Don’t let the name fool you, Gladiators Eat Fire are a force to be reckoned with. They mix parts of post-hardcore, stoner rock, and old fashioned rock and roll to form a sound that doesn’t allow you to miss. Produced by Matt Bayles (Mastodon, The Sword, Botch) their newest EP Avant Garage is quite lethal and unrelenting. This four piece hailing from Seattle is well on it’s way to leaving a mark in the scene. One can tell that these gents put it all out there when performing live, and make sure you remember their name when they are done.
There comes a time for every band to take the next step with their music. When that time comes, the final product is often times misunderstood and takes a while for the fans to come around. Then there are the new fans that come aboard and really take a liking to the change. In the early 2000’s following the success of their album Tear From The Red, Poison The Well found themselves signing to Atlantic Records and from that point started putting together what would become their third album You Come Before You. They enlisted Swedish producers Pelle Henricsson and Eskil Lövström who worked on Refused’s monumental album The Shape Of Punk To Come. Recording for the album started at the legendary Sound City Studio and then moved to Sweden. The end result of these sessions brought out the absolute best in the band. You Come Before You is the album that breaks the mold of post hardcore and allows the bands other influences to shine through. The use of melody throughout really helped to sharpen the bands edge without taking away from their hardcore roots. Opening song “Ghostchant” shows just that. Other stellar songs include “For A Bandaged Iris,” “A) The View From Here Is…B) A Brick Wall,” “Zombies Are Good For Your Health,” “Apathy Is A Cold Body,” “Sounds Like The End Of The World,” and closer “Crystal Lake.” The entire album is sensational if you are into this genre of music. It has even been talked about as one of the most influential albums of the “metalcore” genre. The band really stepped up on this album. Singer Jeff Moreira really developed an identity on this album by taking chances vocally and lyrically. The riffs, tones and all around playing from guitarists Derek Miller and Ryan Primack are crisp and heavy, allowing all the notes to come through. The rhythm section of Chris Hornbrook on drums and Geoff Bergman on bass, are one of the most in the pocket in this genre. After the record was complete, the band started a year and a half tour cycle that took them to around the world. Towards the end though, many of the band members were worn out and unsure if they wanted to continue with Poison the Well. Sadly, guitarist Derek Miller did part ways at this time.
Poison The Well would go on to release 2 more albums that further expanded upon what they started on this album. After the release of their final album The Tropic Rot, the band took a long hiatus, only recently returning to the stage in 2015 for a reunion show. Here’s to hoping they continue on. Poison The Well are one of the more underrated bands in heavy music and helped to make it acceptable to allow melody into the genre.
Since last Friday when I saw Socionic, I’ve been listening to the band that opened the evening Here Lies The Hero. Their blend of metal and post hardcore is quite exceptional. The band formed in 2010 in Texas and relocated to Los Angeles in 2013. Since that time the band has really pushed hard to make a name for themselves, playing shows with the likes of Trivium, Norma Jean, Letlive and countless others. Their 2014 EP Adrift, is a very vulnerable yet full of optimism. Musically this band especially the guitars are technical and precise while full of heaviness and melody. Amongst their peers in this genre of music, Here Lies The Hero are quite the band to watch for. And by the indication of the new songs they played at the show I saw them at, they are moving in the right direction with what they are doing.
Making a statement through music and art is always a complex thing to do. On one hand you know that this is the best and most fulfilling thing you can do. So much so that the direction and influence you feel at that point is going to define you. On the other hand, there is a sense that people out there won’t get it and thus give up on you. But for those that understand and really pick up on, know that this is the album that needed to be made and up till this point, it was only a matter of time. Ten years ago, Thrice released their masterpiece called Vheissu. At first it was met with a bit of hesitation but as time settled, the album began to take on a life of it’s own. Vheissu was a dramatic and experimental departure from the bands more post hardcore roots. Thrice took chances to make an album with more substance and meaning. Not to say that their previous releases weren’t up to par, but this album just had to push past all those to leave a mark. They took a chance with adding different elements including different instruments, time signatures, and the use of electronics. All of these things really helped to ensure a true artistic approach in the writing and recording process. There are so many standout songs on this album, it’s hard to pick the absolute best. My personal favorite “The Earth Will Shake,” is a perfect example of the bands progression and how well it worked out. “Red Sky,” “Atlantic,” “For Miles,” “Like Moths To Flame,” and “Image Of The Invisible” are all standout tracks on the album. The entire record as a whole is beyond anything in the bands catalog. Take a trip back ten years ago and listen to Vheissu again.
