Inferni – The Doctor Is In

March 10, 2015 • self-released

Inferni is back with a slightly different name and a much different sound; though I've covered this band before they deserve a revisit after putting out this new release. They've ditched the old acoustic pop melodies for something more on the post-punk / emocore side. It may be my own genre bias talking, but I think the change suits them really well and this EP is a really great listen.

I'd call the music on this EP some kind of emo, but there are a lot of different influences getting mashed together here to pin it down well. However there is a sort of minimalist approach here which works very effectively—only one guitar keeps things from getting to messy, and the vocals are sparse to both draw attention to the music when needed, and to have a healthy emotional impact. But my favorite thing about these songs is that they have hit on just some really awesome riffs; my favorite is probably the progression in "Ondine's Curse", there's some great interplay between the choppy guitar playing and smooth bass on that track (although the arpeggios and such in "Stockholm Syndrome" are up there as well).

Among these five tracks there isn't a single weak one, and I'm personally really happy with this release. Maybe we can see another EP or even a full-length sometime in the future? hmmm? Anyway, definitely give The Doctor Is In a try. Great stuff.

Prawn, Frameworks, Xerxes, Things Fall Apart, Reverse the Curse

May 5, 2015 • Ace of Cups, Columbus, Ohio

I guess I'm okay with the somewhat low amount of shows I've been to lately since they've all been so good. Tonight was no exception.

Reverse the Curse

This band's genre is really hard to pin down—I guess I'd call it some kind of atmospheric, super-textural post-punk or alternative rock, or something. Aside from the mumbly vocals, I actually liked them quite a bit. They make a nice opener, if nothing else: they're not too extreme but they put on a really good hard-hitting groove when they want.
6

Things Fall Apart

I have mixed feelings about this band. Their music sounded really familiar, but pparently I've never heard them before—I suppose they're just kind of generic (for lack of a less-derogatory word). They play standard modern screamo, and they do do a pretty good job at it although I can't say I was thrilled. Maybe it was due to the fact that the instrumental style was very "pretty" sounding, highly melodic and twinkly, so the screamed vocals didn't really jive well. Some bands pull it off but I don't think Things Fall Apart did. They must be doing something right, though, since they had the largest crowd of any other set (what's the deal with that?)
5

Xerxes

Like a moron I decided to take a slightly-longer-than-normal break before Xerxes' set, and I wish I hadn't. They were definitely one of the better sets of the night. Although they were also pretty straightforward screamo / emocore, they are definitely doing it right for a live setting. Very energetic and driving, melodic without being too sappy, and really great interplay between the bass and guitar. It's a shame their set was so short; they're definitely worth checking out if you get a chance.
8

Frameworks

It had been ages since I listened to these guys (okay, two years, but still) and I forgot how good they are. Their particular style of screamo is probably one of the better ones I've heard, at least in the studio, and they do work well on stage too. They're a bit too messy live to be appreciated on the same level as their studio work, but it was definitely good enough. Special mention to their adorable moment thanking Prawn (it was the last day of the tour) with a little gift bag.
7

Prawn

Like I said, last day of the tour, and if you didn't see them man oh man you missed out. Prawn has never even really been one of my top-favorite emo bands (though their albums are both really quite good), but live they knocked it out of the park. If you've heard them before there's isn't much to say about the musical side of their show (although thier drummer is pretty amazing, it turns out), but even music aside, their stage presence was amazing—lots of energy, genuinely having fun. I wish there had been more songs from the first album that I would have recognized, but oh well. Great stuff.
9

Have Mercy – A Place of Our Own

October 27, 2014 • Hopeless Records

I've put off reviewing this one for so long, and I was never really sure why until now—I think I didn't want to admit to myself that I really don't like it all that much. It's odd considering that their first album is pretty good (albeit kind of a guilty pleasure) and this one is basically more of the same, but maybe that's why it doesn't click with me in the same way.

If you've listened to any song from The Earth Pushed Back—no, seriously, any one, they're all the same—you've heard this album. I didn't really have a problem with every song being the same before (even using a lot of the same exact chord progressions and the like) because they play them with a lot of energy and passion and yeah, the songs are pretty good. But this time around it just feels kind of recycled and so there really isn't anything interesting to talk about. It does have some decent songs, I'll admit, but not enough to hook me like anything on the debut did.

