Having emerged from their death metal past (Heretic Soul) Bipolar Architecture self released 2022’s Depressionland pricked the ears of post-metal enthusiasts and caused intrigue into how their brand of blackened post-metal would morph, this latest incarnation is going to cause more heads to turn across post-metal and all its sub genres.
Metaphysicize pushes a plethora of genres to the forefront which on first listen can be overwhelming, but with a strong appreciation for Der Weg Einer Freiheit and Alcest you can see which inspirations are binding agent for their highway of ideas. There is a lurking likeness to the mayhem of Vildhjarta, if they gave you a moment to relax and wade in gentler waters.
The frenetic urgency of their former life is present but its development into something more progressive and forward thinking is in a stage of evolution which begs experiencing to really understand its qualities. Taking the steep learning curves of post-rock and blackened metal and align it to more instantly gratifying djent and progressive elements takes a degree of nuance and subtlety.
Call your friends in their mid thirties, Slope are bringing the nineties back with a fresh new twist. Combining the funk-rock sound of Red Hot Chilli Peppers, the aggressive hip-hop energy of Beastie Boys and Rage Against The Machine and the all-out hardcore punk chaos of bands like Sick Of It All or Madball, German quintet Slope create a nostalgic yet fresh and unique sound with as many ass-shaking grooves as brutal breakdowns.
From the first note of Freak Dreams, Slope’s intent is clear, the worlds of funk and punk collide in a brilliantly enjoyable explosion of noise. Rubber band slap bass and chugging guitar riffs interlock naturally around the band’s dual vocal approach and relentless attack of syllables. Opener ‘Talk Big’ leans heavily into Slope’s funkiest tendencies building around a tight, Corey Wong style guitar riff in the verses which gives way to distorted chugs for the moshable punk breakdown with the two vocalists trading spitting lines back and forth with both pinpoint accuracy and a clear sense of unburdened joy. ‘Talk Big’ makes a bold first impression, revealing a world of cheerful, danceable grooves unconcerned with strict genre boundaries. Slope prove themselves to be experimental, technically proficient and, most importantly, willing to do anything for the sake of fun.
Within this mix of genres there’s a track to suit any point on the funky to punky spectrum, tracks like ‘Talk Big’, ‘Nosedive’ and ‘Freak Dreams’ are sure to appeal to even the biggest RHCP fans whereas ‘WHY SAD’, ‘Hectic Life’ and ‘Out Of The Blue Into The Black’ have enough shredding and distortion to make even the grumpiest middle aged hardcore fan open up a pit. Slope thrive on throwing together genre mashups which, on paper, may sound too chaotic to work, the Run-D.M.C. referencing, Van Halen and Bad Brains inspired single ‘It’s Tickin’ stands out as an especially hectic, despite this, there isn’t a moment on Freak Dreams that sounds artificial or forced with Slope’s unique identity standing out amongst any genre homage they decide to play with.
Making themselves known for their unique take on mathcore, Chicago’s meth. have always channeled emotionally complex and painful themes into their music. Their 2019 debut album Mother Of Red Light revelled in almost torturing their audience with some of the most oppressive, noisy and challenging mathcore available; at times channeling full blast-beat grindcore with complex rhythmic shifts, in others delving into all encompassing drones and experimental soundscapes, however their focus was always rooted in the mathcore space. Coming together to collaborate as a full band, meth.’s follow up SHAME is something else entirely, firmly establishing itself in the experimental, industrial/noise world, whilst retaining the frenetic and unstable edge the band are known for.
“Doubt” introduces the monstrous soundscapes from the off, sounding like a death metal 45rpm single played at 33rpm instead, the down tuned pummelling chug is overwhelming and oppressive. Noise drenched guitars play clashing dissonant chords between muted chords; pained vocal howls cut through the filth, internal torture personified in the call and response vocals becoming demonic in their delivery. It doesn’t let up, the five minute track is unrelenting in its audible punishment. Even when there is a brief moment of peace, leaving just the guitars hitting angular bends, the end result is still anxiety-inducing, the tension waiting for the band to burst back in is almost too much. Seamlessly flowing into the following track “Compulsion”, meth. continue to cultivate horrifying soundscapes that completely engulf the listener, almost literally with the tracks opening feeling akin to being caught in the eye of a storm and pinned to the ground by the howling winds around you.
It becomes clear fairly quickly that this is not an album of earworms, hooks and catchy melodies. Guitarists Zack Farrar and Michael McDonald work together as two sides of the same coin, curating intense and claustrophobic dissonant noisescapes, only occasionally offering up something that bares a passing resemblance as melodic. The driving force behind the movement of the album is the rhythm section, both Andrew Smith’s multifaceted and complex drumming patterns and Nathan Spainhower’s mind-melting basslines. This is all complimented by the range of excellent vocal deliveries from Seb Alvarez, regularly matching the intensity of his vocal performance to the painfully vulnerable lyricism that draws from his real life pain and trauma. All of this is excellently captured and processed by the production team duo in the form of recording engineer Zack Farrar (Frail Body) and mix & master engineer Colin Marston (Imperial Triumphant, Altar Of Plagues, Panopticon), allowing for clarity even at meth’s darkest moments.
