Search Results for "Post-Hardcore"

Aviator announce US tour

Posted by Kaylee McNeil on Friday, December 19, 2014 at 5:22 PM (PST)

Boston-based post-hardcore band Aviator have just announced an upcoming US tour with support from Our Lady. You can check out the dates and locations on the flyer above.

Aviator’s latest release was their debut full-length album, Head In the Clouds, Hands in the Dirt, which was launched by the group’s new label, No Sleep Records in August.

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Finch announces ‘Say Hello to Sunshine’ 10 year anniversary show

Posted by Bizarro Dustin on Thursday, December 18, 2014 at 9:15 AM (PST)

Still running on the high from releasing both a live album and new studio album Finch is gearing up to celebrate the ten year anniversary of their second album, Say Hello To Sunshine early next year. As of right now, the celebration will only consist of a single show in California, which you can see in the flyer below.

Finch released their new album, Back to Oblivion, on September 30, 2014 through Razor & Tie Records.

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Album Review: Atlas At Last – “A Composition Of Functions”

Posted by Carson Winter on Sunday, December 14, 2014 at 1:09 PM (PST)

Some bands are content to explore the same sounds until they implode upon themselves. These bands are remembered as consistent and reliable, and turn in some veritable classics. Bad Religion is one of those bands, and I fucking love Bad Religion. But other bands are more exploratory, changing and evolving their sound over multiple releases. Fugazi is one of those bands, so is Bomb the Music Industry!, and hey, I love those bands too. Atlas At Last has joined the ranks of the exploratory, drinking in influences from outside genres and beginning construction on a storied and interesting catalog.

Atlas At Last’s debut self-titled was a riveting take on emo, post-hardcore, and melodic punk. The pieces fit together in a way that made me wonder how this sound hadn’t ever existed. Part Avail, part Fugazi, and part Rites of Spring– it was as emotional as it was explosive, all reigned in with impressive musicianship throughout. A Composition Of Functions is a continuation of that in a lot of ways, and if it weren’t any more than that, it’d still be impressive. But here they go further with their sound, pushing into the realm of screamo and black metal (in varying degrees of subtlety) along with a new sense of performance to supplement their chaos.

“Function” is made up of of vocals performed at the edge of hoarseness, where singing becomes screaming when pushed and it all sounds like the microphone is being pushed as hard as the singer’s vocal cords. It’s the shortest on the EP, but it is also a perfect and succinct introduction to the ideas held within. A Composition Of Functions is a cohesive piece centered around its concept in such a way that it shouldn’t be seen as anything less when compared to a full-length. For me, the lyrics bring to mind the human body and anatomy, muscles and nerve endings guiding the physicality of our interactions with social language learned subconsciously and innately forcing us into a box that is very human and outside of our control to break free. These learned and innate functions complete us and lead us down paths we don’t acknowledge because they’re taken for granted. They’re responsible for the good and the bad in our lives, but ultimately, they’re us. A Composition Of Functions is about becoming aware of the subconscious data and executions that we make everyday. It’s about regaining control over our biology. And by exploring this idea within the context of punk rock, Atlas At Last solidifies the idea through the chaos and catharsis that comes through in every chord and scream the genre has in its bones. But in an almost meta turn, their wide range of influences mirrors the biological defiance in their lyrics, with music that refuses to conform to any one sound.

“Splendid” is the album’s first big song, with huge sounding riffs backed by massive, heavy bass. It has a skramz intensity to it, exploding into ear-chafing noise and then retracting back into minimalism. The repeated refrain of “my teeth are sharp and crooked” are quiet and sing-song the first time we hear it, and by the next time they pop up we’ve been through another explosion, this time accompanied with black metal drumming and a more declarative take on the words. Human emotion is wrapped up in tone and context, and because of Atlas At Last’s abstract take on lyricism, we often miss out on the hard facts of context, but their use of tone goes a long way to flesh out their ideas, allowing our natural knowledge of social cues take over and deliver substance. This is more than music at play in their work, it’s acting. It’s performance at it’s finest. We, as listeners forget that the vocalist of a band is more than just another instrument, he or she has the difficult task to not only sing the words, but to perform them.

The reason Atlas At Last is so successful in their expanding sound on A Composition of Functions is because each influence they call upon, they master. On “Compassion,” they go from hipster black metal beats and darkly trilling chords, to throat shredding shrieks and swirling guitar melodies of emo and its offshoots– it’s all executed so well and segues so well into their broader sound that it comes across as just being another part of their DNA.

