Our Friend, Surrender- The Deceiver & The Chariot (2011)
16 May 2012 Leave a Comment
in Album, Reviews Tags: Our Friend, Surrender, The Deceiver & The Chariot
Our Friend, Surrender is a two-piece instrumental band out of Minnesota and Virginia that strikes me as…different. What I’m used to hearing from two-pieces are tons of looping à la Time Columns and a more fast-paced sound. Where these guys differ is that they actually try to tackle the extremely difficult challenge of making a more traditional, atmospheric post-rock sound. For that, much credit it due.
The Deceiver & The Chariot has a burst of energy right out of the gates, honestly very impressive for a two piece. The layering is done very well, although the first track sounds like Giants quite a bit. There was something missing, however, and it didn’t hit me until midway through the opening song: there’s no bass line (or at least it’s buried very far underneath). This issue becomes more apparent on the next track, where they have both guitars playing higher and lower parts, but an ultimate low to balance out the high chords (sounding like Caspian at times) left a little to be desired.
I truly appreciated the sound samples in Malraux, as it gave it an eerie feel (I believe it it a broadcast from a space shuttle, but I may be mistaken). In addition, the samples used for The Promise Of First Light were beautiful, and they worked so well with the instrumentals that I felt like I was in a movie. It sounded like a 911 call, and I’ve never heard something so terrible worked in such a way that it almost sounded peaceful. And there is definitely something maginificent about the strings that they bring in for Hope For Who We Are Because Of Who We Were.
Rating: It’s taken me a while to write this review because there are so many different directions this album pulls me in. I’m at a crossroads between its sometimes generic post-rock sound and its amazing display of ability (considering it’s only two people playing). Overall, Our Friend, Surrender rakes in a 3.5/5 kegs.
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B.
Good Weather For An Airstrike – Underneath The Stars (2012)
02 May 2012 Leave a Comment
in Album, Reviews Tags: 2012, Ambient, Good Weather For An Airstrike, Underneath The Stars
Recommended by a friend (Ray and/or Ryan from Still Blue Still Turning), I was already going to take a look into Good Weather For An Airstrike before I found their album submission in our mailbox; if fate exists, it showed itself right at that moment. I seem to be drawn to bands with a functional purpose, whether being an emotional relief or a way to cope with an existing issue, so reading this description made me want to dive deeper:
The Good Weather For An Airstrike project was initially conceived at the beginning of 2009 to help Tom Honey alleviate the issues caused by suffering from tinnitus, which causes a ringing sensation in the ear and can often result in difficulty sleeping. The idea was to create a collection of relaxing sounds which would help induce sleep.
Seeing as Still Blue Still Turning was my go-to band for sleep-inducing sounds, I looked forward to something new and exciting in the realm of ambient music (exciting ambiance, almost an oxymoron, I know). From the get-go, though, Underneath The Stars wasn’t living up to my expectation: the opening track was just monotone, and it wasn’t until the end that I really knew it was progressing. The next song, “Another Way Out”, was definitely a step in the right direction, featuring an incredible paring of vocals and string instruments. A really cool feature of this album is its use of weather sounds, allowing thunder and rain to enter the soundscape in a unique and relaxing way. However, unlike Still Blue Still Turning, there’s not much to catch the interest of the sober and curious listener. The ambiance is beautiful…
Rating: …but in terms of being able to do more than just fall asleep, it falls short. The issue when grading a work is always determining whether a band did what it’s supposed to do or not, whatever that is. Provoke thought, convey emotion, or just to set a mood, goals vary from musician to musician. For Good Weather For An Airstrike, at least on Underneath The Stars, the goal of perfect ambiance earns this a 5/5 kegs. As for interest-peaking moments, I’d put it at about a 2/5. Finally, in its ability to put the listener into a peaceful rest, it once again earns 5/5 (I’m actually slowly drifting while writing this [don't judge me]). And so this album lands at a 3/5 kegs, a perfect playlist for writing, thinking, and (of course) sleeping.
B.
