Album Review- Thieves "Just Give It Up" (2011)

As I have learned through my super-prestigious sociology degree (joke), I must present my readers with any bias I contain in order to be objective as possible. With that being said, I preface this review with the following controversial statement: I don’t really like pop-punk. Sure I used to listen to and play pop-punk growing up like most of generation Y, but now I am just a cynical and bitter bastard that is unable to relate to anything emitting such happiness as most pop-punk does. Although my days in this genre seem to be over, Austin, TX based Thieves is a damn good pop-punk band that holds my attention more than any other band of similar sorts.

Created out of the ashes of popular hardcore/metal outfit The Cabaret, Thieves smashed into the Austin scene with their own brand of pop-punk containing a hardcore subconscious that seems to guide their music and keep it from comparison to mediocre bands sticking precisely to the formula. After working on their first full-length for over a year, fine tuning and getting everything the way they like it, Just Give It Up shows how much patience and dedication can pay off for a hardworking band. Every song on the album can hold its own and it flows as smoothly as the first period of a pre-teen bitch.  

“One Reckless Year” starts off the record with a short and dare I say beautiful breakdown into a fast-paced groove that will satisfy any punker. The first thing that jumped out to me is the astounding production quality. Everything sounds gigantic—like they are playing a football stadium and you as the listener are in the perfect seat. You are quickly introduced to Thieves unique sound with guitarist Chris Skiles’ atypical riffs for the genre and a rhythm section that grabs you by the balls and only lets go to grab them even harder. Drummer Andy Echavarria and bassist Nathan Helton act as a perfect backbone to Theives take on pop-punk while the hopeful and high-pitched vocals accompany head-banging double bass grooves, fast punk rock beats, and exemplary fills. There are a lot of breakdown type parts on this record like in “Second Star To The Right” and at the end of “Out Of Control.” But as Thieves aren’t competing in some let’s see who can sound the heaviest competition that most bands with breakdowns are doing these days, the breakdowns never come out cheesy and are a refreshing change of pace to the typical chugga chugga bullshit being mass produced in “metal.”

My favorite track on the record, “What Goes Around,” is a perfect example of the hardcore subconscious I spoke of that seems to seep through in each song. A random metal riff, backing screams from Chris Skiles, and blast-beat double bass emerge from the best drumming on the album and my favorite line, “One day you’ll be down on your luck all alone and I’ll be there to fuck you up.” That chorus has been stuck in my head for a few days now. The soft outro is a perfect way to bring one of the heaviest songs on the album to a close. 

Billy Canino’s range is unbelievable. In “The Thought Alone” he shows his ability to shift drastically from soft and soothing to more aggressive and in your face.  He has that nasally but in a good way style that works so well in conjunction with this genre of music. “Staying Up” is a great mid-album song as it offers a break from Theives hard-hitting style with just Canino’s voice and a clean guitar for the first minute. The song moves into a perfect youth sounding anthem joined by rolling drums, gang vocals, and a xylophone.            

Nathan Helton and Andy Echavarria go together like peanut butter and jelly on this record. Together they keep the dynamic of the band constantly changing and keep things from getting stagnate—very hard for a twelve-song album. The second half of the album is just as strong as the first. “Slo-Motion” contains all of the crucial elements that make the band who they are and “Never Stop Writing” begins with one of my favorite breakdowns of the record. “An Open Road With An Open End” begins with just Canino and a raw acoustic guitar in the distance and moves into a classic pop-punk song with intricate lead guitar lines by Chris Skiles.      

This album is such an album. I know that sounds weird but what I mean is that its solidarity and cohesiveness are remarkable. Perhaps because of the great scrutiny the album was approached with, it comes out flawless with not one second where you question what they’re doing. Just Give It Up, opposite to what you would assume from its title, is a very fun and inspiring forty-two minutes of music. I really enjoy this album and that is saying a lot from someone who rarely enjoys music of this style. Not only are they great musicians, but Thieves are also an extremely humble band that deserves every bit of recognition they receive. I have no doubt that major labels will be trying to scoop these guys up soon and we’ll be seeing them on the cover of Alternative Press. I also have no doubt that no matter what happens, Thieves will remain modest and will never lose sight of the reasons for playing music.   