I dunno. Maybe I'm just not in the same mood anymore and the mopey-aggressive dichotomy and excessive melodrama hasn't doing anything for me on the particular days I've chosen to give this album a try. Maybe it'll grow on me. I don't know.

Crash of Rhinos – Distal

April 1, 2011 • Brave or Invincible Records

I know, I know. It's too late to talk about this band. They broke up almost exactly one year ago, but it is only just recently that I discovered them and I can't stop listening to this album.

Back in 2010 I first heard Cap'n Jazz and got absolutely hooked on emo (as anyone who reads the blog can attest to; I've been posting more emo reviews than anyone ought). But after all that time I couldn't really find a band that brought the same kind of thing that made Cap'n Jazz so good—that same kind of raw intensity without being too heavy, the same intricate approach without being too mathy, the perfect balance of everything that makes this kind of music worth listening to.

Well, Crash of Rhinos has it. (Had it, I guess.) I've heard both of their albums but I think Distal barely ekes out as being the better one, and I don't say that lightly. There is not a single wasted moment here, not a single drum hit or guitar note or vocalization that isn't overflowing with passion and meaning and value and beauty. There is not a single song that doesn't make me stop whatever else I'm doing and take it in. This review took far too long to write because I had to keep stopping and just let myself listen.

A couple choice moments:

• The huge gang vocal section closing out "Big Sea", an excellent callback to the beginning of the song while showing just how grand they're capable of getting.
• The last half of "Stiltwalker", which takes on this elegant legato Bear vs. Shark feel that is absolutely entrancing.
• The seamless shift of the same riff into triple-feel halfway through "Gold on Red". I don't even know why it works so brilliantly.
• "Asleep" ending the album not with a bang, but by quietly slinking off into the distance, leaving the listener in a puddle on the floor.
• Me, needing to immediately listen to the whole thing again after the first time. That has happened maybe only three or four times that I can remember, ever.

This band is essential listening for anyone with even the remotest possibility of having interest in emo. And it came out in 2011—during emo's revival, when there don't seem to be many albums like this, and right when I needed it. It's criminal that it doesn't seem to have gotten as much exposure as it deserves. Maybe one day.

Dikembe – Mediumship

July 22, 2014 • Tiny Engines

For some reason I keep forgetting this band exists—even though they're easily one of my favorites of the new wave of midwest emo (despite being from Florida). I loved Chicago Bowls, and Broad Shoulders was just as good. But something happened after that and this, their second album, just isn't cutting it for me whatsoever.

The midwest emo sound is actually disappearing, being replaced with a bit more straightforward indie rock style (or even alternative rock, somehow). A few of the tracks on are a bit more on the soft, plodding, post-rock-ish side as well. Nothing atypical for this style of music, I suppose.

But going back and comparing this to Broad Shoulders, just two years earlier, it almost feels like a different band—or at least like something special has been lost. No more silly audio clips, everything feels a bit slower and flatter, and a little bit more generic; even the vocalist (when he doesn't sound like a different person entirely) sounds like he's falling asleep most of the time, when on previous songs he was quite energetic. It took until the eighth song, "Donuts in a Six Speed", to finally hear something like the band I was expecting.

I dunno; I guess the songs are still decent, but I can't help but feel massively disappointed. Hardly anything in ten whole tracks got me excited; I really wonder what happened to this once-great band. At least they still have one great EP and one great album to listen to regardless.

Everything Wilts, Arrows in Her, Gatherer, Fossil, Until We Are Ghosts

July 21, 2014 • Fairfield Christian Church, Baltimore, Ohio

Having a concert in a church was real weird. On one hand, the standing room was weirdly organized and it was a little cramped. On the other hand, it didn't smell awful and there were no annoying drunkards (in fact, everyone was really nice). Totally worth the half-hour drive out of town to check out some amazing bands.

Until We Are Ghosts

These guys have a metalcore sound to them, with a bit of modern hardcore punk and post-screamo thrown in. I'm not sure how I feel about their music in and of itself (it was a bit too much metalcore at times), but I can't deny that their performance was pretty impressive. Good technical skills, incredible passion for their craft (especially the vocalist), and a little showmanship. Good stuff.