Cicada- Pieces (2011)
01 May 2012 Leave a Comment
in Album Tags: 2012, Cicada, Pieces
Cicada created the best piece of music I listened to in 2010, by far. Over the Sea/Under the Water was stunning in a way your first kiss is: a burst of passion and intimacy that I had yet to experience in an album. I went as far as to make their debut release by top album of 2010. So, when I finally found out they had released a new album, I got it as fast as my computer could travel. What I heard made me excited and disappointed simultaneously: Pieces was not a trip in an entirely new direction. Cicada had kept their signature piano, guitar, violin & cello composition, the one that made me fall in love with them two years ago. However, it touched me in a different way.
At the same time, the extraordinary sound that was unique to Cicada felt different now. The reason hit me slowly, because the (wait for it) pieces were all there, just like last time. The difference was, this album was much more focused on the piano, and used the violin as an accent. This is a definite change from their violin-centric sound from the first EP, and it is very noticeable when you listen to them back-to-back. Cicada couldn’t seem to catch their energy on this album, save one song. Out of the slower, more peaceful moments on Pieces, the title track was the best. However, a flashback to beautiful times was found on “No Words”, a energy filled, violin driven explosion of power that ranks #2 on the list of my favorite Cicada tracks, spanning both releases.
Rating: “No Words” was a turning point for my listening experience for this album. It was such an incredible song that it really showed the small flaws in the rest, and it made this album a good listen, but overall not what I was looking for. What drew me to Cicada to begin with was the original sound they were featuring, which was a post-rock/instrumental band that replaced drawn-out guitars with beautiful, classic violin. Now, with Pieces, Cicada turns over a new leaf; maybe they matured, and that resulted in their new tranquil sound, but by removing what I loved, I’m left wanting. 3/5 kegs for a good effort, and a hope for a return to their roots.
B.
Hollow Earth – We Are Not Humanity (2012)
12 Apr 2012 Leave a Comment
in Reviews, Album, hardcore Tags: Hardcore, Metalcore, 2012, Hollow Earth, We Are Not Humanity, Panic Records
Folks, this is it. If you have been scavenging the larger part of the hardcore scene lately for raw substance and poetic urgency and have come up empty-handed, you may find what you’re looking for in Michigan’s newly-formed Hollow Earth, and their debut EP We Are Not Humanity.
They may have seemed to materialized out of nowhere, but the idea of Hollow Earth had been around for the duration of many tours around the globe. Vocalist Steve Muczynski had a band like this in mind for few years, and while on the road with Shai Hulud, he expressed his vision to Mike Moynihan (current vocalist of Shai Hulud, and now guitarist for Hollow Earth) and Aaron Goodrich (the band’s drummer). The end result was the formation of Hollow Earth, acquiring guitarist Dave Giandiletti and Jake Hicks on bass to complete the band. Following its inception, the members moved closer to each other within Michigan to allow Hollow Earth to become a reality. Their debut EP was recorded by Jay Maas at Getaway Group, and almost immediately after they released a 2-song teaser, Hollow Earth were signed to Panic Records. I cannot think of a label that suits them better.
I had been eagerly awaiting a chance to review this album; since January, I’d only had the standard 2-song sampler to tide me over. However, I did have the chance to preview the entire album live when they played Long Island this past February. Before hearing the recorded version, I had a chance to talk to Muczynski about the album’s incredibly-written lyrics. From what I understand, a great amount of inspiration was drawn from Daniel Quinn’s Ishmael trilogy. Lyrical themes of encroaching human dominance over a dying and depleted Earth will surely resonate with anyone with even just a fraction of awareness, and the lyrics themselves are beautifully-written in a way hardcore has not seen for years. Undeniably intelligent and poetic, yet absent of pretentiousness.
In terms of sound, you’ll find a great amount of 90′s hardcore influence, but it’s fresh enough to not sound like a rip-off of an era that has long-since passed. If you’re wondering what to expect, refer to the following albums as a comparison:
25% Strongarm – ”Advent of a Miracle”
25% 108
20% Morning Again – “Hand of Hope”
15% Earth Crisis – “Destroy the Machines” & “Gommorah’s Season Ends”
15% Snapcase – “Progression Through Unlearning”
We Are Not Humanity never misses a beat, managing to stay intense and engaging from start to finish. The opening song, “The Great Forgetting”, is a one-minute sing-along intro, serving as a prelude to the misanthropic frustration the rest of the album details. There’s some guitar-noodling that’s reminiscent of the 90′s Florida hardcore/metalcore scene, and it’s seems that it directly influenced their songwriting. Every track is extremely strong in its delivery, but “There Will Come Soft Rains” is the strongest on the album. The lyrical content is both extremely bleak and empowering, and it demonstrates that this EP is be one of the heaviest releases in recent years without having gratuitous, choreographed breakdowns, forcing the listener to take these lyrics into focus and sing along. The album ends with “The Great Remembering”, wrapping up the whole release with a build-up that surely guarantees an incredible sing-along once people get a hold of this record and learn the lyrics.
