one of the most interesting and original things I've ever heard on a hardcore record and definitely one of the key points on "The Moon is a Dead World". Screams fly everywhere and more metallic riffing emerges after the psychedelic guitar part helps remind the listener that this is one hell of a heavy band. The song consummates by returning to the original psychedelic line and slowly fading out. The final track "As Far As You Can Throw Me" seems to be the most personal track. It is a dizzying mostly synth based track that seems to work the drummer to his brink. The song certainly brings the record to a close with a very melancholy feel.

"so let's hold this close
and we'll fall back to whats ours
i've got enough pills
to last us both a couple of hours
and we'll count our stars it won't come to soon."

Around the time I picked this record up I made some claim about it being comparable to City of Caterpillar's debut. A record that wouldn't be realized as the classic it was until much later in the future. Well, one thing that certainly evokes City of Caterpillar did happen to Gospel, they broke up after only releasing one album. This has certainly impacted the legacy the group and this does seem like a little known classic. I consider it a perfect record and a bizarrely progressive sound that probably will never have any peers to it’s depressingly, intense sound.

"and so i push y'all away
and i wish you a fast recovery.
all the time wishing clots upon your heart."

gospel playing 'golden dawn'

i've included a live recording of the 24 minute instrumental track these guys were kicking around in late '06 and the cassette tape these guys released that is basically a live set. the gospel/kodan armada split is the only other thing i know that they recorded and if anyone is interested i can throw that up also.

Gospel - Lived (2004)
Gospel - The Moon is a Dead World (2005)
Gospel - The Magic Volume of Dark Matter (2006)

Off Minor / Killie - Split

off minor australian tour flier.

Off Minor's latest 'world tour' should be seen as an impressive feat for such a relatively unknown band. prominently known as half of the former emo juggernaut Saetia, Off Minor are certainly more mature and sophisticated when compared to their deceased counterpart Hot Cross. noted descriptions of their sound usually fall in the "jazz influenced hardcore" side of things with the group's sound having a large portion of instrumental prettiness. enough about what the group sounds like though, back to Off Minor's self professed "last tour". when we consider that the average age of the group is somewhere in the late twenties or early thirties it is impressive that three individuals that have been involved in hardcore for so long have not become jaded or unrelevant. Off Minor has been making some of the most provoking hardcore since their inception and their most recent output released during the Japanese portion of their world tour is simply just more proof of their success.

off minor / killie split

the Off Minor / Killie split presents the listener with two excellent examples of how far the emo scene has come since just 2000. Off Minor places two previously released tracks with one new one from their "Some Blood" sessions. Killie keeps their side very compressed with one short track and one very lengthy one. "Some Clown" which previously was released on the Off Minor / My Disco split is probably the groups best song to date. definitive in its interplay between manic drumming, beautifully tempered guitar, and pulsing bass Off Minor is able to craft a gorgeous mixture of chaos and cool. where Off Minor's previous records seemed to deal with a good portion of self depreciation (especially 'The Heat Death of the Universe' which will be discussed later.) the songs present on this split seem to be a bit more politically conscious. 'Abbatoir' is a short explosion of vegan knowledge, a haiku on the criminality of how people are willing to treat other people, animals, etc. Jamie Behar guitarist and lead vocalist asks;

'when will the world see things this way?
perverse perspectives still pervade.
we're left cold by blood that's lost.
it cries out from the ground.'

falling back into their usual topics Off Minor ends their half of the record with 'Everything Explicit' which deals with the issue of how to resolve something with someone who you no long talk to. the track is notable for its sonic relation to the early post-hardcore scene evoking a Fugazi, Drive Like Jehu, or Unwound comparison. although none of those bands could ever craft anything as melodically beautiful as the bridge in the track. to discuss Killie their half of the record seems to evoke a cross between Envy and Daitro. not something entirely original, but as a counterpoint to the Off Minor sound it works well to have such an aggressively sincere band bounce off the more artsy composed New York group.

killie

continuing with the over arching Off Minor theme of this post i must discuss 'The Heat Death of the Universe'. this record was probably my first exposure to the emo sound and i really haven't found anything i think really compares to it. the sonic and lyrical content is unrivaled in aggressive music and everything about it is just perfect. Off Minor's skill, originality, and vast appreciation of various genres help their expressions reflect technical prowess, as well as allow them to be an emotional outlet. the dynamic buildups and crescendos found on this album are prefect sonic reinterpretations of the bipolar nature of the overlying concept of the album. it is perhaps telling that Off Minor have never been as calm or as resolute in terms of their approach to creating music since the making of this album. songs like "Monday Morning Quarterback" toss and turn through beautiful near jazz style arrangements into some of the most aggressive and abrasive hardcore ever released. the untraditional approach taken to their respective instruments helps Off Minor output the same type of cathartic release normally found in only hardcore and transpose it into fully instrumental pieces that don't mock the current post-rock trend of build-up and release, but instead dredge into elastics and personal realms of musical exploration. Off Minor's music is not able to be expressed as "epic" at any point of "The Heat Death Of the Universe" because it is always collapsing in on itself to represent something much more selfish and single minded; its band members own experiences.

off minor's 'the heat death of the universe'

lyrically "The Heat Death of the Universe" speaks in a style of poignant haikus. 'Staring Down the Barrel of Limited Options' openly addresses the issue of suicide;

'facing this inevitably,
that i could never begin to understand.
what is it you see staring down the barrel of limited options?
what goes through your mind as you make the decision to end all decisions?
never say everything will be ok.'

the theme is prevalent all over the record with the second track 'This is a Hostage Situation" dealing with the neediness of people. the hatred of people that unconditionally attach themselves to things that are simply not everlasting.