Rating: 9/10

Favorite Track: "What Goes Around"

WEBSITE  

Album Review- Trash Talk "Eyes & Nines" (2010)

Trash talk is one of those bands that hardcore kids seem to either love or hate. I honestly don’t understand the hatred. Is it because of their aggression? Is it their confidence? Whatever it is, I don’t understand it because Trash Talk is one of the best hardcore bands to come out in the past ten years. That I can say with confidence. With their completely D.I.Y. approach to music and almost riot-like live shows, Trash Talk has already left their mark within the hardcore community, leaving other bands with their tails between their legs. Remember when you were younger and you were legitimately scarred at shows? Scarred to the point where you didn’t know if you were going to be able to enjoy the show or get your teeth knocked in? I miss those days. Seeing Trash Talk live evokes that nostalgia for me. Their live shows can be described as nothing less than chaos. In terms of stage presence, they are the best live band I have ever seen. One time during a set at Red 7 in Austin, Texas, vocalist Lee Spielman was pounding his forehead so hard with the microphone that it was oozing with fresh blood while he screamed in the faces of unenthused audience members. Another set, the guitarist jumped down from the stage and knocked the shit out of the guy standing next to me for pushing him. This is the anger and intensity I miss¾non-existent from cookie cutter hardcore bands that practice their stage moves and throw a temper tantrum if God forbid something is thrown at them. 

With two full-lengths and four EPs already behind them, Trash Talk needed to keep the enormous buzz going with their third full-length, Eyes & Nines. Walking Disease and Plagues are my favorite of their previous releases, with thrashy hardcore/punk songs containing traditional elements of old school hardcore while still having that Trash Talk brand. The older records offer little song structure and hooks and choruses are non-existent.  Eyes and Nines presents a more mature and crafted record that displays the immense progression the band has made in song writing. The songs are still short but the more thought out and dynamic structures make them feel longer to the listener.

The hard hitting opener “Vultures” builds up rapidly until Spielman’s abusive vocals take over, accompanied by Garrett Stevenson’s unorthodox wah-laden riff and Sam Bosson’s impressive drum technique. “Vultures” displays the bands evolution as it illustrates the new directions the band is willing to take. “Flesh And Blood,” beginning with spastic drums and a traditional punk sound gives flashbacks to the reason Trash Talk is where they are today. The song enters into a catchy break with Spielman roaring, “Anointed in acid rain/Crossed in crowded streets/Formed in a manger of mange/A bastard in Babylon hailing from hell and beyond/Born to a life full of blame.” The album’s single, “Explode” showcases the bands ability to break from chaos and offer well-defined structure. With a memorable chorus, outstanding trade off vocals between Spielman and Pollard, and even a guest sing/yell part from The Bronx’s Matt Caughthran, “Explode” is a perfect single for the newly developed Trash Talk. The distorted voice of a preacher lies under a Black Sabbath like riff as the epic “Hash Wednesday” begins. Spencer Pollard offers his best vocals on the record as his unique growl repeats, “Jesus is in me/At a premium price/Jesus is in me/I am the body of Christ.” The repetitive guitar progression alongside vocals immersed in reverb carry the song until the doom ceases. “Rabbit Holes” contains some of my favorite vocals from Spielman as his unique scream resonates throughout. The song ends with an interesting sliding groove accompanied with a strange train whistle¾once again showing Trash Talk’s ability to break out of generic hardcore. Bosson’s skills shine on “Trudge” and the title track contains the most merciless vocals of the record with the combined intensity of Spielman and Pollard belting, “Swarm like the locust/Buzz like an atom bomb.”   