Rating: I’ve listened to this album at least 50 times prior to this review, and I’m pleased to say I’m still far from sick of it. The most important aspect to note is that, though 90′s hardcore greatly influences their sound, they have managed to make it unique and push hardcore forward rather than looking back. A band like Hollow Earth is exactly what the hardcore scene needs in the next decade and the new millennium, hopefully getting kids to hang up their Nike Dunks and flat-brim hats, stop tracing their old, regionally-focused records for epiphanies, and give new blood a shot through hard work, creativity, intelligence, and raw urgency. We Are Not Humanity doesn’t drop until April 17th, but it’s available for pre-order through the Panic Records webstore, providing a download code with the pre-order to hold you over. Otherwise, you can hear their 2-song sampler on their bandcamp page or Youtube. They’re also going to be on the road quite a bit in the upcoming months, so if you find they’re in playing in your area, definitely give it a go. We Are Not Humanity gets 5/5 kegs.
- Anthony John Czerwinski
anthonyjohnczerwinski@gmail.com
Signals To Vega Release New Single, “Redshift”
12 Apr 2012 Leave a Comment
in Reviews, Video Tags: 2012, Redshift, Signals To Vega
2010 seems so long ago. Ricky had JUST taken me on to write for Is This Revolutionary?, and in my search for new music to post, I came across a band called Some Are Gods. I instantly fell in love; their demo tape still is one of my favorites of all time. After a review, some PR and an interview, I had really gotten to know the band personally and followed them through the ups, the downs and the band name switches. When I was told Signals To Vega had decided to call it quits, I died a little inside and wrote a memorial article capturing everything I had been feeling. Now, two years and several new additions have injected new life into Signals To Vega, and they’ve put out their first song to the public, entitled “Redshift”. More or less the same feel as their previous incarnations, this is not something to be missed, as they will rise to the top of the post-rock world in due time.
B.
Narrows – Painted (2012)
05 Apr 2012 Leave a Comment
in Album, Reviews Tags: 2012, Narrows, Painted
If you’re not familiar with this band, you may have been as out of the loop as I was. While I feel that the identities of Narrows’ band members are ever-so appropriate, I will refrain from name-dropping in excitement until the end of the review. It’s only fair that this project be treated as a standalone endeavor, a progressive and fresh undertaking, and not one that is a rehash or continuation of their previous bands’ efforts (even if it may seem so).
Since Narrows’ first album (a self-titled 3-song release in 2008), the band has gone on to release a full-length, and a split with Heiress. Now, in 2012, we are graced with the meanest, most punishing, deviating, and filthiest chaotic metal/sludge/hardcore album to come out in years - Painted. This is not an album that you simply pump a tightly-clenched fist to in the comfort of your own home. This is the kind of album that you bring to your 9-to-5 office job, kick your boss’ fucking teeth in, and proceed to saw through his throat with a strand of rusty razor-wire to during a “team morale boost/employee assessment” meeting. I have not heard an album as raw and visceral since Deadguy’s Fixation on a Co-Worker or even earlier Today Is The Day, and it wouldn’t be a bad comparison in terms of delivery and vibe, even if the musicianship is different.
The album kicks off with “Under the Guillitone”, which starts off with a lot of driving noise (the good kind) over considerably down-tuned riffs, and it might have the most menacing and crushing break I’ve heard in a while. The album follows suit until about the 4th track, “Greenland”, which clocks in at around 8 minutes and proves to be one of the best tracks on the record – a sort of noisy-crescendoing track. The rest of this record still maintains its viciousness to the very end, which I was worried it wouldn’t because of the sheer power of the opening song. It’s left to much wonder what state of mind they were in or what life experiences influenced them when they wrote this record. If you’re a fan of some serious hostility, you might want to check this one out.