'this hand on this gun to my head is my own and these are my demands:
if you leave me, take me with you, i am nothing without you.
people who need people are the wretchedest in the world.'

an ode to individuals who find themselves solely existing for the purpose of serving their spouse or whatever form their significant other should take. 'The Heat Death of the Universe' represents a philosophical journey that deals with a variety of the band's own views on everyday issues. the aggressiveness and calmness of daily life is reflected in this music and that is why it holds such an important spot in my heart. it should be considered one of the most ample examples of 21st century music. with a heart-on-the-sleeve attitude and obvious appreciation of numerous sub-genres, this album clearly represents how music has evolved, evoking the aggressive nature of '80s hardcore, the personal awareness of the '90s, and finally adopting the new method of beauty and chaos that is defining the '00s music scene. Off Minor is certainly a derivative of the things around them, but due to their members' appreciation and originality, they've been able to create a perfect emotional reflection of their feelings and that is all that this album needs to succeed.

off minor

Off Minor / Killie - Split (2008)
Off Minor - The Heat Death of the Universe (2002)

Cursive - 'Domestica'

Cursive's 'Domestica'

A man and a woman embraced. A variety of scenes to the couple’s right. Two catalysts for one heart broken musician to use as his own representation of the despair he has found in relationships. “Domestica” is the essential break up album for me; a beautifully aggressive look at both the male and female pathos when it comes to the end of a relationship. It is a dark, seemingly depressing record that deals with the most embarrassing and painful parts of someone’s life and turns them into sort of jilted pop songs that seem almost dirty in their bareness. Maybe, it isn’t the most original sounding record or perhaps Kasher is being just a little desperate in his lyrics, but “Domestica” is clearly a unique experience and in my opinion one of the best when it comes to conceptual records.

Cursive circa 2000

Cursive formed in Omaha in 1995 releasing a variety of post-hardcore influenced material that was bottomed out by its incorporation of the intensely personal Saddle Creek sound. In 1998 Cursive lost a variety of members and as result declared the band over but only a year and half later they came back with a new guitarist and with what in my opinion is their best album, “Domestica". "Domestica's" overlying concept is the exploration of a couple’s relationship as it slowly dissolves. Perhaps what really strengthens the lyrical content is how Tim Kasher is perfectly able to represent his flaws and anger. The constant tussle between admittance and complete denial makes the record breathe real in its pure reflection of the dissolution of relationships. One could say this is because the story of "Domestica" carries an odd familiarity to the real life experiences of the lyricist. Whether Kasher is just a master of storytelling or baring his heart is regardless as he is convincing in his role of speaker for the two vicious characters he has created in "Domestica". Kasher can step into the shoes of a work drained passionless shell as he does on “The Martyr";

"He claims he's the victim
Strangled by the nine-to-five
And a pattern of stillness
That haunted this still life"

And then stream the same self lamenting into free conscious imagery that visually puts the listener into the variety of situations that are being presented in “Domestica”. '"There's still a hole where the phone was thrown" in "The Casualty" is a great image that Kasher half stutters his way through. "Shallow Means, Deep Ends" spits in metaphoric imagery with Kasher examining the impact of gossip on relationships while sounding is made more legitimate with the songs beautiful wording;

"But still I can hear those dirty birds chirp away
It's a song I know by heart
Sometimes I resent making friends and acquaintances
It's a thin veil between us"

'Domestica' musically is just as beautiful as it is lyrically. The rhythmic section has clearly taken a page from the book of Unwound and Fugazi creating a powerfully heavy bottom-end that allows Kasher and fellow guitarist Ted Stevens to craft beautifully atmospheric intertwining guitar lines that are far more beautiful than anything the band has done since. "The Lament of Pretty Baby" seems to be the climax of the guitars ability to perfectly fit together. The song is a dizzying combination of heavily palm muted sections with a variety of picked harmonics. The way Kasher and Stevens guitars tonally sound is fantastic and the way they both work off each other so simply yet so intelligently is extremely impressive. The most obvious strength on this record though is Kasher's vocals himself. His voice quivers and barrels into all out screams in a matter of moments but never does he lose the melody. Call it abrasive catchiness Kasher is clearly Cursive's secret component that lyrically and vocally takes the group a level above simply being another post-hardcore band.

"Dinner's getting cold
You haven't touched a thing
So what's it going to be?"

"The Radiator Hums" clearly hints that "Domestica" is moving into a different direction and the closure of the album is much less anthematic than the beginning and instead feels a little disillusioned. The sound is still heavy but instead of falling back on easily chantible choruses the three closing tracks of "Domestica" are very sullen and dynamic. It is a brilliant evolution from the more pop leaning introduction of the album. "The Radiator Hums" tosses its way between clean toned melodies and heavily distorted riffs with Kasher soulfully whispering in a way Greg Dulli only wishes he could. As some have suggested "Domestica" bares a clear relation to the Afghan Whigs' own self depreciating masterpiece "Gentlemen" but I've always heard ideas of that dealing more with Dulli's alcoholism than his actually lack of effectively communicating with the one he loves. Kasher while certainly well versed in his way with alcohol doesn't seem to travel down that road much on "Domestica". Here we find the songs focus solely on the action of the two lovers and their slow fall from grace.

tim kasher

Cursive released what will probably be their best album with "Domestica". Lyrically, musically, vocally, everything is on a point that hardly any post-hardcore band has ever reached. This is a masterpiece of a record and the praise written here is simply not even close to how much it deserves.

"One February night, we screamed our agonies
And I swear I tried to care
I tried, I tried"

Cursive - Domestica (2000)


on Cursive's latest tour they've been playing a variety of new songs. these new songs seem less complex in terms of amount of instruments in comparison to 'Happy Hollow' and 'The Ugly Organ' in other words.. it seems as if Cursive may be trying to make the successor to Domestica. here is a sample titled 'Race With'