@notwhatwethink Well, #GregAbbott is a low-grade #mouthbreather and an empty clue bag, besides being an #AssHat , so . . . 🙄

Dear Hollow’s Mathcore Madness [Things You Might Have Missed 2024]

By Dear Hollow

The equation above is AMG’s freakishly rigid and completely objective algorithm for scoring albums and determining quality. We incorporate statistics and abstract algebra, which I understand are very complicated maths, in order to get you the highest quality extreme music this side of the Hudson or Atlantic or Yangtze or wherever the hell you are. The trouble is, you bastards don’t listen to math (i.e. “hurr durr, Wilderun is so much better than this shit.”).1 So I listen to math because I’m a contributing citizen and patriot – I listen to mathcore for you. I wade through the cesspools of skronk and sass – RYM and Reddit – for the best of the best. I do it for the, like, three of you who dig it and the, like, eight billion of you who tell teens to turn it off before shuffling back inside for a bowl of Great Grains. What I do is super mathematical so you know it’s super serious. Mathcore is about as unlistenable and scathing as it is a total sellout – so you can offend nearly everyone who hears it. Random rhythms, migraine-inducing tempo shifts, painful squeals, no sense of melody or counting, vocals a la cheese grater to the throat – it’s skronk. So enjoy my bounties, you three. The rest of you can fuck right off.

Commence panic chords!!

Better Lovers // Highly Irresponsible – Last year’s barnstormer debut EP God Made Me an Animal set one hell of a precedent for Buffalo’s Better Lovers, and their debut full-length does not disappoint. Yes, it’s a revenge album against Keith Buckley’s lesser rival project Many Eyes, but Highly Irresponsible is soooo much more than petty Every Time I Die drama. Amplifying every facet of their sound, you get more manic barks and charismatic croons from legendary former The Dillinger Escape Plan vocalist Greg Puciato, more chunky riffage from Fit for an Autopsy’s Will Putney, and more of a southern fried good time from three-fifths of the defunct-and-dramatic Every Time I Die.2 While unafraid to embrace hooky rock sensibilities (“Deliver Us from Life,” “At), the punky, bluesy, and sleazy all-out assaults of tempo-abusing insanity (“A White Horse Covered in Blood,” “Love As An Act of Rebellion”) collide with fret-squealing riff fests of the highest caliber (“Lie Between the Lines,” “Future Myopia”) in an insanely catchy, dynamic, stupid heavy, and stupid fun album with legendary status awaiting.

Frontierer // The Skull Burned Wearing Hell Like a Life Vest As the Night Wept – Look, I get that it’s a thirteen-minute EP released super late 2024, but, c’mon, it’s fucking Frontierer. Somehow seeming more punishing than usual across its four tracks, thick-ass slogs hit like sledgehammers to the temple – translating well across its more frantic moments and slower menace – while rhythms attack with the ferocity and doomed inevitability of a swarm of locusts and vocalist Chad Kapper spits blood, vitriol, and insanity into the mic. Channeling the glacial suffocation that coursed through Oxidized, it doesn’t matter if the tempo is more upbeat and energetic (“As the Night Wept”) or if it’s content sludging in its own muck (“Wearing Hell”), or indulging in both (“The Skull Burned”), the vibrant dissonance swirls in dizzyingly mechanical intensity and the down-tuned riffs smother with ruthless arrhythmic beatdown chugs. While comparable to Ion Dissonance, Car Bomb, and this year’s Weston Super Maim in emphasis on down-tuned mathcore punishment, Frontierer remains one of the genre frontrunners and trendsetters by a significant margin – in a short thirteen minutes.

