Somewhere between the broken bones and striped flesh lays the Boston hardcore trailblazers, Vein. As a turning point in some of the gritty and ugliness of Massachusetts hardcore, Vein comes protruding with a foreground attack on the listener. Without much resistance, there is nothing but ashes in their newest display of destruction, Errorzone.
Between the constant touring, rising obliteration, and shifting battlegrounds of war; Vein is a consistent threat in the age of hardcore. Well known for their ability to perform on stages both large and small in stature, Vein moves in “virus://vibrance” where Vein is able out-perform in just mere seconds. Their sound that feels industrial but has a common mix of instrumental and sudden switches that forms a sheet of ice for the music to glide over. As the percussion begins these cut-aways of different rhythm punches and the cracking lines of breakdowns through ripping guitars and vocals that pierce through the overlay. There is a real sense of depth and flow behind the tightly wrapped package that lives under the name of Vein.
In Errorzone, there is a gaping variety of sounds introduced that begin to refine the fresh authenticity of true anger behind a sound. Vein becomes this overarching embodiment of flying fists and kicks as the listener tries to crawl out of the pits of despair that is laid out before them. With these mixes of industrial ringing of sirens or alarm-esque sampling, there is something that sparks that smile behind the madness with the rough cuts and even rougher stance.
“Anesthesia” is a track that carries that sudden attack as the lyrics of “Day in, day out” are repeated as the sound slowly engulfs the listener in this black cloud of overarching hell. Not only is the band’s ability unmatched in a sense of being a stomping force, but Vein is held down by years of experience in the hardcore scene. As they begin to experiment and shift their musical direction, some sense of rebirth is formed. As they have shown in previous releases, Errorzone delivers on creating something that is both familiar and groundbreaking for the band. Somehow there are these methods that becomes true behind every Vein record. There will always be certain elements that make the record feel as a continuation of Vein’s sound, but ultimately with each release the band becomes tighter and more efficient.
Displayed on the track “Untitled”, Vein is able to show real hardcore prowess in just a minute’s time. As the multiple shifts of guitars become punches through the record, “Untitled” holds these rugged slices that can ultimately puncture through and illustrate a two-sided coin to Vein. At on stance, Vein is brutal and shows little mercy with the constantly damaging elements of hardcore. In other moments, Vein holds this togetherness that proves to be beautiful in a twisted and cognitive sense.
Errorzone is the aggressive monster that is needed to showcase the uglier side of music. The real Boston punch that we all need in the progressive plunge into a more hardcore sound.
A step to the atmospheric shadows and “Furniture Music” as once described by composter Erik Satie turned out to be one of the largest spins in the career of music history. Brian Eno who was known professionally at the time of just Eno, began mixing and experimenting with the subtly and blending of creating atmosphere and generally beautiful backing sound that became heard through the bright colors that protruded.
Discreet Music jumped and took an indirect approach to producing, and being a golden standard in artist expression. Relying on the patterns and rhythms that invoke movement, instead inspire emotional attachment to the sound; Eno takes and delivers on his fourth studio record. As the first self-titled track “Discreet Music” takes the over thirty-minute plunge into freeform freedom, there is something that becomes well known from the start. Discreet Music will take entirely different directional strides from Eno’s previous work and begin a start into a new shell of resonance.
Delivering through the cascading strings and synthesizer, Eno contains these level of self-preservation through Discreet Music. He never really stands himself in the foreground and instead lets the music be the backing bones of the record. The imaginary picture that the performance paints is the true centerfold of the record as it invokes these vivid images of grand landscapes and overwhelming proportions. Eno’s work may seem in a modern sense something that is unknown as a common name, but at the time with his work that would inspire the likes of David Bowie and millions of artists to come; his name was more than influential in the span of history.
With a track that reaches a total of 31-minutes and 35-seconds, there is a vast amount of ground to cover between the abstract masterpiece. With the way that Eno manipulates the sound and works with conductor Gavin Bryars who arranged the entire second half with his Cockpit Ensemble, there is a method of engagement that Eno had behind this sound. The first half is covered by one single track that is handled entirely by Eno and his own production. The mantle is then shifted as Bryars begins to conduct the direction and overarching flow of Side B.
Discreet Music is a record that works best for being the background sound with very little pushed to the front. It never portrays a dominance over the listener as the immaculate sound instead decides to rely heavily on the atmosphere surrounding the music. By dinner party, elevator, or headphones, there is something almost calming that steps from Eno’s untarnished wonderland of sound and vision.
From the incredibly weighted and daunting opening as the crush of sound blitzes the listener, Indian comes attacking on all fronts of harsh, almost industrial sound. With their full-length assault From All Purity, it is clear that they have little to no remorse for anyone who stands in their way.
With an opening track simply titled “Rape”, an eight-minute barrage of bombarding percussive punches from Bill Bumgardner. The bass from Ron DeFries that shakes and vibrates the room with such a tenacity that the foundation feels as though it will collapse. And the hurtful on the ears vocal outputs from both Dylan O’Toole and Will Lindsay who also control the guitars on From All Purity.
It is with this overbearing sensibility that there comes a real attachment to the ugliness and pain behind music. “Rape” is highly emotional and has these aspects of almost broken backgrounds where the sudden walls of sound begin to fade and only the percussion is left to pick up the pieces. Indian creates this mental anguish behind their sound that begins to break and pound the sound onto the listener. It instills this weight of a billion tons that by the end of From All Purity, the level of relief that washes over feels earned and justified.
There is a lot of hurt that follows and creates this reality check of incoming danger to the listener. It was one of the first albums to recently be able to not just capture and almost trap the tight sound, but to also air the sound out and show two entirely different sides of a coin. At one point, Indian is almost melodic as they continue on with “The Impetus Bleeds” where the guitars and bass start to form a coherent rhythm section. That cohesion then suddenly combusts into flames as Indian destroys any sense of approachability.
From All Purity burns and it burns with a heat of a thousand suns that can be felt through the entire near 40-minute journey. With an unrelenting force that never seems to fold, Indian has a sound that can only be described as something to wound, a sound that can only be felt and not quite heard. From the first contact Indian touches the listener and starts to really form a crushing blow that eventually comes in the form of an inevitable silence.
They move through the crowd as a plague, shocking and tormenting as they please. Indian is not for the faint of heart, and certainly not for the faint of the ears either.
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