There is something fascinating about shortened punk EP’s that can cram four tracks onto a near seven-minute disc that burns through retinas and illustrates a wildfire of congestion. Hoax returns with their 2012 piece, Stuck or also known as another self-titled release under the Hoax brand.
There is not much to say about the grinding and rising tension that cuts like a laser across the speakers on the introductory track, “Stuck.” It is second-nature to see the black-and-white cover with bricks being laid across an all-white background and see a prison, but Hoax breaks out of this mold with some impressive displays of control. The restraint on “Stuck” is almost welcoming to the chaos that follows as the slower, more melodic in a sense, punk sound is vibrant and opening.
As the transition into “Free The Land” begins, the drums are now a coursing king snake that spends more time attacking than any sort of reservation. The highlight of the track are these pounding percussive beats that conflict with the machine-gun-esque systematic downfall that is a joy overall. While Stuck or Hoax will not be something that hits that golden spot for everyone, it manages to take a thrill ride for a short, but digestible serving. With a platform more built for pain than speed, Hoax can often times move their abrasive sense to a newer level that begs to be heard loudly over speakers.
Even the final track “Discipline” which punches through the crowd in this last-ditch effort is a reflective punk rock opera. Hoax barely holds any theatrics over the listener and instead opts to ignite this mosh pit frenzy through one final scream before the record stops spinning. The beauty of having such a short release under the belt is that when it spins 15 consecutive times in such a manner that Hoax can enthrall the listener and almost trap them in this Venus encapsulation.
Stuck is a difficult record to put down and continues to break the surface on daily plays. When it opens and closes its jagged, but approachable form, the record as a whole is more an appetizer to stronghanded punk than any off-putting hell. It is quick but holds enough weight to carry the listener right to a promised land of punk.
More of a Top 12; but as I look back into this year and look through this list once more, I realize that these records were the ones that I spun the most and without a doubt put all my faith into. If you keep up with the site it would be easy to see this list coming, but hopefully, there was some surprise. I did more numbers this year than all my previous years combined and seeing what is at the forefront of an eclipse within my own life, but the adaptable nature of my personal life going with the site is incredible as well. I posted well over 1,100 posts for the year and making connections from the site to shows, seeing my work featured on publications worldwide, and then finally being proud of my work and to say I operate Matt’s Music Mine is a blessing. Going into 2020 with little musical expectations, but am prepared for the best. Thank you again, this is extremely humbling and the growth is immeasurable.
“From Florida to Pittsburgh, Atlanta to L.A., Jackson has this overbearing presence behind his sound. As Anime 2 emerges out from the shadows of production, heartbreak, and emotional attachment, Jackson dawns the gap-toothed smile that never seems to tarnish.”
“As the record begins to fade with another W getting marked in the book for Conway The Machine, everything falls into place for Griselda Records. Between the rhymes and the way that the Buffalo king carries himself, Conway The Machine wants the world and everything in it.”
“Sculpting a world of once sand castles to now marble statues in the courtyard, Skepta is a cultural beast that moves his own pace in a blacked-out tinted Spitfire. As Ignorance Is Bliss becomes this internal war that hits both mountains and valleys, Skepta reminds his audience why he is flying SK Air.”
“As those reigning strings can be heard with the final siren song from Full Of Hell, Weeping Choir finds peace somehow through the turmoil and pain. Often, the drilling work can be overwhelming but Weeping Choir finds a symbiotic balance that relies on the mental and physical game to achieve a perfect example of orchestrated and planned violence.”
“As Earth’s No Fun begins to sprint toward the finish line, Taphari drops their knowledge over beats and makes a fine job of painting a canvas that is both relatable and equally distant. Whether standing alone in the crowd or in an ocean of people, the near 9-million could never compare to a single Taphari.”
“As the performances begin to split and disappointment is all around, JPEGMAFIA reaches the atmosphere with All My Heroes Are Cornballs. Before he falls back into the night sky, PEGGY lets his screams be heard around the world as if he was a malignant shooting star.”
“As the terminal seems closer and closer, Droog dismounts from Uptown, cruises through Midtown and then eventually hits Downtown before seeing the mountains of Manhattan sprawling out. Lighting a loosey and stepping off the platform, everything seems to fall into place as Transportation leaves the station and trails off to repeat the whole journey again tomorrow.”
“Before they crush skulls with their bare hands, Ho99o9 takes a final look at the burning, but sprawling city before them. Their style is brash but effective and innovative in a similar vein. Each release brings the audience closer and closer to internet immolation, just as Cyber Warfare [error] should be.”
“WWCD is dirty in context but clean in production and sound. The topics of drugs, violence, and illegal activity is rampant in Griselda’s music, and even though most of the audience can never relate, the way the story is told is what draws people in. Each vocalist works to carry their own weight both figuratively and literally, dictating that no matter what the situation is, Griselda is able to hold the attention for more than just the 13-track, 46-minute long record. WWCD is gracing a hopeful but continuous history of records that have been like diamonds in the rough among hip-hop.”
“It seems hard to lose when you stay consistently at the top with an army of rhymers and producers around you. The solid-gold shit talker, expert articulate with his own blend, and the ability to turn a church to a trap house; Future conjures up storms with The WIZRD and still has more in the vault.”
“Dog Whistle single-handedly instills that seed of hope to the creative, whether in New York or across the globe. The remnants of burning skyscrapers in the distance for a 28-minute gripping new reality shows through as the nails are placed into those three black coffins, signifying more than just intimidation within Show Me The Body’s music.”
Listen Here – BandCamp
Grave Of A Dog out February 21st, 2020
Listen/Watch Here – Youtube
Produced By: Hi-C
Shot + Edited By: DEMO2K