Homewrecker is a new find that has slowly slithered their way into the darkened heart. They hit the pinching nerve of hardcore aggression that blends both the ambient with the new and destructive. Their newest assault, Hell is Here Nowmoves mountains through the power, but refines on hardcore for being a devastating milestone.
From the name alone, the sense of persisting anger lingers along as a transitional piece. The band takes form from the industrial ashes of Ohio, rebuilding upon the ages of old with a newer, more headstrong approach. They open with “Burden of Self” which has various artists tapping in with Homewrecker to form this sturdy backbone of instrumental and vocal combinations. Matt Barnum performs on the guitar and vocals, along side is Carson Ward who attacks equally with Barnum. The bass and percussion section is made by Erza Cook and Matt Izzi; who are constantly leading a charge of their own through deafening walls of sound.
Apparent on “Burden of Self”, the vocals take these ugly twists and contorts to fit a similar lyrical style of Death, but adapting to a modern age. With reverberation and a deeper growl, Homewrecker acts as a monument in the uncontainable. The anger, the frustration, and the true depth of sound is what makes Hell is Here Nowbecome an instant, movement-inducing record. There is no time to grab footing as Homewrecker shifts from breakdowns, tempo-changes, and entire methods within seconds.
“One With Torment” displays this almost effortlessly with the different key changes, tempo shifts, and an emphasis on each instrument in multiple lights. On one aspect, the guitars are shrilling and working to hit these notes that are so out of range that they feel like glitches in the recording. In another, the percussion moves the band into a breakdown with a one-two-four-stamp that combines with the lyrics to explain, “I’ve become one with torment, all-I-did-was-hate”.
Moving forward with “Fade To Oblivion”, there is an acoustic interlude that transitions Homewrecker into a much slower sense of approach. Surprisingly, they then slam right back into that off-putting, more-standoffish sense that makes them so lovable in the first place. With the hardcore influence, Homewrecker becomes a true force of unbelievable nature that reflects well into the styles of raging instrumentation that has a cascade of rampant emotional front lines. Through producer Andy Nelson who previously worked on The Teen Idles, there is a sense of punk aesthetic attached to the wild ferocity of Hell is Here Now.
Shown through the one-two-step percussion, or the real captured and bottled sense of auditory punishment, Homewrecker makes a monumental stride in hardcore. It is straight to the punch and without much experimentation, but still one of the more valid releases of their career.
1977 was a historic year for music, it was the first waves of an incoming tsunami of sound. Punk music was moving in, replacing the written rules of style and becoming something that was never imagined. Bringing new life to an entire population, the Dead Boys were among the first to adapt to a nihilistic and heavily destructive sound that would influence generations years after.
With the birth of CBGB in New York, punk was able to thrive in a tight knit community of artists like the Gorilla Biscuits, Youth of Today, and Cro-Mags with that authentic New York attitude. While coming from D.C., Bad Brains, Minor Threat, Idle Hands, and Youth Brigade stretched across the Eastern Seaboard as the standing kings of punk. Stemming from Cleveland, there was a group that help originate that sound however, establishing themselves as the Dead Boys.
Their 1977 release, Young, Loud and Snottywas a message to music and the populations that surrounded it. With a standout front track, wild antics for the stages, and a destroy-it-all attitude; the Dead Boys fit right in with the right crowd. Forming seamlessly into CGBG, becoming regulars at the venue for both performance and crowd support. With their first opening track, “Sonic Reducer” there is this call to action behind the low tuned percussion and headstrong guitar work. Stiv Bators leads the vocal assault while Cheetah Chrome holds down on the lead guitar. Jimmy Zero uses the rhythm guitar and follows Johnny Blitz on percussion. Finally, there is Jeff Magnum on the bass guitar that works to cut and slice through the backbone of the track, forming uneven notches.
