Throwdown-Together.Forever.United
(Trustkill, 2004)

With the recent success of Haymaker and the band being on Ozzfest, it’s safe to say that Throwdown is probably doing the best they have done so far in their career. So it could be said that this is the ideal time to release a DVD. Music dvd’s tend to be hit and miss, but this is an extremely entertaining and incredibly funny dvd that even people who don’t really know much about the band will be able to watch and enjoy.

The meat and potatoes of the dvd is basically what you’d call a documentary. The band talks of the beginnings of the band, and also gives us a bit of insight into each of the tours they have been on. Hearing the band talk about the European mosh is unforgettable. Also the segments about the roadies and the tour manager are quite funny as well. You get the feeling that there is definitely a family vibe running through the band and crew, which isn’t surprising if you’ve paid any attention to the bands lyrics over the years.

I was surprised by the amount of extras to be found on here as well. There is an entire live set of the band included. The sound quality really isn’t very good, but the visuals are definitely up to snuff. Also included is the video for the song Forever, as well as a huge photo gallery. The main draw is the documentary, but fans of the band will definitely indulge in the extra content as well.

With the band just releasing the best album of their career, it’s easy to say that Throwdown will be around for a long time yet. Fans of the band will definitely want to give this a watch, and any hardcore fan with a sense of humor will find this entertaining. The scene where the band convinces kids in a Burger King that they are Slipknot is worth the asking price alone.

Hopesfall-A Types
(Trustkill, 2004)

When The Satellite Years first came out, it stood out as one of the most creative albums that hardcore had seen in quite sometime. With A Types the band had the task of not only bringing out an album of high caliber, but also not giving us a sequel to The Satellite Years. I was almost nervous to hit the play button, but once the music started I couldn’t even believe how far the band has come in only two years. If The Satellite Years blew you away, prepare yourself, because this album is a monster.

Now I suppose monster might be a bit misleading. If it has you thinking that this is a heavier album, you’d be wrong. This is actually quite a bit more mellow then The Satellite Years. Gone are all of the breakdowns, and the screaming is definitely kept to a minimum. A Types is a much more rock oriented album. The spacey and atmospheric riffing is still in place, but it’s a bit more straight forward and much more vocal oriented then the band was in the past. The song structures are definitely still in line with The Satellite Years. The songs are catchy, yet they aren’t catchy because of big choruses. They have hooks in the guitar, and hooks in the vocal lines, but they aren’t about radio friendly choruses.

The production on The Satellite Years definitely had it’s charm, but this is a much more powerful sounding album. The guitar tone is suitably laid back in the mix, and for this bands style I wouldn’t expect anything else. If the guitar was right in your face and completely distorted subtleties in the music would definitely be lost. It’s the little quirks that make this album memorable. You need for every last detail to be heard, and the production definitely doesn’t disappoint.

One factor that doesn’t seem to be discussed much in this genre is flow. This album is one of the most smoothly flowing albums that I have ever heard. The album is over 40 minutes long, but it goes by very quickly. They don’t waste any time, and even the more spacious moments never drag on any longer then they should. The album is perfectly paced and the song order just works.

Hopesfall are definitely a band that stands out. They aren’t about bashing peoples senses, or shocking you with skulls and blood. They play emotive music that is both soothing yet attention grasping. This is an album that demands 100% attention, and after the first note your ears will be glued until the very end.

Damnation-Destructo Evangelia
(Candlelight USA, 2004)

Black metal really isn’t as prevalent in the metal scene as it once was, but Damnation isn’t trying to break into what’s popular within the extreme music scene. Hell, they really have nothing to do with modern black metal at all. This is a high speed, energy filled black thrash assault that brings to mind the glory days of Hellhammer and Bathory.

Blast beats are definitely hear, but you might be surprised by the almost punk approach to some of the riffs and overall energetic approach. The opening track just reeks of Hellhammer/Celtic Frost and really starts off the album with a band. Over the course of the album different approaches surface as well. Some of the riffing is extremely slow and doom like while at times the band plays at incredibly fast tempos that almost bring to mind vintage Dark Throne.

They aren’t reinventing the wheel, and why would they want to? Any black metal bands that try to bring in outside influences to make it original, usually end up being terrible. Damnation doesn’t mess with the tried and tested formula. This might sound like an album you’ve heard before, but damn you’ll enjoy it.

Also just a funny side note, the band pictures are pretty standard fare with spikes and corpse paint, but I guarantee this is probably the first time you’ve seen a guy in a black metal band with mutton chops!