Barrie, Canada is on the rise among the Ontario hardcore scene and making sure it stays that way is Slewfoot, finally gracing the province’s vast hardcore scene with their long awaited debut EP Misconduct. Four heavy-hitting tracks guaranteed to put Barrie back on the map and keep them there while also adding some much needed spice to one’s pre-game playlist; just in time for this season’s Stanley Cup Playoffs.
After opening up with a thirty-five second intro track led by drummer Ty Shaw’s fantastic drum work, we are quickly met with our first full track “Cognitive Dissonance”. An amazing display of raw aggression, showing a likeness to Kublai Khan. Not only that, but the group also seem to be utilizing styles similar to acts such as Hamilton’s own Built on Blood and Toronto’s Cold Shoulder. A nearly three minute punishment with enough variety in style to get anybody’s feet moving. Whether you like a cheeky two-step or simply wreak havoc among the crowd, “Cognitive Dissonance” has a little bit of everything that’ll make a mosh pit enthusiast do what they do best.
Swiftly to follow next is “Wasted Time”. Opting for a harder, almost dark undertone, Brendan Hiles and Pete Freimanis (guitars) are clearly the stars of this piece. Providing plenty of dark, ominous leads and some massive accompanying riffs from the rhythm section, no time is wasted as the song title implies. Along with a hard as nails display from lead vocalist Ty Askin, this is one of the year’s standout ONHC singles so far.
Closing out this short yet sweet EP is “Break the Chains”. A massive track to say the least, “Break the Chains” follows a more powerviolence approach. Possibly the fastest track on the entire record, one would be crazy to stand still during this one at any of Slewfoot’s live performances in the future with plenty of crowd engaging mic grab moments to be had as well. Slewfoot added some of the best and most fun elements of hardcore to not only this track but the entire record. Ontario hardcore fans can now sit back and soak in this long awaited release. Baytown’s own are taking over and Misconduct is the only example anyone would need as to why this is.
We’ve all heard of the sophomore slump, but Florence Black don’t know the meaning of it. Racing off the back of the whirlwind success of their first album, Weight Of The World, Florence Black are back with their signature blend of arena hard rock and heavy metal riff work on Bed Of Nails. You may dismiss the band as another carbon copy of other bands in the scene, but they have their own distinct sound, all thanks to the unmistakable vocals of guitarist/vocalist Tristan Thomas. While his raspy clean vocals cut through opener ‘Start Again’, his guitar work is equally as impressive. The crunchy riffs combined with effortless solos he provides throughout the record is explosive.
‘Don’t Hold Me Down’ is the point where you know Florence Black aren’t here to play games. Granted, it’s only song number two on the twelve-track beast, but the anthemic chorus combined with Perry Davies’ thunderous drumming proves the swagger from their first album hasn’t yet faded away. While on Bed Of Nails they don’t steer as much into metal territory as they have before, Thomas pulls out his gritty growls when necessary and not a moment too soon, nor too late.
Grief and its five steps is a familiar concept in the alt and heavy music sphere, coming in a variety of forms with some focusing on its crushing emotion and others it’s the delicate melancholy taking centre stage. The Throwaway Scene holds both on their highest podiums, creating incredible emo cinema with their exemplary EP On Death and Dying. Executing the concept with substance and style in tandem, they will certainly be walking the path laid by Static Dress and Modern Error.
The balance of mourning and uplifting euphoria is exquisite and the craft is laser focused without losing an ounce of human emotion. The apparatus built instrumentally by guitarist Tom Green-Morgan and bassist Sam Clark is the perfect podium for vocalist Olly Hame to leap and dismount with majestic grace. The production is punchy and impactful, its a theatre of which this pouring of emotion excels and revels in the limelight.
The Instantly relatable concept born from the first ‘big death’ in a family is the heart worn on the sleeve and one bound to find homes in the conscience of any listener. The narrative within new single “Bury Me” is a heart-wrenching diary entry that drummer Tom Ward dominates throughout and creates that cathartic floor for the vocals to dance on. Closing track ‘Rumour’ is a sombre reflection creating the breakthrough of acceptance in our last step of grief.
Slightly post-punk in style and lit with Joy Division sized melancholy, vocally Olly is an exquisite mix of Adam Lazzara (Taking Back Sunday) and Geoff Rickly (Thursday) with ability far beyond either and with endless potential still to fulfil. Shifting effortlessly between desperate and angelic his voice is commanding and instantly captivating.
Laying the groundwork to be catapulted far and wide into the mainstream emo hemisphere and follow the path of Static Dress, The stunning execution of these five tracks will see The Throwaway Scene breakout into a future emo great.