With their previous records being produced either too clean or too shitty, Eyes & Nines lies in the perfect equilibrium that elevates the aura of what Trash Talk actually sounds like. The rhythm section and vocals are unrelenting and although hard to understand, the lyrics are well thought out and contain their own personality unrepresented anywhere else in hardcore. Eyes & Nines shows us a new Trash Talk that is not afraid to explore new territory and will only grow more with experience. Seriously, see this fucking band live. You won’t be disappointed.

Rating: 9.5/10

Favorite Track: “Rabbit Holes” or “Eyes & Nines”  

Guest Album Review by Anderson Rodriguez- Cheeseburger "Another Big Night Down the Drain" (2011)

            

            The album kicks off with a whammy-dive of the rhythm guitar that drops into a fat, melodic bass line, soon backed by a squealing, classic-rock styled lead.  By the time the vocals cry out for someone to call a doctor, it’s clear Cheeseburger have topped their drunk-as-fuck, yet charming-as-a-date-rapist, first release, with their sophomore album, 2011’s Another Big Night Down the Drain.

            Though the first track is the aptly titled “Party Song”, it’s the second song, “Winner”, which makes me shake my hips and pelvic thrust like I’m boning Life straight in its stupid, fat face.  Seriously, this song makes me want to fuck and be alive and smile all that lame crap, and I hate shit; like, a lot.  With lines like: “I’m a winner,” and: “Just when you think that it’s over/ Just when you think I’ve blown my load/ I hit a home run right over your fucking head…”, how could you not shake (or at the very least clap—c’mon, where my ass-clappers?) your ass to this song?  

            The first two songs showcase Cheeseburger’s rollicking, good-times style of rock’n’roll, reminiscent of Stooge-esque riffage mixed with the sneering, vocal flair of the New York Dolls—though toned down in flamboyancy, while amped up in rawness.  By the third song, “Big Night”, however, the band proves they have more than just the ability to make drunk bootys starting rockin’.  With an aesthetic similar to late 70s and early 80s hard rock ballads (Journey comes to mind a surprising amount with this song), Cheeseburger manages to keep all of the great musical sensibilities (melodic, rhythmic under-pinnings; sensibly, necessary shifting dynamics; near-crooning vocals; sweet lead-licks) that make bands like Journey a guilty pleasure for this reviewer, while managing to excise the shitty, 80s excesses and repetitions that make me hate bands like fucking Journey when I actually stop to think about them for any amount of time.

            Seriously.  Fuck Journey.

I could keep doing a song-by-song review of this album, talking about the bitchin’ vocal snarlings on “Tight Jeans” (This dude doesn’t give a shit how old you are, hun.  You look good in those goddamn skinny jeans.), or the good-time, nostalgic/don’t-give-a-fuck feel of “Roll Like That”, but I won’t bother, because you should be checking out this album already.  It was even featured on inter-show bumps on of stoner-supreme programming block Adult Swim (who released the album through their record label) [band member Christy Karacas is also one of the creators of Adult Swim’s surreal, hyper-violent Super-Jail (you might recognize Cheeseburger from SJ’s intro].

So yeah, I loved the fuck out of this album.  Even when they’re off, they’re on.

Rating: 9.5/10

Favorite Track: "Roll Like That" or "Big Night"

Album Review- NAILS "Unsilent Death" (2010)

Just under fourteen minutes, Unsilent Death, the sophomore album from NAILS, takes a few listens to fully absorb the material and sustain a general feeling for the record. This is my main grievance. I understand the approach they are taking with short songs, but I feel many could have been extended to avoid blending into some indistinguishable end product. The memorable parts of the record end up being various riffs that strike my interest instead of specific songs. Besides the short song lengths, this is actually a very solid and entertaining record. It is nothing I haven’t heard before but NAILS does it well. While alternating between slow, almost sludgy breakdowns and coke-fueled grind blasts, Unsilent Death is ruthless for its entirety. I sense a strong Entombed influence throughout with heavily drop tuned guitars and deep guttural vocals. Screeching feedback pervades the album, which makes the very produced tone sound more raw and keeps you from taking a break even for a second. 