Strung Out-Exile in Oblivion
(Fat Wreck Chords, 2004)

Strung Out have seemingly been playing their brand of melodic punk for years now, and with time they have pretty much perfected the style, reaching a pinnacle with this new album. This takes everything the band has done up until this point and basically says, yea that stuff was good, but wait until you hear this. The band is heavier, tighter, and just writing some of the best music of their career.

The fact that the producer who worked with Slayer on their last few albums produced this album might have you expecting this to be a heavier album. The guitar tone is definitely heavier, and there definitely seems to be a bit more double bass, but essentially it’s not a great deal heavier then the bands last album. The melody is still there, and despite a few back up screams, the vocal approach is as melodic and impressive as always.

The one thing that has always stood out about this band is that these guitar players can play. If anyone ever says that punk guitar players can’t play, well play them some Strung Out and they will be singing a different tune. The guitar riffs are generally power chord based, but filled with little runs and short technical bursts that make them so much more. Add in the incredible interplay between the two guitarists, and fluid solos, and this is easily one of the most talented bands in the punk or hardcore genre right now.

This album isn’t a big stretch from An American Paradox in style, but it is a stronger album with consentient songwriting from beginning to end. Fans of the band need not worry, this is an album that shows the band in fine form, and adds another album to a long list of incredible albums.

The Chariot-Everything is Alive, Everything is Breathing, Nothing is Dead and Nothing is Bleeding
(Solid State, 2004)

A lot of emphasis is being put into the fact that this band features the original vocalist of Norma Jean who left just prior to their Solid State debut being released. Well, yea, he was in Norma Jean, but The Chariot is more then able to stand on it’s own two feet. I’m a huge Norma Jean fan and this album will undoubtedly have many people saying Norma Who?

The Chariot is a force to be reckoned with. They have the intensity of a steamroller, but there something raw and very chaotic about the bands sound. Truth be told, they aren’t easy on the ears, and while the discord washes over you, it’s almost too much to comprehend with the first listen. But with each additional listen little things start to stand out and you’ll see past the sludge and feedback and notice that despite how crazy this band is the songs are well written and there is a lot of substance to the songs.

Production enthusiast will not like the sound of this record. Why? Because it was recorded live in the studio and as is far from sounding perfect. Is this a problem? Not at all. Music can become far too watered down with studio trickery, sometimes to the point that it doesn’t sound human anymore. I say if you can’t pull it off, then maybe you should practice until you can. You wouldn’t get a computer to fill in the gaps in a painting, so why would anyone do it with music? The bands attitude towards this is extremely refreshing. All of the feedback and noise just makes the album all the more barbaric. The intensity really shines through and the band makes the production work to their advantage.

Let’s just forget about Norma Jean for now because once you hear the first scream you’ll forget that the singer was even a part of the band. This is a heavy, caustic album full of breakdowns, blast beats and enough dissonance to make your head twist right off. If this is what The Chariot has to offer, sign me up because this album is monstrous.

Suicide Note-Too Sick to Dance(Forever Fucked)
(Ferret, 2004)

Throw out all of the preconceived notions of what you expect from Ferret. If you are expecting burly metalcore with “sick” breakdowns, sadly you won’t find any here. If you are expecting metal, you’ll be disappointed. Suicide Note manages to do something very few bands do, take elements of hardcore and make something original out of it. The band has moments of caustic screams and heavier guitars, but there is also a dirty rock n’ roll side to the band. They manage to be noisy yet still totally in control. Notes may sound random but you know that they are meant to be there. This may be all over the place, but they never lose focus.

The odd thing about this album is that is was written and recorded in just 20 days. Now you might think, well, this must sound rushed then, or thrown together. Not at all actually. The songs are well crafter, incredibly adventurous, and more interesting then bands who take years in between albums. There just seems to have been a creative spark that was working to the bands advantage. Possibly the fact that they didn’t have anytime to second guess themselves worked in their favor. They must have gone on first instincts, and that is seemingly the way to go with music.

The production comes courtesy of Kurt Ballou so you know what to expect. This band definitely isn’t as abrasive as what you usually expect though. The distortion really isn’t at 100%. The guitars are almost jangly at times, and even during the heavier moments you aren’t going to be pummeled by mid scooped guitars. It’s a very organic album. It’s noisy when it has to be, yet has a wonderful sense of dynamics. It’s actually up their with some of the best work he has done, and this is an album where you can tell that both the band and producer had a similar vision for the final product.

This is an album that is really hard to put into words. It’s a huge departure from their last release, but basically fans of post-hardcore with hints of rock should find this album to have a lot to offer.