I Want The Moon - s/t Demo

What I find interesting about some Greek punk and hardcore bands, is the fact that their influences are  not so direct and harder to trace. And this is something that's good in a world of copycats and tried gimmicks. This is also the case with I Want The Moon, a Athenian melodic hardcore band made up of real old schoolers of the local scene (learn more about their bio at their reverbnation page).

With that said, I guess that we could say that I Want The Moon pay their respect to an older, slower, and proudly harsh form of melodic hardcore. It borrows inspiration equally from Leatherface as it does from Mudhoney and even Deus. I don't even know if one could actually term this music as "melodic", since the vocals are pretty rough and the melodies are on the pessimistic side but without a single hint of mainstream, romantic punk rock melancholy. Just grim, weird music with nicely accentuated and discordant guitar work. Also, it is not necessary to term IWTM "hardcore" as such, since there is no fast hardcore drums here; but I guess post hardcore is the only genre that could serve as a home for these lonely punk souls.

The reality of the matter is that the potent melodies that these guys have thrown in their songs have their own antisocial brand of melody and catchiness, and have something that grows on you with every time you listen to this demo. I should also mention that this demo is a live recording, and that's something that has worked very well on this occasion: a prefectly rough sound with a high impact on your ears (in fact, it all sounds very decent and 'clear'). There is nothing pretentious in what this band plays at all; and that is a good reason to start liking them a lot.

To sum this review up... IWTM's music is good at painting pictures of introspection, ferociousness and loneliness... a strange mix indeed. We have to do with that sort of matured ferocity that accompanies much of the good Leatherface-isnpired punk. it's like a bunch of angry bears giving you a lesson in irony, apathy and bitterness. Very nicely done!

Review: Gatherer: "Postcards" EP (2012, self-released)

Genre: Post Hardcore

Location: NJ, USA

Band Website: Bandcamp 

Label: - (self-released)

I just want to throw it on the table, that I am not such a big fan of post hardcore. However, when records are THAT GOOD, I can't help but get in line and accept the fact that some post HC bands out there are really doing something great, and something new.

Gatherer belongs in this category of bands who are pushing the agenda and are making music that is truly great. This EP of theirs contains 4 songs, each one of them displaying its own personality and conveying a unique set of feelings. The overall atmosphere Gatherer creates is one of desolation, loneliness, even despair. But they manage to escape the melodramatic, sad bastard category that so many other bands inevitably fall into. And this is because Gatherer gives off an air of intelligence, intricacy and progression. All the songs are short, beautiful and straight to the point, in and out before you know it and leave you wanting more.

The production sound throughout this EP is very nice and clear, with mildly distorted guitars doing their discordant thing, while the bass fills all the gaps with a warm and rounded sound. Indeed, this is how to do stuff. By paying meticulous attention to their sound, Gatherer succeed to present their work without being lost in translation (i.e. a bad recording or a sound that belongs to a different style). The drumming is also very well placed, changing a lot of rhythms but mainly staying on the slow to mid tempo, with clever patterns sticking to that aforementioned post HC notion. Last but not least, the vocals have a lot of personality and speak directly to you, letting all bottled up feelings out (but without trying to much to sound like the problem child on behalf of the vocalist). Just straight out HC kids doing a different thing, that's all.

Summing up, it's a rare thing these days to put a record on and get the feeling that it ended to soon. This is when you want to stop whatever you're doing at the moment and play the record again. This is what I've been doing in this case, and I am very glad about it!

Gods of Chaos - "March into Perdition" stream

Genre: Grind/Post Hardcore

Location: Zagreb, Croatia

Band Website: Bandcamp

Label: The Path Less Traveled Records

These guys take the lead from pioneering post-grind bands like the Locust, and add their own extra level of craziness and multi-layered noise. You might need to approach records like this with a certain level of patience and an open mind, but it's all worth it; after all, I know that there are enough freaks out there who are constantly looking for the most innovative and extreme forms of HC. So here it is!

P.S. Record Label The Path Less Traveled needs a special mention here, as it has been releasing lots of mind-twisting modern analog noise (including Imbroglio, one of the nastiest and most intriguing metal/hardcore bands to hit the streets in our times). Make sure to check them out!