“Conform” immediately punches the listener in the face with persistent blast drums throughout the duration of the thirty-second song. “Scum Will Rise” gives short relief from the grind beats with a mid-tempo (I’m saying mid-tempo in reference to NAILS so it’s still fast) groove into a brutal, yet catchy breakdown. The way in which the rhythm section wavers between heavy half-tempo and chaotic grind parts reminds me of Magrudergrind’s style without the high-pitched vocals. I hate to use the term power violence but honestly, that would be the most accurate way to describe this album to someone who knows about hardcore and metal. The beginning of “Suffering Soul” expresses a strong Entombed vibe until the drums and screeching guitar carry the song into a ferocious palm-muted breakdown. Like I said, many of the songs begin to blend in together and the record is predictable at many points. A lot of this has to do with the lack of dynamics in vocals, as they are pretty constant throughout. “No Servant” surprises with a technical face-melting solo and the title track contains all of the bands elements into one almost three minute song (WOW!). The concluding track “Depths” closes the record well with a sludgy and repetitive ending that is impossible to resist head-banging to.    

I don’t think NAILS are striving for some kind of grand innovation in music but are playing the type of music they love and sticking to the formula. This is not necessarily a bad thing. Although the album lacks overall creativity, it is still a great record to just bang the fuck out of your head until your dizzy and then listen to it all over again.  


Rating: 7/10
Favorite Track: "Unsilent Death"

Show Review- Converge, Trap Them, and Burning Love @ The Mohawk June 2nd, 2011

A diverse crowd consisting of smelly crust punks, old metal dudes, timid minors, and pompous hipsters crowded into the Mohawk in Austin, TX for a spectacular show as part of the Chaos in Tejas festival that occurs every year. As the sun was coming down, I made it just in time to catch the mighty Trap Them as they were beginning their set. I had never seen them before and was very intrigued to see if they could pull off the tightness and cohesion displayed on their records. The four-piece succeeded in creating a thick layer of sound consisting of down-tuned punk songs combined with a metal undertone and powerful dark vocals. Despite only having one guitarist, the band still managed to produce a large and intense sound that caught everyone’s attention—even those who didn’t want it. Although some of the riffs were quite repetitive with similar pull-offs and hammer-ons, the band was entertaining nonetheless and fun to watch. Front man Ryan McKenney exuded an extreme aura of aggression, leaning with one foot on the monitor and looking people straight in the eyes while screaming his guts out. At one point McKenney acquired a bloody nose from God knows what, climbed the rafter to the second story, and began snot-rocketing his blood onto audience members. Yes it is gross but hey, it’s a hardcore show.  

I left the venue for a little while to get some fresh air (get drunk) and returned to a disgruntled and antsy crowd. Murmurs resonated that Converge, who had yet to arrive, were not going to play. About twenty minutes after they were supposed to start, with the inner five year-old in me about to throw a temper tantrum, they finally showed. Apparently bassist Nate Newton was in the emergency room due to a “health scare.” The band drove straight from St. Louis to Austin after Newton was discharged so they could make the show in time. That is dedication. The band was forced to play an abbreviated set of only about thirty minutes but knowing Converge, I knew they would make it count. Whether you are a die-hard Converge fan or think that Jacob Bannon “yelps like a barking dog,” it is impossible to deny Converge’s pervasiveness and domination within the hardcore community over the past decade. The bands unique brand of hardcore is copied by many and succeeded by none. I clenched my beer as Bannon paced the stage, knowing any second the monster that is Converge would be released. Within two seconds of the opening song “Concubine,” I was in the midst of what felt like a war zone. Despite the pretentious scenesters hardcore dancing and the occasional fight, the crowd seemed genuine and made the show wild and fun like a Converge show should be. At one point someone even took a leap of faith from the second story balcony into the crowd below—ultimate stage dive. The band was as strong as ever and displayed no signs of burnout or discontent. Bannon never stopped moving and shouted his obligatory speeches before each song. Guitarist Kurt Ballou presented his incomparable guitar style with flawless and complex riffs that are technical yet still remain catchy. Even Newton, fresh out of the hospital, had amazing stage presence. Playing a little bit of everything to keep the crowd happy, songs from Petitioning the Empty Sky, Jane Doe, You Fail Me, No Heroes, and Axe to Fall all shook the structure of The Mohawk. The band even played a new song entitled “Runaway” from their split 7-inch with Dropdead coming out June 21^st. Despite being only thirty minutes, their set felt like an hour and they played almost everything I wanted to hear. Also, after hearing people say that Jacob Bannon is incredibly pretentious, I was surprised to see him sitting on the front of the stage and talking with every single person that approached him. The band actually cancelled all remaining dates of the tour due to Nate’s condition so I am very lucky that I got to see them.