The Dead Boys move together as a group of somewhat aggressive, but more movement influenced than anything. The group does not attack so much as they direct and start the giant swirl of hordes of people. “Sonic Reducer” was a gentle introduction to the rest of Young, Loud and Snottywhere the Dead Boys become a cult classic among the punk community. Using “What Love Is”, “Ain’t Nothing To Do”, and “High Tension Wire” the Dead Boys captures some of the youthful sounds of being able to have radio play, but not caring whether or not it happens. They had total control of the direction behind their debut album, which is why it has such power behind it.
From their memorable stints of comedic lyricism, the moving instrumentation, and the influence that came behind them. The Dead Boys continues to influence music even after 40-years of their first debut release.
COULD HAVE THAT MASK ON MY FACE STILL I KNOW YOUD KNOW IT WAS ME
// Listen Here – Soundcloud
Experimentation is always a forefront in what can capture a listener, making them return countlessly to albums year after year. While Waking Nightmare from Amphist has only been released for little over a year, it is a record that has some of those elements of experimentation that keeps the style fresh and without limits.
The Italian group, reigning from Campania holds their ground for being aggressive and headstrong. Amphist is no stranger to creating a sense of abrasion behind their sound, holding the listener as a hostage for the first cut, “Further Downward The Abyss”. There is something magical about that droning motion that moves Amphist into the first clashing barrage of sound. It is subtle at first, with just a few notes forming the backing of the sound. Then suddenly, the flood gates are destroyed and Amphist becomes a smash-and-grab where the movements change rapidly. With a fairly harmonic build-up, the thrash comes effortlessly and leads into one of the more menacing bass and guitar combinations.
The bass here on Waking Nightmarecontinues to stand out for being rough and ugly, but complimenting the overall style of the band well. There are breaks in Amphist to illustrate a small, but quick cutaway where the bass is the only thing standing in front of the listener. It is personal, making for some memorable moments on the near 22-minute release. Even as Amphist moves into the self titled track, “Waking Nightmare”, there is a sense of approachability behind their sound. The work is polished and performed to a professional standard where every instrument has its own intricacies and ability to shine in a darkened sense.
“La Pelle” is one of the shorter tracks present on Waking Nightmare, but it captures the sense of movement and punch behind the sound. It holds this ugliness over a gleaming level of instrumentation that fits somehow with feedback ridden microphones for vocals. The vocals on Waking Nightmareare usually in a drowning sense with multiple overlays, giving this attack from all angles.
To the forefront of style, Amphist works to form their own attraction to metal. They produce a clean-cut, edgy, and ultimately replayable fall from grace. Known for the mountains and seas, Campania has some darkness within those same glorious streets.
Feat. Steve Lacy, Lots of people worked on this // Listen/Watch Here – Youtube
Production Company: Naked Gallery
Director: Andre Muir
Video Commissioner: Austin Gomez
Producer: Manny Caston
Producer: Phillip Soulliere
Associate Producers: Zach Moore & Cory Proctor
Director of Photography: Nathan Salter
Production Designer: Sofia Kerpan
Editor: Nathan M. Rodgers
Choreographer: Kelly Bode
Wardrobe: Laura Gordon
Hair: Alicia Nelms
Make-up: Mollie Gloss
Production Design Assnt. : Natalie Falt
Cast: Azeez Owokoniran, Arima Ederra, Jaira Miller, Marian Mareba, Leiza Cabrera
1st Assistant Director: Shawheen Keyani
1st AC: Kevin Ulibarri
2nd AC/ DIT: Emmet Kilmer
Gaffer: Eric Wilkinson
Key Grip: Josh Anderson
Color Producer: Dan Butler
Colorist: Mikey Pehanich
Color Assistant: Lindsey Mazur
VFX/Finish: Ben Pokorny
SFX/Mix: Dame Shea
Production Assistant: Meghan Sullivan
Production Assistant: Kevin Hall
Special Thanks: The Mill – Chicago
Director: Joe Weil
Producer: Sam Canter
Co-Producer: Christian Sutton
Prod. Company: @psychofilms
Director of Photography: Philips Shum
Editor: Tyler Sobel-Mason
Light Painting: @dariustwin
// Listen/Watch Here – Youtube