The EP culminates in “In Habitat,” a song that starts soft and tense and combusts at will. The staccato bursts of thrashing chords coupled with those tense, Dischord-esque howls bring a sense of just pure upheaval, of emotions and restraint– all cast aside in the name of music. In its finest moments it brings out that raw and primal disregard punk rock seems to be able to synthesize so effortlessly. But moreso, its melodies and musicianship make it feel the disregard is grand and triumphant. “In Habitat” is a joyous shedding.

I’ve always believed punk rock is about approaching music from a perspective of raw and rebellious creativity. At its beating heart, punk is the kid who doesn’t know how to play an instrument, but wants to write a song anyways, because it’d be cool. Eventually, those of us who want to, do learn to play a little bit, and we may even write a couple songs and hopefully don’t lose that same sense of enthusiasm for music and discovery along the way. Atlas At Last push themselves on A Composition Of Functions as musicians, but also artists. They play like they’re the band they want to hear, and they do it through a work that feels complete and cohesive. But, at the center of it, there is still that kid trying to do something cool. He’s grown up a little bit and gotten a little more intense, but along the way he learned that something cool can be ambitious and beautiful, and we’re all the better for it.

4.5/5 Stars

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Music Video: Crown the Empire – “Initiation”

Posted by JerryLowLife on Tuesday, December 9, 2014 at 10:37 AM (PST)

The post-hardcore band Crown the Empire have released a new video for the track “Initiation,” and you can watch it below.

The song was featured on the band’s latest release, The Resistance:  Rise of the Runaways, which came out last July on Rise Records.

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Delaware post-hardcore outfit Boysetsfire have just announced that they will be releasing their acclaimed fourth studio album, The Misery Index: Notes from the Plague Years, on vinyl in the US – the first time that a vinyl copy of this release has even been launched in the States. The vinyl is slated for release on January 13th, 2015 via Bridge Nine Records.

The Misery Index was originally released in 2006 on Equal Vision Records. If your brain is a little rusty and you can’t remember what tracks are included on this album, you can find them listed below.

Boysetsfire’s latest release was While a Nation Sleeps, launched by Bridge Nine in June 2013. It was their first new album since their reunion.

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Music Video: Palisades – “Player Haters’ Ball”

Posted by ChrisDude on Wednesday, December 3, 2014 at 6:45 PM (PST)

New Jersey-based electronic hardcore act Palisades are streaming their new song “Player Haters’ Ball”, which is the first single off their recently announced new album Mind Games, which is set for release on January 13th, 2015 through Rise Records.

You can stream ”Player Haters’ Ball” below.

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Quicksand to play New Year’s Eve show in New York

Posted by ChrisDude on Wednesday, December 3, 2014 at 3:28 PM (PST)

Post-hardcore legends Quicksand have announced that they will wrap 2014 up with an intimate New Year’s Eve show at St. Vitus Bar in New York on December 31st. Also appearing on the bill is Creepoid. Click here for more information on that show.

After two breakups and one reunion, Quicksand reunited again in 2012 and have since been performing live sporadically. The band has reportedly been working on new music, which will be their first since 1995′s Manic Compression. We’ll keep you posted as more details on new music from Quicksand come to light.

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Palisades announce new album “Mind Games”

Posted by Shawn-Ray Dalinsky on Tuesday, December 2, 2014 at 3:21 PM (PST)

New Jersey-based electronic hardcore act Palisades have announced that their upcoming sophomore full-length album, Mind Games, will be released on January 13, 2015 through Rise Records. You can check out the tracklisting below.

The album will feature guest appearances from several artists, including Garrett Rapp (of The Color Morale), blackbear, and Champs. It was produced by Erik Ron (Motionless in White, Crown the Empire, Hands Like Houses) and mixed by Pete Rutcho (The Ghost Inside, Falling In Reverse).

Pre-order Mind Games here. It follows the band’s self-titled debut album, which was released back in May 2013 via Rise Records.

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Octaves and Caravels announce split EP and European tour dates

Posted by Jonathan Lyte on Wednesday, November 26, 2014 at 6:55 AM (PST)

Baltimore hardcore band Octaves and Las Vegas post-hardcore band Caravels have announced that they will be releasing a 4-song EP together, each contributing 2 tracks. The split will be made available on vinyl and digital forms and is scheduled to release on January 20th, 2015 as a co-release between Topshelf Records and Bridge Nine Records. Both groups are also going on a European tour in January to promote the split and will premier some of the songs before its release. You can check out the track list as well as the dates below.

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Full Album Stream: Lighthouses – “Lumen”

Posted by hayley on Monday, November 24, 2014 at 1:58 PM (PST)

Nebraska’s post-hardcore act Lighthouses have just released their latest EP “Lumen” for a free/name your own price download. Check it out in its entirety below.