Canadian hardcore band Burning Love wrapped up the night with an intimate set in a cramped room inside the venue. I was surprised at the low turnout considering Burning love, in my opinion, is one of the better heavy bands currently in the scene. Featuring singer Chris Colohan of the legendary hardcore band Cursed, Burning Love plays straight up rock and roll that blends raspy, yet melodic vocals with riff-oriented song structure and a hint of southern attitude. There are no real surprises with this band. It is just fast and heavy rock and roll with no added fluff or technicality thrown in simply for good measure. The bands sound transferred live very well. The overall tone was low-ended, emitting a thick and strong presence. Christ Colohan’s vocals sounded identical to the record and cut through the music with sheer intensity. My favorite part about the bands set was their demeanor throughout. The members looked like they were having the time of their lives. Despite playing to around twenty kids as opposed to the earlier crowd in the hundreds, they still played their hearts out and connected personally to each face that knew the songs. Colohan was all over the place, grabbing props off the wall, kissing random stuffed animals, and even walking into the opposite room. Although the crowd was disappointing, Burning Love managed to put on a memorable show and exemplify that hardcore can still be fun.  

       

Show Review- The Dillinger Escape Plan @ Beauty Bar June 4th, 2011

When I heard that The Dillinger Escape Plan were playing at Beauty Bar, the venue where the infamous Death From Above 1979 riot occurred, I could only laugh out loud. What the fuck were these people thinking? A Dillinger show is basically a riot in itself at any venue. Anyways, despite the possibility of another riot and fully preparing myself to get tasered, I knew the show would be well worth it. The band is on tour supporting Deftones and decided to play a Chaos in Tejas show after their set earlier in the night. They went on around 1:00 AM when the packed, humid tent was full of angry drunks growing restless with each second. Expecting a worn-out band from playing a set earlier in the night, I was relieved to find that it was the complete opposite. Dillinger was in full force as always, maybe even more since they were getting the opportunity to play an intimate show on such a large tour. Playing their unique style of chaotic hardcore infused with jazz breaks and catchy choruses, The Dillinger Escape Plan are one of those bands that only sound like themselves. It was funny watching people try to move to the beat because there are probably at least five different time signatures in every song. The musicianship of the guitarists on stage, especially Ben Wienman, left me in awe. Not only did they pull off all of the intricate compositions, but also did so while stage diving, getting hit with shit, and flailing around like dogs on adderall. They never missed a note the whole show. The new drummer that I had never seen before was tight and meticulous, nailing every obscure Dillinger part without difficulty or hesitation. 

Singer Greg Puciato had a very impressive vocal performance as he had just played a whole set a few hours earlier. Puciato’s scream sounded as powerful as ever while integrating well-delivered melodies that were rarely off pitch. He acted as a great front man, climbing over everything like he was in the jungle and jumping off the speakers into the sweaty audience. The band played a little bit of everything; including new songs I have never heard and very old classics that would make the crowd go insane instantly. The audience was downright riotous. Every few minutes a bewildered face would stumble from the crowd bleeding or throwing up. I loved how the audience was just as unrestricted as the music. There were less lame hardcore dance moves being “performed” and more people just getting into the music and losing their shit. At one point something was even lit on fire. I heard someone say it was an amp but I’m still not sure. Pungent smoke filled up the room while the band continued to pummel the audience with song after song of sporadic hardcore and eccentric song structure. The show ended with Greg Puciato grabbing the floor tom and running straight into the audience like a football player rushing a quarterback. The crowd proceeded to throw and bash the floor tom until everyone just decided it was time to leave. This is what shows should be like.