The God Awful Truth // All That Dark & All That Cold – Denton, Texas’ The God Awful Truth is likely everything love or hate about mathcore. Dissonance spilling sloppily across its shaky breakdowns, deathcore gut-punches, vocal attacks as insane as the squawking panic chords that paint the background like Jackson Pollock on too much crack, and rhythms jolting about like a toddler on a go-cart. Alongside these traditional The Tony Danza Tapdance Extravaganza-isms (“Hail Paimon,” “Street Rat”), there is a lighthearted banter guided by vocalist Jordan LaFerney’s cowboy vocals and resulting poppy rhythms, punky tempos, and loose grind-esque composition (“Symbology,” “Slicked Back,” “Bad Tooth”), though the menacing still manages to punch through when least expected (“The Rainmaker,” “Omelette du Fromage”). It’s brutal whiplash of an album, not a semblance of traditional melody to be found, with deathcore breakdowns acting more as the punchline of a song-long joke. You’ll get a headache, but you’ll have fun along the way.

meth. / See You Next Tuesday // Asymmetrics – Mathcore and noisecore have a lot in common, namely unlistenable blasting. Your favorite Michigan deathcore/mathcore darlings See You Next Tuesday teams up with Chicago noisemongers meth. for Asymmetrics, more a collaborative experiment than a split. Each band records three songs, then shares only the drum tracks with the other, who records another song over that drum track. Toss in guest spots from The Red Chord’s Guy Kozowyk and Memphis-based sludgecore act Nights Like These, and all elements practically topple under Asymmetrics’ blazing intensity and immense weight. CUNT’s influence in relentless blasters (“The First Steps of Suffering,” “Syntax Error”) and blasting deathcore chug-and-squeal-fests (“Breaking Under the Weight of the Heaviest Burden,” “Tomb of Woe”) collide with meth.’s more ominous slow burns (“Succumb,” “Guest,” “Willing Participant”) in a surprisingly well-rounded package, all wrapped up in a tidy – and fuckin’ noisy – twenty-seven minutes. It’s the best of both worlds!

Utopia // Shame – A breed of technical metal recalling the fretboard-frying abilities of The Human Abstract or Scale the Summit, this UK-based group (including prolific bassist Arran McSporran of Virvum) balances a jazzy warmth and lush atmosphere to balance out the Dillinger rhythmic attack and Psyopus-inspired shredding, made further vicious by vocalist Chris Reese’s attack of frantic fries, manic shrieks, and ghastly roars. From intense attacks of intensity and brutality (“Shame,” “Social Contracts”), wonkier exposes of dissonant motifs and jagged rhythms (“Never Argue With an Idiot,” “The Gift of Failure”), and lush vistas of warm fretless bass and jazzy chords (“Sun Damage,” “Zither,” “Moving Gently Towards the Grave”), the dark themes of shame and morbidity are offset by a truly transcendent atmosphere that ties Shame together into something beyond mathcore.

Missouri Executive Order 44 // Salt Sermon – Absolutely unhinged mathgrind with a religious theme both belying and echoing their LDS missionary aesthetic (short-sleeved white button-ups, ties, shorts, and bicycle helmets) and ominous black masks, anonymous Independence collective Missouri Executive Order 44 approaches a morbid history of religious intolerance with the goal of utter annihilation. Cramming eleven songs into a mere sixteen minutes like blasters Sectioned or Fawn Limbs, you can expect it to hit hard and fast, complete with unhinged mathy meltdowns that spill across the face of concrete rhythm, meatheaded powerviolence chugs (“Christian Pornography,” “They Built a Bass Pro Shop in Our Zion”), surprisingly groovy riffs (“The Unbuckling,” “Seven is a Holy Number”), tied together with vocalist Jarom’s cult leader shrieks and sinner wails, alongside wickedly distorted Mormon spoken word and gospel samples. Posing no stance of their own aside from the dethroning of tyranny, Salt Sermon stands with all its tragedy and iconoclasm, both utterly devastating and utterly enticing.