AFI is a band that has gone through a lot of changes stylistically throughout their career. They started out as a punk band with hardcore roots, then shifted more to the Horror punk side of things. As time went on and the band evolved they found a balance of their roots of punk and added a more goth element to their music. So in 2003, AFI released their most ambitious album up till that point, Sing The Sorrow. Their die hard fans were caught off guard by the departure of their original sound, while at the same time finding a new audience. Sing the Sorrow was produced by Butch Vig and Jerry Finn, allowing the album to be more experimental. Lyrically, the album is darker and more poetic than their previous material. I for one, when I first heard the album wasn’t really in to it at all. It just wasn’t the AFI I was a fan of. Fast forward a few years and I revisited the album and really grew to love it. There is something truly intriguing about it. The depth of the songwriting really took things to another level for the band with the use of synths, strings and the all around lyrical content. Songs like “The Leaving Song Pts. I & II,” “Bleed Black,” “Death Of Seasons,” “But Home Is Nowhere,” really show the maturity of the guys in the band. There are some songs that are a little more radio friendly like “Girls Not Grey,” “Silver and Cold,” and “Dancing Through Sunday,” but that doesn’t change the fact that the songs are really good.
This is one of those albums that with time you really come to love. There is something about Sing The Sorrow that really hits home. Sure the production on it is a little too slick and AFI has completely changed from what they once were, but the growth on this album is truly astounding. Give it another shot if you gave up on them.
Let’s travel back to April 1995 and taking what we all know now, we get to experience Hum’s You’d Prefer An Astronaut for all it’s glory when it came out. Hum was formed in 1989 and released two albums before reaching mainstream exposure with You’d Prefer An Astronaut. The bands 1993 album Electra 2000, was produced by Brad Wood who would soon go on to produce Sunny Day Real Estate’s album Diary. You’d Prefer An Astronaut is Hum’s major label debut album and has gone on to sell over 250,000 copies. That doesn’t seem like a lot, but just as I have said about Failure’s Fantastic Planet, pretty much anyone that picked up this album went on to start a band and become strongly influenced by Hum. Chino Moreno of Deftones has even gone on to say that this album is a big influence in terms of the tones they used. The album is full of atmosphere, depth, and great riffs. There are moments in the song “Why I Like The Robins,” that if you listen to some At the Drive In songs you can really hear Hum’s influence in them. Matt Talbott as a vocalist really knows how to project to get his lyrics across in the right way. Bryan St. Pere is one of hell of an underrated drummer. His knack for the right cymbal accents is quite astonishing. Guitarist Tim Lash blend his playing perfectly well with Talbott’s. And the bass of Jeff Dimpsey is crunchy and full of grit bit also played with the right amount of precision.
Hum have reunited a few times over the years, leaving many fans to wonder if they will come out with a new album. In June 2015, it was announced that Hum would partake in two brief tours. In August 2015, Hum will open for Failure on the east coast of the United States. After that, Hum will embark on a co-headlining tour with the band Mineral on the west coast. Sadly, after the tour was announced, drummer Bryan St. Pere parted ways with the band, but Jason Gerken of Shiner will fill in for him.
Thankfully Hum are back, and along with Failure, will continue to be a huge influence on musicians for years to come. Here’s to hoping that Hum get back in the studio and make a great new album.