Rating: If you’ve never heard of Narrows before, you may have heard the projects that these guys came from. Returning to vocal duties is Dave Verellen from Botch,who has not lost any steam whatsoever; he may have become even more vicious vocally than he was in Botch. Rob Moran from Unbroken, Ryan Fredereksen from These Arms Are Snakes, Jodie Cox from Tropics, and Sam Stothers from Makeout Boys round out the group. Clearly, this makes for a fine line-up, and even if you were turned-off by previous records, give Painted a listen. I doubt you’ll be disappointed. I’m kicking myself for having heard this record after I missed their show last month in NYC. Foolish. 4/5 kegs
- Anthony John Czerwinski anthonyjohnczerwinski@gmail.com
Sky Architects- The Promise of Tomorrow (2012)
31 Mar 2012 Leave a Comment
in Album, Reviews Tags: 2012, Sky Architects, The Promise of Tomorrow
Given one week to write this, I set out early in order to truly grasp what is Sky Architects. This was second release I reviewed from them, and I expected it to be equal, if not better, than the demo over I heard over a year ago. To an extent, it was better. To another extent, it wasn’t even comparable. Their trademark “doom-pop” sound was gone, replaced with regular post-rock. Before everyone gets up in arms about that, understand that 2012 is a year of trying something new. Fishing the Sky made an incredible turn-around on their first album and Signals to Vega are actually making an attempt to be a band again, so the sky’s the limit this year. To that point, The Promise of Tomorrow actually break new ground in the genre of post-rock, allowing me to answer the question “Is This Revolutionary?” with “YES!” for the first time in 2012.
This album blew the lid straight off my expectations. Never forced, never fake, The Promise of Tomorrow is one of the best albums this decade. Honestly, I never thought I’d say that about a post-rock band with a vocalist, but there were so many things that were just off the charts. First, the vocalist is surpurb, singing in a manner that complements the music and allows the instrumentals to truly become the main focus. The instrumentals are so beautiful, so full of energy and creativity, that it’s difficult not to listen and be amazed. The best part is that they never get dull or boring, flowing from one song to another, and make the album sound like one giant song. With almost a If These Trees Could Talk feel to them, they get heavy at all the best times, and emphasize the great baselines being played by some very talented musicians. What came out of left field on this album was “Breach These Walls”, the first post-rock song I’ve ever heard combined with dubstep. At first, I hated it simply because it was dubstep, and I was afraid that my favorite genre of all time, my calm music epicenter, was being infected by the plague that sounds like “whomp-whomp”. The further I got into the track, however, the more I was pleasantly surprised at how well both genres worked together. The sound was unique and original , though I hope it doesn’t become a new gimmick for new instrumental bands.
Rating: I was asked to write this review in order to provide Sky Architects with quotes to use for promotional purposes. I always promise to write fair and unbiased reviews, and this is no exception. Because of this, I fear nothing in saying that it was an absolute pleasure to listen to The Promise of Tomorrow. It took a lot to make me want to listen to a band featuring vocals AND dubstep, but this will be in contention for the best album of 2012. 5/5 kegs
B.
047- General Error EP (2009)
27 Mar 2012 Leave a Comment
in Album, Reviews Tags: 047, General Error
This is straight out of left field for us. Not ambient, but not in your face energetic, 047 is one of Sweden’s best bitpop groups, hands down. For those who are not aware, bitpop is music made with electronics that pretty much sound like what’d be coming out of your game console in the 80′s/90′s. The trend continued into the late 90′s/early 2000′s because of hand-held video games, which never let the love for 8-bit music to die, and thus came 047. The music is happy, melodic, yet surprisingly complex and interest-grabbing. The sound of the short electronic blips string together to make something incredible. Not really a formal review, just something to check out.
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B.
Touché Amoré- Parting the Sea Between Brightness and Me (2011)
22 Mar 2012 Leave a Comment
in Album, Reviews Tags: Parting the Sea Between Brightness and Me, Touche Amore
If you haven’t heard of Touché Amoré by now, you might be living under a rock. Forming in 2007, the LA natives already have 2 LPs and several other releases under their belt. They’ve toured with bands like Envy and Pianos Become the Teeth, and have featured guest vocals by Thursday’s Geoff Rickly and Modern Life is War’s Jeffrey Eaton on previous records. They have an early-era and unbastardized scream/post-hardcore sound, not unlike what was heard in the 90′s, only with more of a melodic hardcore flavor than a spazzy, more musically-interesting one (think Swing Kids, Antioch Arrow, or Orchid). Since their inception, they’ve gotten quite big, and signed with Deathwish Inc. in late 2010. Through Deathwish, they released their latest album, Parting the Sea Between Brightness and Me.