Fossil

Leaning more towards the lighter post-hardcore side, with a heavy dose of standard screamo. While they certainly performed well, the songs themselves weren't terribly thrilling. Not that I found myself bored or anything, but there wasn't much about them that really set them apart. Nice to watch anyway, especially given the slightly silly dancing about. Fantastic drumming, too.

Gatherer

More traditional-type screamo plus post-hardcore with a very dark feel to it (at least, in comparison to the other bands). The rhythms were really good and they did switch up the formula quite a bit with lots of changeups and different styles (including a tiny bit of blasting). The set in general was great; very fun to watch. One to check out for sure.

Arrows in Her

I can die happy now. These guys have been a top band for me ever since Leaving came out almost two years ago. Since they haven't come up with much new material since then (though a full-length is apparently almost done) the set was packed full of amazing songs. I'm still impressed by the guitarist's ability to do those intricate clean riffs and sing at the same time. Gatherer's drummer filled in and he did a fantastic job as well. So glad they finally made it here.

Everything Wilts

Half of this band was in Maumelle, a crazy coincidence I didn't realize until the show was over. Anyway: pretty upbeat (almost pop-punk) screamo, the vocals are a bit too intense for the music (kinda like Maumelle). But the band was doing some pretty interesting stuff, with some good guitar effects and different textures going on. They've got a way to go, but it's a great start.

Anger House – Asleep

June 3, 2014 • Happy Ass Records

I've reviewed Anger House here before; see my review of Loss for a good overview. Their brand of old-school emocore harkens back to the D.C. school of Rites of Spring and their peers and I love how they're doing it. Asleep is essentially just more of the same, so there really isn't a whole lot for me to say about the EP. But in no way do I see this as a bad thing. "Devotion" is probably their best song yet and one of the best post-hardcore songs I've heard in a long time. They are very consistently putting out good material, and I basically just wanted to put out yet another good word for them. So go listen!

Braid – No Coast

July 8, 2014 • Topshelf Records

This one caught me a bit off guard; I haven't really been paying attention and didn't realize at first that Braid, one of the most seminal emo bands of the original '90s wave, reunited for a new album and tour. (I guess I was too interested in similar situation of the Owls reunion.) There's something a bit odd about a bunch of old-timers playing music that's always been a very teenage sort of thing, but I guess if anyone were to try and pull it off I'd rather it be Braid than just about anyone else.

No Coast definitely has a different sound than their older albums (as should have been expected). It's less emo and more straight-up indie rock, with more restrained vocals and an overall more straightforward sound. There's still a little bit of that punk-ish drumming and emotive guitar lines, but the result is definitely on the tamer side. I won't call it completely radio-friendly yet, but it edged in that direction a little bit.

Of course that isn't necessarily a bad thing; the songs are still pretty good. A little repetitive, perhaps (especially in the lyrics and choruses), but definitely enjoyable. It's well-produced, slick-sounding stuff and there are plenty of nice catchy riffs and rhythms ("Many Enemies"' Pixies-esque style stands out as one of the top tracks). However, they still don't come anywhere close to the greatness of The Age of Octeen or Frame & Canvas. There just aren't a lot of moments that are as moving or memorable as those two albums were.

That being said, it's still good stuff and worth a listen or two. After all, it might have been sixteen years but it's still Braid and they're still good. I guess if this exact album was made by another band, it probably wouldn't get the same response (yes, even from me) but I think it would still be quite well-received. Anyway, check it out already.

Lobby Boxer – Lobby Boxer

May 16, 2014 • self-released

I haven't written any new emo reviews in a while (okay, any reviews, for that matter), and since there have been a million of these bands crawling out of the woodwork there certainly hasn't been a shortage of good stuff to recommend.

Lobby Boxer takes the midwest-emo-revival sound and puts a slightly more aggressive pop-punk sound on top, a style which I've noticed is gaining a bit of traction lately. I won't say they do it the best of any band I've heard, but they definitely are doing it well. The songs have a very natural ebb and flow to them, back and forth from stomping start-stop rhythms to calmer introspective textures. And they can get heavy, too—that last track "Fragile Girl" is a real pounder. The level of dynamics is pretty impressive.

Special shout-out to the bass guitar player; there are some surprisingly detailed lines going on there that really help give the music a unique sound.

Anyway, yeah, another band to keep an eye on. Might as well give it a spin if it sounds even remotely interesting—hard to beat that download price.