“Lumen” was released on November 1st 2014, and was a followup to 2013′s “Black Letter Day.”

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Pianos Become the Teeth release video for “Repine”

Posted by GinaVenz on Friday, November 21, 2014 at 2:15 PM (PST)

Baltimore post-hardcore band Pianos Become The Teeth have a new video for “Repine,” and you can check it out below.

You can find this track on the band’s new album, Keep You, which came out in October via Epitaph Records.

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Braid working on new material

Posted by Kaylee McNeil on Monday, November 17, 2014 at 4:13 PM (PST)

Illinois post-hardcore veterans Braid have just announced that they are working on new material. While we have no specific information on what is to come, we’ll be sure to let you know as details come to light.

The group last released No Coast in July via Topshelf Records, their first full-length release in over 15 years and a follow-up to 1998′s Frame and Canvas.

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Stream a demo of Finch’s “Faster Now”

Posted by Bizarro Dustin on Thursday, November 13, 2014 at 11:30 AM (PST)

Someone has uploaded a demo of an unreleased Finch song titled “Faster Now”. The demo was recorded during the same recording sessions for their new album, Back to Oblivion. It was released as a part of the Japan-only bonus CD, but you can listen to it below.

Back to Oblivion was released on September 30, 2014 through Razor & Tie Records.  Check out our review of the album here.

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Boysetsfire to cover Miley Cyrus for upcoming benefit split

Posted by Bizarro Dustin on Thursday, November 13, 2014 at 11:15 AM (PST)

Delaware post-hardcore outfit Boysetsfire will be releasing a benefit split with Kmpfsprt to support the Sea Shepherd Conservation Society. The bands will contribute one song each, with Boysetsfire announcing that their half of the split will be a cover of the Miley Cyrus song “Wrecking Ball”. The split will be released on January 20, 2015. Meanwhile, you can pre-order it right here.

Boysetsfire released While a Nation Sleeps, their first album since their reunion, on June 11, 2013 via Bridge Nine Records.

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Album Review: Pianos Become The Teeth – “Keep You”

Posted by writeofpassage on Thursday, November 6, 2014 at 12:02 PM (PST)

Kyle Durfey has molded Pianos Become The Teeth as a jarring, therapeutic outlet for dealing with his dad’s death. Tales of what could have been in Baltimore have long littered their aggressive, post-hardcore/screamo take on love, life and loss over the course of albums such as Old Pride and most notably, The Lack Long After. Those records set the bar so high for The Wave and a plethora of bands such as Xerxes, The Saddest Landscape, Caravels and Departures to measure up to. And as impressive as they all came, there’s only one champion and that belt belonged to PBTT in this genre. What Keep You represents however is a sonic shift that breathes in an air of letting go and one which finds Durfey happy with the present instead of looking back on the past. He’s cut ties with the pain and in doing so, there’s no screaming on the record. Just soft-spoken, melodic resonance.

The guitars shimmer and gloss over with amazing harmony throughout. They feel eclectic and at times, experimental, but then you figure out that the older albums contained similar arrangements. However, they weren’t recognisable back then because Durfey was spewing his hoarse screams over them. And remarkably so at that. Tracks like “Repine” and “Late Lives” swim much more easy and are low-tempo, guitar-intricate lullabies. This is a bold move and stark contrast for the band as it separates them totally from their old identity. Expect it to be polarising…in full. But what fans ought to look at is what Durfey’s lyrical disposition is. Not as much regret again. More along the lines of thankful. And he’s explicitly stated that his new life as a married man has helped shape this. Most tracks play off this finger-picking guitarwork with sleek drums from David Haik icing them but still, they feel well differentiated from each other.

Fans feared how the shift from Topshelf to Epitaph would impact but glad to say, all fears are allayed. Will Yip helps to keep you (no pun intended) emotionally tethered to one of the most classy and polished productions of 2014. “Say Nothing” as a closer takes some nostalgia to hardcore fans of PBTT (as a bonus) as it seems to be a continuation of “I’ll Be Damned” and “Hiding”. Teases screaming but just ballasts at mid-range. This trifecta is a great indication of where to ballpark this band now. Don’t think they’ll stay in this zone though.

They’re not about musical comfort zones or safety nets. Somehow, I see them mixing it up and evolving soon because in the sandbox of Durfey, he jams like Geoff Rickly does. Like Jordan Dreyer of La Dispute does. Like Touche Amore’s Jeremy Bolm does. Unpredictable and unafraid to take vulnerable risks. Keep You affirms why this band needs to be in your top 5 when 2014 ends. It’s the opposite end of the spectrum you’d peg them in but at day’s end, you can’t deny amazing music from a band that keeps setting their own standard so very high.

5/5 Stars

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