Shiverboard // Hacksaw Morissette – Aside from the silly genius of the album name, New York’s Shiverboard eludes easy definition. Most consistently planted in grind, art-punk, screamo, and mathcore sensibilities, Hacksaw Morissette deals with fifteen tracks that feel like a shotgun blast. Punk is a common thread coursed through this tapestry of asininity, ranging from Sex Pistols-with-animalistic-snarls (“All Black Snoopy,” “Stain Remover”), complete collapses into noisecore (“Cryptic Bismuth,” “Chastity Jeans”), over-the-top deathcore blares (“Chainsaw Fruit Punch,” “Angelina Shit Ton”), math rock and Midwest emo musings straight outta Delta Sleep or American Football (title track, “Drug Test,” “The Garbage Stork,” “Vitamins of Darkness”), and complete grind and mathcore meltdowns (“If I Can’t Have Love I Want Power,” “Torrential Drencher”) – there’s something for everyone aboard Hacksaw Morissette. With just enough dynamic to keep things interesting but not too much experimentation to throw listeners (thanks to the tasteful brevity), Shiverboard could stand to throw some more my way.

Traveller // Broken Home – Sometimes bumping mathcore is just an excuse to include djent, and Germany’s Traveller falls into this category. Utilizing Erra’s Impulse-era formula, Architects’ melodic sensibilities, a touch of Northlane’s ethereal moments, and a DIY grit whose “loud and ouchy” weight is sure to be divisive. Guided by ferocious roars, sporadic cleans, and “thicc thiccly” breakdowns galore it often emulates that mid-2000s metalcore that recalls a djentier Feed Her to the Sharks (“Never Cared (2002),” “Mismatch,” “Limbo”). Other times, it incorporates a groove and technicality that recalls the shenanigans of last year’s MouthBreather, making it a curb-stomping affair with an edge of the menacing melodies and ethereal keys (“Acheron,” “Orpheus”). Traveller is more djent and less mathcore, sure, but (1) you’re getting a lot more with Broken Home and (2) that’s why it’s at the end of this list.

#2024 #AllThatDarkAllThatCold #AmericanFootball #Architects #BetterLovers #BrokenHome #DeltaSleep #Djent #Erra #EveryTimeIDie #FawnLimbs #FeedHerToTheSharks #FitForAnAutopsy #Frontierer #Grindcore #HacksawMorissette #HardcorePunk #HighlyIrresponsible #ManyEyes #Mathcore #Meth_ #MissouriExecutiveOrder44 #Mouthbreather #NightsLikeThese #Noisecore #Northlane #Psyopus #Punk #SaltSermon #ScaleTheSummit #Screamo #Sectioned #SeeYouNextTuesday #SexPistols #Shame #Shiverboard #TheDillingerEscapePlan #TheGodAwfulTruth #TheHumanAbstract #TheRedChord #TheSkullBurnedWearingHellLikeALifeVestAsTheSkyWept #TheTonyDanzaTapdanceExtravaganza #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #Traveller #TYMHM #Utopia #Virvum #Wilderun

When you forget your nasal decongestant at the house.

#MouthBreather 😭

Why has “mouthbreather” become synonymous with pigheaded ignorance when breathing through the mouth is something probably everyone does at some point, and may be related to a medical condition? #mouthbreather #invective #ableism #cliche

Johnny Booth – Moments Elsewhere [Things You Might Have Missed 2023]

By Dear Hollow

The phrase “metalcore” strikes fear in the hearts of the most hardened metal fans.1 Breakdowns and faux badassery collide in the most listenable shit this side of the pond. New York DIY metalcore abusers in Johnny Booth know this. While yes, there are breakdowns, one-liners, and enough technical wankery to make a Converge fan drool, every element is weaponized to the full extent to accomplish an unhinged and vicious quality (“loud and ouchy” in the words of inimitable Dolphin Whisperer) that recalls acts like Knocked Loose, Sworn In, and Frontierer – without committing to either cumbersome down-tempo hardcore or headache-inducing mathcore. Encapsulating just enough reprieve from the devastating pummel, through a tasteful sprinkling of jazzy keys, skronky electronics, and subdued cleans, third full-length Moments Elsewhere’s weight is through its expertly dynamic writing.