Have Mercy, Pentimento, Gates, Head North, Vice on Victory, Absent Youth

July 14, 2014 • Double Happiness, Columbus, Ohio

Not my first time at Double Happiness, but my first time there for a concert. Definitely the smallest, most intimate show space I've been to that wasn't a house; turns out it's actually a pretty good venue.

Absent Youth

Since there were six bands and I wasn't totally sure what time they were starting, I wound up guessing a bit off and missed almost all of Absent Youth's set—all but one and a half songs. It's unfortunate because from what I did catch they seemed like they were pretty good; kind of your standard heavy-emo stuff I guess. I should look them up.

Vice on Victory

Definitely taking a solid pop-punk turn, though not in a bad way. Songs were pretty catchy with some cool breakdowns (surprising to me, but then again I don't really listen to much pop punk). Not exactly my kind of material, but they still seemed pretty talented and knew how to put on a good show.

Head North

The surprise of the night (there's always at least one, right?), these guys were phenomenal. Another pop punk band with a bit of emo influence and this really uplifting, feel-good aesthetic that was immediately infatuating. Cool stuff.

Gates

I got a real Appleseed Cast vibe from these guys, with a very droney, atmospheric, hypnotizing post-rock vibe. Usually I'm not really into the more post-rock-ish stuff but they do it well, and in the context of this show it was, if nothing else, a nice change of pace. They were great to listen to, too; it was all too easy to just get lost in the wall of sound and zone out. It felt like it was over too quickly, though.

Pentimento

More upbeat pop-punk sort of stuff; not a total mopefest but a bit of that melancholy influence in there. Nice, driving, rhythmic stuff with enough aggression and complexity to that you don't really notice it's pop punk.

Have Mercy

Wound up being way better than I imagined it would be. I guess it always helps my enjoyment of a show when I'm familiar with the material beforehand, and I had spent a lot of time listening to The Earth Pushed Back last year. I can say pretty confidently that the songs work better live, and that's saying something. Absolutely worth coming out for. And unlike a lot of successful bands, these guys were still very genuine and friendly and a joy to see play and talk to.

We Came Out like Tigers – Ever-Crushed at Peckett's Well

April 14, 2014 • Dog Knights Productions

I was recommended this album with the promise that it's a mix of black metal and emo—which are not only my two favorite genres at the moment but also a combination so highly unlikely that it had to be either completely amazing or the worst album I've ever heard.

Well, it's definitely a pretty unique album, I'll give them that. The black metal influence is very modern-sounding with a heavy punk / post-hardcore / crust sort of edge to it (I guess that's the screamo part coming out). Texture and aesthetics are usually shoved out of the way in favor of brutal, furious, and often very chaotic pounding, only occasionally giving way to slow soft post-rock-ish buildups now and again. The inclusion of violin in most tracks (including during the frantic and heavy sections) is an interesting choice, and one I think actually turns out working pretty well. (Similarly, the clarinet in "Entr'acte" is awesome. Why don't more metal bands have a clarinet ensemble?)

The songwriting is definitely something that takes its time to grow on the listener, though. The music feels very disorganized and even after three or four full listens it's tough for me to keep in pace with what the band is doing. I think it's best to try to experience this album passively, since (at least for me) really trying to follow along is pretty tough. It seems like the band wrote a lot of really good sections of music but weren't sure how to stick them all together into songs. Well, whatever works.

So I guess it's neither completely amazing or the worst album I've ever heard. But it's certainly not bad, and worth a listen for anyone into modern black metal and screamo. It will probably be a few more years until someone can perfect the fusion, but until then this album will do fine enough.

Into It. Over It., The World Is a Beautiful Place & I Am No Longer Afraid to Die, A Great Big Pile of Leaves, SRVVLST

February 27, 2014 • The Basement, Columbus, Ohio

The dreaded two-shows-in-a-row situation! Thank goodness for earplugs or I probably wouldn't be functional today.