Set List (I Think): 

Farewell, Mona Lisa

The Mullet Burden

Panasonic Youth

Milk Lizard

Chinese Whispers

Weekend Sex Change

Room Full of Eyes

Sugar Coated Sour

Gold Teeth On A Bum

Widower

Fix Your Face

When Good Dogs Do Bad Things

Good Neighbor

Sunshine The Werewolf

43% Burnt

Album Review- Young Widows "In And Out Of Youth And Lightness" (2011)

A distant tambourine shakes repeatedly in the distance, leaving the listener perfectly vulnerable as they begin to embark on a complex musical journey that can only be known as In And Out Of Youth And Lightness. This is the title of the third full-length album from Louisville, Kentucky’s Young Widows. Arising from the breakup of hardcore band Breather Resist, guitarist Evan Patterson and bassist Nick Thieneman assumed vocal duties, renaming the band Young Widows­­—not knowing how far their sound would beautifully depart from their hardcore ancestor in five years. Their first two full-lengths, Settle Down City and Old Wounds, were nothing like Breather Resist but still contained a certain edge, certain rawness. Settle Down City churned out heavy noise rock reminiscent of The Jesus Lizard with sludgy bass lines, out of key guitar progressions, and the force of dual yelling by Patterson and Thieneman. Old Wounds showcased the bands beginning transformation into the unexplainable machine they are now. With much of the album recorded live by Converge’s Kurt Ballou, Old Wounds unveiled the more mature and exploratory side of Young Widows with songs like “The Guitar” and “The Heat Is Here”, while still sticking mostly to the formula of monotone-like yelling over intricate noise rock.

After listening to their third full-length In And Out of Youth And Lightness, Young widows has left me speechless—not good for someone about to write an album review. The opening track “Young Rivers” places an uncomfortable fear in the pit of my stomach while soothing my mind to rest at the same time. Evan Patterson’s vocals are low, dark, and eerie, almost Swans-esque as they drone amongst the reverb ridden guitar licks and feed off of the repetitive slow beat of the drums. “Young Rivers” is a perfect song to begin the record as it reveals Young Widows dramatic shift in vocal dynamics from their previous records. Patterson moves away from the powerful yelling approach into haunting, almost whisper like melodies. The chanting chorus sounds like a demonic choir in the depths of hell that is somehow comforting and keeps the listener wanting more and more. “Future Heart”, for which they just made an interesting music video, gives old fans a small sigh of relief, but not for long, as it displays some of the original elements of the band with charging drums over powerful distorted bass and heavy, delay drenched guitar riffs. Thieneman’s bluesy bass line on “In And Out Of Lightness” drives the record further into their new terrain while “Lean On The Ghost” exhibits a strong Swans influence, with a pounding rhythm section mixed with an oriental sounding guitar riff and integration of ambient female vocals. The album casts an ominous and downright scary presence, not surprising as the band tracked the record in a funeral home turned studio in Louisville. It’s almost as if the voiceless ghosts are present within the music and are using Patterson to articulate their despair to the outside world (Listen to the whole record in complete darkness, you’ll understand what I’m talking about). Other stand out tracks include the complicated song structure of “White Golden Rings” and “In And Out Of Youth”, which brings the album to a close with Patterson’s unique vocal style groaning “these wild dreams are dying/these wild dreams are done”. All in all, In And Out Of Youth And Lightness not only represents Young Widows maturing and perfecting their sound, but also offers an unconventional masterpiece attractive to anyone seeking something new. Young Widows have always pushed the boundaries amidst all of the bullshit present in the music scene. With In And Out Of Youth And Lightness, there are simply no boundaries surrounding the band, which allows for their sound to grow into a unique beast that I hope will never be stopped. 