Record Review: Forever Young Victoria - "The Hardest Part of Ending is Starting Again"

Genre: Post Hardcore/Other

Country: Ruhrarea Gelsenkirchen, Germany

Band Website: bandcamp

Label: -

I'll be 100% honest with you: FYV's cover didn't exactly motivate me to listen to their album, at first. I find it a bit outdated, maybe too simple, if there is such a thing. But as the saying goes, we should never judge a book by its cover and, dear lord, was it the case with this German post hardcore band. As soon as I hit the play button, I was immersed in a world of beautiful discordance and artful dissonance that really struck a nerve with my already damaged nervous system.

FYV jump around with ease between the post hardcore, screamo and post rock genres, painting a mid-paced but pretty harsh and chaotic sonic landscape. The band has paid meticulous attention to its sound, with a warm 'n' fuzzy guitar tone, a treble-absorbing bass, as well as unpredictable and offbeat drum patterns to accompany the general chaos. Things are topped off with a crazy vocalist whose tortured wail balances between Bad Brains' HR and general screamo insanity.

Throughout the 9 songs of this recording, FYV keeps it fresh and manages to come off as a pretty underground band. There is nothing polished, pretentious or premeditated about FYV's harsh post  hardcore, even though the general outcome is cleverly coated with an overall, basic rock feeling. What you essentially get is the archetype rock band going for something different, and using the basic instruments in an interesting albeit not excessively technical manner. You wont find any sung choruses here, but if you are up for some Refused action going backwards to meet some Bad Brains rock, you won't be disappointed.

P.S. An extra thumbs up goes to the final track, which is a slow, ambient, instrumental rock anthem with beautiful post touches. I will be looking to hear more of that in intertwined with FYV's heavy riffs in the future.

Record Review: BURN EVERYTHING - "Last Run Through The Ruins" EP (Self-Released)

Genre: Mathcore/Progressive Hardcore

Country: NY, USA

Band Website: bandcamp

Label Website: -

Mathcore has become a term that tends to scare a lot of people off. Important as it is to try and forget labels, mathcore is another genre of hardcore: pissed off, direct music with an understandable message. Bands which go under the mathcore moniker should have the intensity and straight forward attitude to justify the 'core' part of the term, and - luckily - this is what Burn Everything do. They give you the complete chaotic hardcore experience and then some. They may have the weird song titles and intricate song structures, but they sure deliver that relentless blow of intellectual heaviness.

This complex and technical metal/hardcore band from Rochester (NY, USA) has just released an ep containing 6 songs which will require your undivided attention and a few repeated listens in order to "get it". However, it is worth the effort. While you can initially enjoy the album for its heaviness and awesome drumming, it will inevitably grow on you and will become a more easy to listen and approachable record. This tends to be the deal with all good mathcore and technical/progressive hardcore in general: you enjoy the aesthetics while the essence creeps in.

The good thing with Burn Everything is that the singer has a nice and direct hardcore approach, his presence being the common thread throughout this recording. It wouldn't be so with another heavy hardcore vocalist and I am glad that this band cleverly avoided this pitfall. If they had a bit more catchiness to their overall sound, this could be a band to read about on next year's Metal Hammer or Terrorizer. For the time being, however, these guys stay deeply rooted in the hardcore tradition of creating a underground sound that will astound but will more likely than not stay outside the hype. Nevertheless, these guys could pull it off if they wanted. I am eager to see what they are going to do next.

Record Review: Robert of the Square "Time. Truth. Heart." (Hollow Earth Records)

A compelling debut EP from Robert of the Square that generates great hope for European avant-garde hardcore’s future. Rooted in both Botch-like dissonant structures and more expansive post-rock/post-hardcore themes, they explore the whole musical territory inbetween while treading in new ground. They develop a mature sound before they even introducing themselves.

Genre: Post-hardcore/Metal

Country: Italy

Label: Hollow Earth Records (link)

Band Website: Bandcamp

To be honest, the only thing I know about Italy’s hardcore is only some bandanna thrash and oldschool hardcore punk. Robert of the Square, from Trieste are remarkably different. They deliver a solid debut EP that is at least promising of great things to come. Surprisingly, their sound is already ‘mature’ enough to explore, appropriate and combine their influences to craft five ‘driving’ songs hard to go unnoticed. Well-written, skillfully-executed with an outstanding production their sound rests equally on mathcore and more expansive post-hardcore.