SRVVLST

I was pretty excited to see these guys again, as they put on a great show the first time around. I wasn't disappointed here; it was probably a better show, even (it helps that there were maybe two hundred people there instead of a dozen). Not much has changed for them since July, and they were still playing some of the same emo-math-rock material, but their performance skills have definitely gotten better since. Special props to the drummer who is amazing to watch, especially his seemingly-magical double-kick patterns he does with only one foot.
8 • Best Poster of a Tattooed Japanese Dude Award

A Great Big Pile of Leaves

I am of two minds about this set. One one hand, this band played well—their performance was good, nice energy and delivery, all that. On the other hand, I don't like their songs at all. It's pretty generic indie rock, more or less, the really happy-feel-good kind (they sound exactly like their name implies). Definitely not my type of thing, and I couldn't get invested in their music whatsoever. I guess there were plenty of people around who were big into them so it's just me. Oh well.
5 • Biggest Bros Award

The World Is a Beautiful Place & I Am No Longer Afraid to Die

The other band I came to see, and they didn't disappoint either. Admittedly, TWIaBP has a sound that I think works much better in the studio than it does on stage, as their huge, dense post-rock approach doesn't work quite as effectively when you're trying to cram everyone together into a live setting—especially when you have three guitars and lots of vocals to arrange (consequently, for example, the snyth was totally inaudible). But regardless they have the songs to make up for that, and they performed them well and I had a good time. They did a great job playing their newer material and the new spoken word / drone stuff was actually pretty neat, too. Definitely worth seeing.
8 • Most Vocalists (Seriously Five Is Too Many) Award

Into It. Over It.

I'd never heard this guy before either, so I went in without expectations; fortunately it turned out much better than the Leaves did. I was pleasantly surprised by this set, even though it too is normally not really my thing. Kind of an emo-pop-singer-songwriter-indie-rock mishmash; a good mix of soft intimate songs and louder, punkier ones, with some good songwriting across the board. It was a bit too vocal-heavy for me but I guess that comes with the territory (and there were plenty of good instrumental parts to make up for that). Not an artist I'd make too big of an effort to see again, but it was still a fine experience.
7 • He's Right, Red Velvet Is Bullshit Award

Coma Regalia / Greyscale

July 30, 2013 • Middle-Man Records

I don't review a lot of splits, but the format has really grown on me over the years as a way to quickly get to know some interesting new bands, especially in a genre you want to explore more. So with that in mind, we have two great bands from Middle-Man Records that are pushing the boundaries of screamo in very cool ways that are worth a look.

Coma Regalia plays a fairly standard sort of noisy, banging screamo, with short, rapid-fire songs. They're noticeably more melodic and a bit milder than more traditional bands like Orchid, resulting in some very well fleshed-out riffs and even some catchy hooks to go along with some atonal, angular guitar lines. However, I think they could probably benefit from some longer arrangements; as decent as their songwriting currently is, their songs don't quite have the memorability and staying power as they could, since they're over so quickly. But the potential is definitely there and I am certainly enjoying their output here; they just need to string it into more powerful and lasting songs.

Greyscale is a bit similar to Coma Regalia, but with a somewhat more dreamy, almost-post-rock approach to the genre that butts heads with an aggressive tone. It's a really interesting combo I don't get enough of. There's some great intricate guitar work going on as well as song great arrangements, with solid buildup and tension release. I'm not totally sure that their big, expansive, murky sound really gels that well with the fast-paced and dense screamo songwriting, though, but if nothing else it's a cool experiment and I'd definitely like to hear more of it.

Both bands are really solid on this split and worth checking out.

You Blew It! – Keep Doing What You're Doing

January 14, 2014 • Topshelf Records

You Blew It! has never really been my favorite of the modern emo revival bands; my opinion of their previous album was a bit middling though I was excited to hear this one. However, I'm not sure if I'm as excited as I was on the first listen, though the album is definitely far from bad.

Sonically, there's really not a lot to say about this release. Compared to Grow Up, Dude, the twinkly-midwest elements have been toned down a lot for more standard distorted-guitar rock riffing—with a few nice exceptions—though with a similar level of aggression (that is, not a whole lot of it). Still, there are some great catchy bits like "Gray Matter" and "Award of the Year Award", and a lot of nice uplifting moments like "House Address and "Rock Springs". Though it's not particularly unique, I think the change in sound suits them well enough.

On the other hand, I can't help but feel that this album seems like a product of a band just kind of going through the motions (just how significant is that album title, anyway?). Comparatively speaking, there doesn't seem to be as much emotion and passion going on... not so say there's none (the last two tracks are nice standouts), but sometimes the band just feels a bit flat. For example, I feel like "You & Me & Me" could have been a great song, but it sounds like everyone had just woken up when they recorded it.

