Here, the conflicting nature of rapid, punk rage mixes with the slower, more approachable delivery that borders on two important genres. From the new-wave that captured the 80’s rock in a sense, to the more violent workings of punk. On Land Of The Lost, both the snapping of the snare and bass that falls behind a den of snakes acts while the strings are present. But there is also the wavier, more sunshine driven performance on the track “Gardener And The Maid”. With the shakers and complex guitar work; there is an overarching bite that collects more than what can be chewed. Then as the midpoint arrives, the tone shifts into an opening pit of moshing and thrashing that allows for creativity to flow. Now there is a direct line into the wild and animalistic.
This method of madness seems to continue for the remainder of Land Of The Lost. Without being apologetic or having any sense of general mercy. The Freeze is accurate even about the ‘zine work that describes “My pictures are perfect, my layout precise. To maintain the quality, we jack up the price. One day a band is in, the next day it’s out. I guess we don’t know what we are talking about.” It seems even more fitting that the track is titled “No Exposure” and dives deeper into the future than originally thought at the time of recording.
There is then the sudden transition into the punk rock extension of “Go Team Go” which acts more as an entirely instrumental track that segues through the motions of Land Of The Lost. These little nods and different directional changes are what keeps The Freeze a consistently engaged group. At one moment, they are channeling inner strength against Nazi punks, then in the next becoming a caressing slow-jam and chord heavy martyrs.
Not only can The Freeze act as hardcore veterans, but they work well under their own pressure without a defining line of sound. Switching from quick attacks to the melodic blankets that cover Land Of The Lost; there is something here for more than just the simple punk.