Contrary to the squeaky-clean stereotype of modern metalcore, Johnny Booth embraces weight and filth through its self-released aesthetic. Guided by Andrew Herman’s desperate fry vocals and soothed by his croons, the true stars of Moments Elsewhere are guitarists Adam Halpern and Ryan Strong and their impressive repertoire. While rooted in the chunky chug-happy metalcore template, nearly every moment feels like it might fly off the rails or is enhanced by impressive dynamic songwriting. In perhaps the best example this dynamic, “Only By Name” starts off with a rather unassuming and harmless wonky Dillinger-esque riff that guides the proceedings before cascading into a devastating riff that slides like a semi-truck on ice. Even the cleanly sung tracks like “Why Becomes How” and interlude “The Mirror” inject their respectively subdued approaches with both scathing melody and vocal harmonies or earworms and enough heft to move the album along. More balanced tracks like “Collapse in the Key of Fireworks” and “The Ladder” are tasteful in their fusions of melody, skonk, and catchy choruses. Bassist Steve DiModugno contributes technical fills and noodles to “Bright Future” and a jazzy runs in “The Mirror,” and drummer Adam Ingoglia is a rock-solid anchor throughout, constructing intricate rhythms while derailing them across the board.

This dynamic allows tracks to gather enough for the punishing storm, and breakdowns are realized to their fullest potential and never overstay their welcome. In easy highlight “Full Tilt” an opening distorted cheery sample and a later passage of a trip-hop beat offer respite, only to tread the path of Loathe with an absolutely stellar buildup and utterly satisfying closing breakdown.2 “Why Becomes How” is immediately followed up by the no-holds-barred hardcore-infused “Ring Light Altar” and the somehow heavier “Gatekeeper”3 and the unhinged “No Comply” whose morphing math-inflected riffs add a jolt of viciousness. Closer “Modern Dialogue” features a tasteful range of guitar tricks that align perfectly with the percussion, adding grueling punishment and dynamic across the board.

What makes Moments Elsewhere is its nearly untouchable range of tracks – only the mathy Risecore caricature “Bright Future” is a bit of a weak link in its lack of tangible weight. Don’t let the “metalcore” tag scare you: Johnny Booth offers some of the most punishing tracks of the year. Amplified by a smart inclusion of dynamics and homage to influences that avoid mimicry, it somehow feels heavier than could possibly offered when the atmospheric passages implode into skull-crushing weight. Contending with 2023’s heavy hitters Sylosis, MouthBreather, and The Acacia Strain is no easy feat, and they do so on their own terms in a handcrafted album with a unique sound – one of 2023’s best.

Tracks to Check Out: “Full Tilt,” “Only By Name,” “No Comply,” and “Modern Dialogue”

#AmericanMetal #Converge #Frontierer #Hardcore #JohnnyBooth #KnockedLoose #Loathe #Mathcore #Metalcore #Mouthbreather #SelfRelease #SwornIn #Sybreed #Sylosis #TheAcaciaStrain #TheDillingerEscapePlan #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2023 #TYMHM

Tariot – Drag Me to Hell Review

By Dear Hollow

Look, I’m one of like three metalcore apologists at Angry Metal Guy HQ,1 and I’ve had it up to here. No more sticky noted car, printer wrapped in festive holiday paper, or the squirting flower trick, okay guys? Plus the rubber rat with “BREAKDOWNS” scrawled with Sharpie was going too far. I already get my seven daily lashes from the Most Holy Gorilla when the punishment of metalcore promos seemed insufficient. As we approach the holidays, the last thing I want to do at the office Christmas party is to open my bonus addressed to “sellout.” Don’t even fucking think about it. And Jesus, Tariot sure ain’t helping my reputation. As such, I’m writing this review hunched over the keyboard like a monk in deep meditation to prove to the higher-ups that I’m working on some doom record or blackened prog album. As you may have guessed, Singapore five-piece Tariot is metalcore, featuring frantic fry vocals, noodly guitar fills, and breakdowns. Shit, hi Holdeneye, just working on that latest dissodeath review haha. No, no delays, and no -core influence. Of course all my reviews are always on time! Anyway, Drag Me to Hell is tough-guy metalcore through and through with some touches of post-hardcore, electronic, and nu-metal – like if August Burns Red, Cane Hill, and Our Last Night had a child. Look, I don’t like it any more than you do, would you quit that dry heaving? Go to the bathroom if you need to. Drag Me to Hell is an album with its moments but thanks to its confused structure, weak pieces, and excessive length, I’m comfortable keeping Tariot on the down-low.

