Klatzke
12/01/08, 06:47 AM
At the Soundawn - Red Square: We Come in Waves
Record Label: Lifeforce Records Europe
Release Date: June 10, 2008
Nowadays, it's hard to come by something that's particularly unique (especially in the metal and hardcore genres). While not reinventing the genre, At The Soundawn's Red Square: We Come In Waves boasts not only the use of an especially confusing (metaphoric?) title, but also of a taste of originality. Like I said, it's not that they're completely redefining post-hardcore, or hardcore, or any other genre, it's that they've brought something new to whichever genre it is they 'belong' to.
Yeah, this is 'hardcore.' While there is some screaming, the growls take the backseat to the wonderful ride of the instrumentation. Amidst the powerful growls, you'll hear musicianship that shifts flawlessly; tempo to tempo, riff to riff, there's never a catch. While you may be hearing a thundering double bass, it can (and often will) shift to an almost atmospheric or ambient sound. This ambient sound may be accompanied by whispered or sung vocals, but it's not uncommon for them to let the instrumentation take it's course to a wonderful effect. Not all of the shifts are sudden however. For example, in "Phone Wills," the instrumentation builds towards what seems like a breaking point, then falls back downward to a simple riff, but contains random bursts of other instrumentation that then all crashes together into sung vocals accompanied by scattered growls. From there, the track shows a marvelous amount of twists and turns, shifting from soft instrumentation to harder, and then all falling away into almost silence, punctuated only by sparse effects. What gives it its originality is hard to pin down. Sometimes it seems like it lies in the almost atmospheric instrumentation; other times it seems like it's the way they're music is perfectly poised to switch between styles. By incorporating this ambient sound to their music, and allowing it time to flourish through plenty of instrumental breaks, they've given their sound something that many bands only hope for: a measure of creativity.
This album flows extremely well. During a casual listen, it's almost impossible to remember how many tracks you've been through. Unlike most albums like this, this doesn't make the songs "meld together." Since each track is full of it's own twists and turns it really doesn't matter that they flow so well. "Phone Will" and "Sundown In Rome" make up the most atmospheric pieces of the album, while it starts its ascent into a heavier sound during "Rain Falls." However, once again, the sound comes cascading down into a lonely riff that makes it's way towards the end of the songs, finally rising up to meet more growls. Even with the hardest growls and vocals, the modestly hard instrumentation fits perfectly.
The vocals of this album, however, really aren't that spectacular. The growls are pretty standard, and neither them nor the clean vocals are very coherent. However, with the instrumentation and atmosphere of the music, the vocals take the backseat, and they begin to only sound like another instrument, and it works well. Conveying emotion and force where the instrumentation fails at it, they just help to shape the music.
It's taken a few listens to really appreciate it, but I think that Red Square: We Come In Waves has happened upon something worth noting. While they may not be the first to introduce the idea of the atmospheric sound to hardcore, they've certainly done it best. I understand this album may not be for everyone; the hardcore genre normally scares off people who aren't already fans. However, if you're a fan of hardcore and are looking for something more than the standard formula, then make sure you check out this album.
Supercontinent; Isis; Neurosis
myspace.com/atthesoundawn (http://www.myspace.com/atthesoundawn)
originally posted at highbeamreview.com on November 7, 2008
Record Label: Lifeforce Records Europe
Release Date: June 10, 2008
Nowadays, it's hard to come by something that's particularly unique (especially in the metal and hardcore genres). While not reinventing the genre, At The Soundawn's Red Square: We Come In Waves boasts not only the use of an especially confusing (metaphoric?) title, but also of a taste of originality. Like I said, it's not that they're completely redefining post-hardcore, or hardcore, or any other genre, it's that they've brought something new to whichever genre it is they 'belong' to.
Yeah, this is 'hardcore.' While there is some screaming, the growls take the backseat to the wonderful ride of the instrumentation. Amidst the powerful growls, you'll hear musicianship that shifts flawlessly; tempo to tempo, riff to riff, there's never a catch. While you may be hearing a thundering double bass, it can (and often will) shift to an almost atmospheric or ambient sound. This ambient sound may be accompanied by whispered or sung vocals, but it's not uncommon for them to let the instrumentation take it's course to a wonderful effect. Not all of the shifts are sudden however. For example, in "Phone Wills," the instrumentation builds towards what seems like a breaking point, then falls back downward to a simple riff, but contains random bursts of other instrumentation that then all crashes together into sung vocals accompanied by scattered growls. From there, the track shows a marvelous amount of twists and turns, shifting from soft instrumentation to harder, and then all falling away into almost silence, punctuated only by sparse effects. What gives it its originality is hard to pin down. Sometimes it seems like it lies in the almost atmospheric instrumentation; other times it seems like it's the way they're music is perfectly poised to switch between styles. By incorporating this ambient sound to their music, and allowing it time to flourish through plenty of instrumental breaks, they've given their sound something that many bands only hope for: a measure of creativity.
This album flows extremely well. During a casual listen, it's almost impossible to remember how many tracks you've been through. Unlike most albums like this, this doesn't make the songs "meld together." Since each track is full of it's own twists and turns it really doesn't matter that they flow so well. "Phone Will" and "Sundown In Rome" make up the most atmospheric pieces of the album, while it starts its ascent into a heavier sound during "Rain Falls." However, once again, the sound comes cascading down into a lonely riff that makes it's way towards the end of the songs, finally rising up to meet more growls. Even with the hardest growls and vocals, the modestly hard instrumentation fits perfectly.
The vocals of this album, however, really aren't that spectacular. The growls are pretty standard, and neither them nor the clean vocals are very coherent. However, with the instrumentation and atmosphere of the music, the vocals take the backseat, and they begin to only sound like another instrument, and it works well. Conveying emotion and force where the instrumentation fails at it, they just help to shape the music.
It's taken a few listens to really appreciate it, but I think that Red Square: We Come In Waves has happened upon something worth noting. While they may not be the first to introduce the idea of the atmospheric sound to hardcore, they've certainly done it best. I understand this album may not be for everyone; the hardcore genre normally scares off people who aren't already fans. However, if you're a fan of hardcore and are looking for something more than the standard formula, then make sure you check out this album.
Supercontinent; Isis; Neurosis
myspace.com/atthesoundawn (http://www.myspace.com/atthesoundawn)
originally posted at highbeamreview.com on November 7, 2008