Then again, I have been saturating myself with music like this lately (and so has the scene in general, as it's been taking off), so I don't want to entirely blame You Blew It! for my lukewarm reception. They do have the misfortune of releasing this at the same time a bunch of other great records are coming out (like the new Sport), for what that's worth. But I still think this album could have been better. Again—it's not bad, not at all. Let's hope it's a step towards something great.

Locktender – Kafka

July 25, 2013 • Replenish Records

I have never really been much into screamo much, but lately (as my appreciation for other emo has increased, probably) I've found a few good releases that I've really enjoyed. It's taken a few listens for Locktender to really click, as does a lot of music like this, but this is one album that's definitely worth the time to get into.

Don't let my use of the word "screamo" put you off, though; this is a bit distant from the likes of pg.99 or Orchid. Kafka has quite a diverse output of styles on display; they're mostly derived from screamo in some way, but Often the music contains a very heavy, sludge-metal-like edge, while later veering wildly into a light post-rock aesthetic. The result is music that's often very dense and chaotic and a bit difficult to wrap one's head around, but, surprisingly, in a good way. Though there's a lot going on (especially on the two longer, proggier tracks), it is one of those albums that one can hear something new in it each time.

It helps that on the whole, Locktender has a really good sense of melody that they apply all over the place for a very affecting performance. The vocals are especially good in this regard—I love the contrast between the harsh and guttural screams on most of the album, and the melodicism and passion of the singing that accents it. The guitar and bass parts are, of course, doing their part as well, just in a way that's a bit harder to put into words.

And it's probably true that a big part of the reason I like Kafka so much is that I haven't heard anything quite like this album before—not that that's saying a lot, but still—and it's still pushing all the right buttons as far as what kind of stuff I've been really getting into lately. So consider this an enthusiastic recommendation if you're at all in tune with the kind of stuff I've been into lately.

Sport – Bon Voyage

January 1, 2014 • self-released

Midwest emo left its roots and crossed the Atlantic quite a few years ago, but it's still really cool to hear bands from other countries grabbing onto the style and playing it as if it were first nature. French band Sport's debut Colors is great but they're definitely hitting on something special with its followup. Bon Voyage is the first (and, so far, only) record from 2014 I've heard. If it's at all indicative of how this year is going to go for emo (let alone music in general), color me damn excited.

Sport does the genre in a fairly standard style but with a slightly harder edge to it—heavier post-hardcore-influenced drumming, lots of stop-start rhythms, strained gang vocals, a delicious grindy bass sound. There's a lot of different things going on to keep the sound fresh, too; just in "André the Giant" you have this fast screamo-style beat that shifts to this more introspective, tame sound. It all fits together quite well. Even the album's construction itself is a bit crazy as the songs flow right into each other and the passion with which they play barely lets up.

True, they aren't bringing anything fresh to the scene on this album. The slightly math-rock guitar lines and twinkly riffs and spastic arrangements are all nothing new. But the way Sport plays, the catchiness and the raw intensity and emotion, it all strikes that part of my brain in just the right way that sends shivers through me. The math-rock lines are moving and triumphant. Those twinkly riffs are so intricate and beautiful. It's full of those moments where something just clicks and I get enraptured and can't do anything but sit there and listen.

It goes to show how far this scene has come and how well it's been tweaked and refined over just the last couple of years into something than can consistently wow me. I don't really think this will be near my top albums of this upcoming year, but even if it did I wouldn't be mad.

SRVVLST – "Thoughts"

December 25, 2013 • Major Bear Records

I first heard of this band when I saw them play at a great show back in July. I'm happy to see the band gaining some traction and are set to put out their new EP The Seven Year Inch in April 2014, although the first track is already available to stream on Bandcamp. As with their earlier stuff, "Thoughts" doesn't step too far out of the emo / indie-rock framework, but it still has that prog-ish flair SRVVLST likes to inject into their songs—lots of changing up time signatures and tempos and a very dynamic sound (from the quiet second verse, to the skittery, heavy riff of the song's climax, to the tense cresecendo and neat drum groove at the end). Maybe nothing game-changing for emo revival just yet, but I guess we'll see in April when the EP drops.