Hey Maddog! No, I’m not trying to find the good in metalcore – ’tis foolhardy! Oh hi Doom_et_Al, found a new melodic black metal album to give 4.0? Nice. Anyway, Tariot actually features a few moments of excitement across its forty-two-minute runtime, even if the best feels like a knockoff Crystal Lake. While graced with wild guitar licks throughout, the best tracks balance the typical nimble riffs with densely crushing punishment. “Obsidian,” “Hell Hole,” and the previously released single “The Devil Inside Me” bring bottom-scraping heavy breakdowns to the song climaxes, which balance neatly with the fretboard wizardry and more urgent and aggressive tempos. Former Novelists vocalist Tobias Rische brings a much-needed grounding to “Alas,” while the vocals of Fairuz Ramlan add heat alongside one of the best riffs of the album in “Grave Future.” Used sparingly, nu-metal adds a tasteful intensity that nearly flies off the rails in tracks like “Alas” and “Hell Hole,” recalling acts like recent MouthBreather and early Darke Complex. The second half is the clear winner, with more infectious energy coursing through it. Oh hey Thus Spoke, haha, yeah metalcore sucks haha.2

The problem with Tariot’s Drag Me to Hell is twofold: there are weak songs present and those that are solid sound too much like previously established metalcore fare. Most damningly, the cleans that pervade always waver on the edge of out-of-tune, most painfully present in the aptly titled “Rain On My Parade,” “Eternal War,” and “Life of Nothing” which derail any energy with either post-hardcore- or grunge-influenced mediocrity that teeters into bad territory often. While not entirely detrimental, it leaves a bitter taste in solid tracks like “The Devil Inside Me” or “Lament,” which come unnervingly close to ruin. The nu-metal effect gets too much, especially in tracks like “Metamorph,” whose awkward gang vocals and mismatched climaxes worsen it, and “Hell Hole,” whose rap-influenced closing portions do not fit. Even some less problematic tracks like intro “Death by Seven” and “Eve” pale in comparison to their surrounding highlights (or nadirs) by sheer lack of memorability. However, even Tariot’s best still conjures the spirit of Crystal Lake’s “Prometheus” but missing the necessary charisma.

Ultimately, while the second half of Drag Me to Hell amps the intensity after a painful first half derailed by haphazard cleans and awkward nu-metal influence, but it feels largely like Tariot’s touchdowns in garbage time throughout a deceptively long forty-two-minute runtime; by the time “The Devil Inside Me” hits, the attention span would understandably be run thin. Tariot’s highlights are already mimicry at best with speedy riffs, thuggish breakdowns, and barked vocals, but given a horrendously inconsistent tracklist, it is difficult to recommend Drag Me to Hell for even most metalcore fans. So I guess maybe the sticky noted car was deserved.3

Rating: 1.5/5.0
DR: 6 | Format Reviewed: 160 kbps mp3
Label: Out of Line Music
Websites: tariot.bandcamp.com | facebook.com/tariotsg
Releases Worldwide: November 24th, 2023

#15 #2023 #AugustBurnsRed #CaneHill #CrystalLake #DarkeComplex #DragMeToHell #Electronic #MemphisMayFire #Metalcore #Mouthbreather #Nov23 #Novelists #NuMetal #OurLastNight #OutOfLineMusic #PostHardcore #Review #Reviews #SingaporeanMetal #Tariot

Told my husband something looked different about him today. Realized it’s because his mouth was shut. #MouthBreather #MarriedLife #Humor

From Nate's Insta | I make this same face when I am trying to sleep... #mouthbreather #callmePops: https://www.instagram.com/p/B51QSnoAiY6MvQiK7Br4_ancvzWWdQ4WzgXCYQ0/