Rating: 8.5/10

Favorite Track: “Young Rivers”

Album Review- Modern Life Is War "Witness" (2005)

It seems only fitting that I commence this blog with the album I derived the name from. An album that to this day still melts my bones after years of listening and inspires me to pursue my dreams, however unrealistic and farfetched they may seem. So, without further ado, I present to you: Witness, the second full-length from hardcore/punk outfit Modern Life Is War that is in my opinion, one of the most underrated and overlooked records in hardcore. Acting as a witness, the record is lyrically a testimony of the experiences and emotions of front-man Jeffrey Eaton, providing some of the best crafted and inspiring lyrics of any hardcore or punk album in the last decade. Every time the crackling of the needle on my prized Witness vinyl hits my eardrums, it takes me back to that time when you are really discovering what music inspires you, what music speaks directly to your soul when you cannot.

Coming from the small railroad town of Marshalltown, Iowa, Modern Life Is War somehow managed to harness the isolation of the passive Midwest and turn it into a unique cultural sound unlike any other heavy band to this day. It’s almost as if the sheer distance of the band from mainstream hardcore kept them grounded and allowed their sound to bloom without interference. Their first full-length record, My Love, My Way, was a good introduction to the band but in no way represents what they are capable of. The recording quality is weak, not capturing the force of the band and Eaton seems to have not found the comfortable range of his voice that carries Witness.

Their second full-length Witness displays the bands progression from My Love, My Way with melodic, yet reckless guitar riffs, in your face vocals, and unconventional hardcore drumming. It begins with “The Outsiders (AKA Hell Is For Heroes Part I),” reminding of how grateful I am that I was fortunate enough to see this band live. Every time, Eaton would walk out with pure confidence and shout, “We are Modern Life Is War from Marshalltown Iowa and this song is for all the outsiders!” I was one of these so called outsiders, amongst friends in the crowd but still alone, connecting to the record on many different levels. The somewhat distorted guitars strum in the background until the drums drop in with a pulsating tom groove and Eaton’s gritty vocals. The disgruntled lyrics sing of an outsider searching for meaning in an “empty generation’s wasteland” that offers no escape. Goddamn. I could literally talk about how much I love every song on this album but I’m not writing a thesis here. 

“Marshalltown” is another standout track that exhibits Eaton’s vocals at their best. Singing of his hometown, passion seeps from his vocal chords. The dark guitars layered over the slow drumbeat in the verse bring about the presence of the cold night that Eaton sings of.  “D.E.A.D.R.A.M.O.N.E.S.” is an anthem of my youth, as well as an undeniable fan favorite. It’s as if every word was being screamed at me: “Making come true our wildest possible dreams/stuck in public classrooms at age fifteen.” My favorite verse of the record, “Another punk rock summer came and went and now I just want to go back home/Turn up my stereo, till the rhythm melts my bones ‘cause I’m a dead ramone.” The last four songs on the record showcase the excellent execution of two guitars melodically entwined with the rhythm section. “Young Man On A Spree” shows the unconventional aspects of Modern Life Is War with a driving drum roll the entire song beneath quick, sputtered vocals. “Hair Raising Accounts Of Restless Ghosts (AKA Hell Is For Heroes Part II)” concludes the record as Eaton offers his account both “confused and flawed” of breaking out of ordinary modern life. 

Despite hearing some say that Modern Life Is War is similar to melodic hardcore bands like Comeback Kid, Witness destroys these preconceptions of mediocrity and offers twenty-seven minutes of unbridled intensity and unique hardcore within a genre of stale copycats. Although broken up, Modern Life Is War leave behind a void in hardcore that has yet to filled. This record will always be the one I turn to in need of an escape from aggression through aggression. RIP.

Rating: 10/10

Favorite Track: "Marshalltown"