You Blew It! – Grow Up, Dude

April 24, 2012 • Topshelf Records

Do I even need to review this one? Another midwest emo album (from Topshelf, of course); this one came out last year. Was there a chance it wouldn't be good? Okay, maybe a small chance, but it doesn't matter. If you're even remotely in love with this kind of music as I am, this is worth a spin.

The band names and song titles seem to get sillier and sillier, but the songs are just as good. It's twinkly, complex clean guitar verses typical to the genre, paired with slightly-more aggressive choruses reminiscent of some Japandroids moments. I even hear some glockenspiel in there on "Medal of Honor" (I think?); very cool. It's also helpful that the vocalist has a voice that is actually pretty nice to listen to—while I can appreciate the horrible out-of-tune vocals of some bands, it gets old after a while.

Admittedly, it doesn't have quite the staying power as a lot of similar recent albums—the tracks aren't really as memorable as Arrows in Her or Have Mercy or even Old Gray, but even the not-as-good ones have their merits (and don't go on too long as to be hard to listen to).

Anyway, there's plenty of great songs and an overall really good sound that mostly stands up with all the other great albums that I've been spinning lately.

7

Dirk Frazel – Randy's Bacon

June 17, 2013 • self-released

This blog is quickly becoming The Place For Reviews Of Emo Bands On Bandcamp. Not that I have a problem with that; more good stuff for me to listen to. Today's entry is ultra-DIY band Dirk Frazel, whose style is pretty typical emo, though it's quite good stuff.

These are catchy tunes; the band pulls out one or two neat rhythms and riffs in each song. There are some complex and interesting guitar lines, and the music is relatively aggressive compared to most "twinkly" stuff (probably due to the guitar distortion). The drumming is really neat as well—very expressive and interesting for this kind of music. My biggest problem with this EP is definitely the vocals, which are really poorly-done. On the other hand, you can't even hear them 90% of the time since they're so buried in the mix. (To me, this seems like a bad case of self-consciousness. Don't worry, you'll get better!)

All in all, a fun little release by a band that is showing some promise (as long as they smooth out those vocals). Here's to hoping we hear something new by them soon.

6

SRVVLST, Peace Be Still, Maumelle, Prize the Doubt

July 5, 2013 • The Summit, Columbus, Ohio

It was a bit weird to learn that The Summit is actually distinct from Café Bourbon St.—two equally tiny, grimy bars sharing the same building. Can't say it's not good for an emo show, though. While this was probably the lowest-attended show I've been to yet (top five, at least), I gotta say it was a pretty good time.

Prize the Doubt

These guys were really interesting for sure. It was a weird combination of dissonant screamo and hard-as-shit metalcore, with the occasional grindcore and post-rock segue thrown in. I thought they were too weird to enjoy at first, but they really grew on me during their set. Performance was middling, but the music was very neat. Worth seeing.
7 • Best Power Stances Award

Maumelle

I've got conflicting opinions on Maumelle. First off, the music is awesome—kind of typical midwest emo, with the stereotypical twinkly guitar (albeit very well-done, some really great licks) and excellent songwriting. The vocals seemed really out-of-place though, nothing but full-on screams the whole time; it was a weird juxtaposition that didn't make a lot of sense to me. It didn't bother me enough to not enjoy the hell out of the band, though.
7 • Best Mullet Award (aka Worst Mullet Award)

Peace Be Still

Even though Peace Be Still had probably the most generic sound of all the bands that played, they were still quite good in their own way. Horrible vocals, but in the satisfying emo way; well-played guitar and drums; above-average bass grooving (probably one of the better parts of their sound). I could have done without the between-song "stories" or whatever. Still, good stuff.
7 • Most Frequent Unnecessary Tuning Award

SRVVLST

These guys had a much more math-rock oriented sound, kind of like an emo Battles, with a similar focus on instrumentals instead of vocals. Lots of 5/8 time and things like that, which was a nice change of pace. The complexity made for a slightly sloppy performance, though, but I guess that is understandable. I did really enjoy how for their last song, they invited everyone up on stage (maybe a dozen of us) to watch. It was a very cool experience, definitely they show's highlight; made everything seem a lot more special. Recommended.
7 • Best Fingertapping Award