In 1998 Far released what is considered by many to be one of the top 10 influential albums of the “emo” movement in music, Water and Solutions. This record and band attracted a strong cult following in the late 1990s, due to the single “Mother Mary” and the band touring with long time friends in Deftones and Incubus. The album itself had a more melodic sound and richer fuller production by macshop” href=”#”> thanks to Dave Sardy, who was the producer on this album. The lyrical subject matter of Jonah Matranga and his vocals stretched from the raw screams to a more soulful singing voice, thus providing a real sense of intimacy for the listener to relate the words to. Musically the band has always been on point. Shaun Lopez distorted guitar and his remarkable tone is highly influential. His knack for creating a driving riff with the right amount of melody is often replicated but never quite the same as he does it. The rhythm section of John Gutenberger and the hard hitting drums of Chris Robyn were as tight as tight can be. John’s bass bellowed with the right amount of thump to push Chris’s heavy playing into the heights of the right amount of heaviness needed to fit with Shaun’s playing and Jonah’s vocals.
Sadly, not long after they released Water and Solutions, the band broke up. Though in 2008, the band reformed for a handful of US dates, and also a small UK tour. And in 2010, released a new album At Night We Live via Vagrant Records. At Night We Live is a solid album, and not just a throwback. Again though in 2011 it was announced that Far would not be be getting back together as there was just “too much drama.”
Far is one of those bands who will always be recognized for the great work they did, the material they put out, and the bands they influenced. And those of us who were fortunate to see them will always know that for sure.
The early 2000’s were full of so many bands and genres. One genre that really began to take off at this point was post-hardcore. Following the break up of one of the most exciting bands to come around in years, At The Drive In, members Jim Ward, Paul Hinojos, and Tony Hajjar formed Sparta. In 2002 Sparta released their debut album Wiretap Scars. The album brought well-earned respect and relieved some of the pressure brought on by the shadow of At the Drive-In. Opening the album is “Cut Your Ribbon” an explosive rock song that stuck true to the bands roots. “Air” is my all time favorite track on the album. Other tracks such as “Cataract”, “Glasshouse Tarot” and “Mye” are full of emotion and expansive melody. Jim Ward’s vocals really captivate those listening. His delivery makes his words really stand out. The music of Sparta packs enough of a crunch to really drive home the heavy parts, and at the same time can shift to a more subtle approach to highlight the more melodic parts. Wiretap Scars is one of the best albums to come out since the beginning of the 2000’s. It’s one that deserves to be in every collection.
Music will always stand the test of time. Certain albums will forever be revered as timeless. Some albums though don’t get the recognition they deserve. Which brings me to Sunny Day Real Estate’s debut album Diary. The album is considered by many to be a defining emo album. It has also been called the bridge between post hardcore and the emo genre. Listening to this album you can tell where Brand New gets a lot of their influence from. Lyrically there is a sense of realism throughout the album. Jeremy Enigk has a real knack for creating vocal melodies that compliments his softer voice and the words. Dan Hoerner’s guitar tone is heavy yet crisp and bright, which accents the soft vocals and the delicate nature in which Jeremy plays. Nate Mendel’s bass has a nice dirty tinge to it, adding just the right amount of distortion to balance with William Goldsmith’s heavy hitting drums. Songs like “Seven,” “In Circles,” “47,” “Grendel,” and “48” are all stand out tracks. Diary was different from those released by all the other Seattle bands at the time. It’s melodic but has a slightly heavy sound that has had a clear impact on future emo groups. It is the seventh best selling album released on Sub Pop Records, having sold more than 231,000 copies. In 2013, Diary took the first place in LA Weekly’s list of the “Top 20 Emo Albums in History”
The 90’s really had a huge impact on my musical taste. There are so many great bands and albums from that time, that deserve to be acknowledged. Quicksand is one of those bands that really deserve attention. Their sound is now considered by many as the pre-cursor to what “post-hardcore” is. Released in 1993 Slip, their debut studio album, is widely considered to be one of the classic records of that genre. The powerful riffs and rhythms drive the collection of songs. Vocally, Walter Schreifels, has a deep raspy voice that really reverberates throughout the songs evoking raw energy. The guitar riffs between Schreifels and Tom Capone are loud, crunchy yet very clear to hear the notes. Alan Cage plays the drums in a subtle heavy way. His knack for hitting harder when necessary is very noticeable. Sergio Vega’s bass playing is thunderous and compliments the rhythm masterfully. Songs like “Fazer,” “Dine Alone,” “Lie and Wait,” and “Transparent” sum up this great album. Take a listen and revel in it!
AUDIOECLECTICA 