The element that stands out to me the most about Touché Amoré, their shining trademark, is vocalist Jeremy Bolm’s lyrics, which continues on this record. The delivery is satisfactory, and his way with words is certainly unique. On the opening (and catchiest) track, “Tilde”, it goes from a very gently-strummed clean guitar intro into faster, more vibrant riffing, full of life and energy. Other stand-out tracks include “The Great Repetition”, “Condolences”, and the final track “Amends”. Most of the band’s style features mellow, “clean” parts juxtaposed by a more aggressive sound that draws influence from hardcore-punk. In its entirety, the album only clocks in at about 20 minutes with 13 tracks, with most songs not even grazing the 2-minute mark. It’s quite a short listen, but that’s to be expected, given the genre.
Rating: Touché Amoré is a fun band; they are great live act, and it’s nice to see some bands writing lyrics that are mildly interesting coming out of the hardcore community (though they’ve been tagged as being part of a sort of screamo-revival, which gives them too much credit). If you want a more musically-interesting post-hardcore ride, check out Pianos Become the Teeth, though for Touché Amoré to come out of the hardcore scene and play this kind of music is quite bold. As far as this album goes, however, it’s something I’d want to listen to only once every few weeks (which could be said for this band in general). Despite your feelings regarding the genre, you might just want to take interest in Bolm’s lyrics. 3/5 kegs.
- Anthony John Czerwinski anthonyjohnczerwinski@gmail.com
And the Battle is Won: Upgrade? Fund 2012
20 Mar 2012 Leave a Comment
in General Discussion Tags: Fundraiser, Is This Revolutionary?, Upgrade? Fund
We’ve done it, we’ve done it, we’ve done it! Yes, it’s true, Is This Revolutionary? is now fully funded. Never in my wildest dreams could I have imagined that we’d be here with the money necessary to revamp our website. To say I’m excited is a complete understatement; watching Ricky & I’s baby grow, now with Anthony here to nurture it as well, has been extraordinary. Now, without further ado, our promise to you:
1. David Palmer, musician and guest columnist to Is This Revolutionary?, has been the utmost help in getting us off the ground. Without going into to much detail, Mr. Palmer has given us more than we could ever hope to repay, and we can only get started on that by kicking this project into high gear. He’s a kind and generous man (who’s done everything I wish I did [He even chilled with Earth Crisis and saw Gorilla Biscuits back in the day]), and I cannot believe we’ve been as lucky as we are to have had someone like him with us on this journey.
2. Jennifer Arriozola was our first donor, and believed we could accomplish our goal from the launch of our fundraiser. Constantly promoting it on Twitter and elsewhere, she inspired us to see this through, even when we wanted to just pack it up and cut our losses. She’s a great friend of mine, and I’m happy she is in my life.
3. Ryan Brady & Ray Duer: “Love from Ryan and Ray” pretty much captures everything that can be said about these guys, also known as the duo behind Still Blue Still Turning. I met them at a show in Brooklyn (specifically Signal Hill, CALLS, and Twincities) and I could tell they were easy-going and intelligent people. Even before I met them, I knew they were geniuses from the sound of their music and the themes it surrounded. They’ve helped out more than they know (long nights of thinking/writing/gaming to American Artist and Hurricanes), and I hope to give back just as much.
4. Greg and Brian from USSA Pleasuredome found us through Family? member Time Columns, and although I have not taken a listen to their music, I hope to get to soon. Little did they know that they came just in time: the day they donated, I had made a decision to shut down the fundraiser the next day due to a lack of interest outside friends and Family? members alone. Once I saw that our reach expanded past our usual boundaries, it inspired me to keep it running until the end, just to see what happens. Greg & Brian directly and indirectly set us up for success, and for that, we thank you.
In closing, we are thankful to everyone who’s ever donated, spread the word, or even read our blog and thought it was a good thing to spend your time on. We’re planning on getting everything out by mid-April (if everything goes according to plan), so anyone who donated will get their well-deserved rewards soon enough. Now, with the funding we so needed, we push onward once more.
B.