Although a comparsion with American peers like Achilles or The Minor Times (who came into prominence in the latter half of the 2010’s) would be valid, the listener soon realizes that Robert Of The Square consciously depart from that sound to explore a softer, more progressive and atmospheric side of the genre. For instance, the song ‘Dominio’ demonstrates most evidently their European character with dark haunting melodic riffing while still keeping the dazzling, palindromic Botch affairs all too well blended. Their sound is also informed by post-rock aficionados Mogwai and Red Sparrows.

The first number ‘Time’ is quite representative of what Robert Of The Square stand for musically: They enter the musical landscape with an interesting 1 minute ‘showcase’ of their explorative sound palette that sets the tone for the rest of the EP just to give place to typical mid-paced ‘cumbersome’ dissonance of Botch and the likes to fall back to more ‘stretched’ post-hardcore passages of earlier Swedish stalwarts like Burst and Breach.

There is no drawback in this EP, just plenty of memorable moment throughout the whole set. From the exquisite slow second part of ‘Truth’ that broadcasts some glimmers of unwinding hope to the dynamic complexity of ‘Impero’ which resembles some early-Norma Jean vibes and the monolithic heaviness of ‘Ego’ the genre of heavy, experimental music has won a gifted exponent. The vocals express insight and pressure, hard and throaty with no exceptions.

Every song is a creation, every song is ‘driving’ with manifold changes and tempo shifts intermingled, every song has a reason to be there altogether creating an exciting flow in the album. This EP, unsettling and experimental as it is, may open many musical paths for Robert Of The Square to follow. I recommend everybody to check them out, because they are a great hope for the avant-garde hardcore scene of Europe.

- Rigas

Record Review: OATHBREAKER - "Mælstrøm" (Deathwish Records)

With this post, Take Your Shot fanzine celebrates a total of 300 posts! We'd like to thank all the people who visit & read, as well as the bands and labels who support us and put out awesome music. It's been a long and joyful trip in the wondrous world of underground music and it's not like we feel like stopping any time soon. In fact, our crew is now stronger than ever! On this 300th post, contributor Nick reviews Oathbreaker's weird but melodic post hardcore/crust masterpiece. Read on & enjoy!

Genre: Post Hardcore/Crust

Country: Belgium

Label: Deatwish Inc

Band Website: facebook

Three years after the release of their outstanding self-titled EP, Belgium hardcore kids Oathbreaker, strike back with their first full length Mælstrøm. Yet, another fine piece of hardcore/crust/metal tunes that are worth our attention. What I really like on these guys & girls (lady on vocals) is that they achieve to combine various elements of heavy music, keeping the hardcore aesthetics at the front page and succeed to sound unique and everything else but boring.

Though I don’t usually write about particular songs of an album, I think that in this case it is the best way to review Mælstrøm and give a clearer idea about what you are about to listen and feel. This happens mainly because of the various elements included as well as because of the huge differences between each song. Let’s start randomly checking out some of the tunes then.

The album starts with a “black-ish” riff, confusing the ones that were expecting to hear a typical hardcore/punk band but immediately turns to be an á la Converge type song, showing the band's major influence and intentions. Moreover, we can't overlook that the album was mixed by Kurt Ballou and mastered by Alan Douches (Converge, The Dillinger Escape Plan). Crust-punk drumming and guitar riffing mainly follow the style of Cursed and Rise and Fall, accompanied at several points with “sick” guitar melodies and a lower tempo turn. These turns upgrade the song and remind us why Converge is one of the leading and most influential bands in the hardcore/metal scene the last 15 years. (Ok, I promise not to use the word Converge again in this review).

Mælstrøm goes on with a catchy-groovy-heavy yet trivial and indifferent riff that you have heard 1 million times before. However, it gets you in the mood and fortunately it doesn’t last long as the song (“Hierophant”) turns to be a typical crossover-thrash tune bringing memories of early nineties and late eighties bands. Similar lines are followed in the song “Thorn” (even the guitar solo is so fucking old-school) until the last minute, when it gradually enters a more doom/sludge notion and crawls with it till the end. I would like to mention again the “black-ish” sound and riffing that is obvious here as in many other songs of the album.

The highlight of this blackened sound is the six-minute “Glimpse of the Unseen” which is a 100% black metal song at the style of Satyricon (post-Rebel Extravaganza period), Tombs and Burzum. Sadistic low tempo riffs, grated guitars and torn vocals at one of the best songs of the album. Album closes with an acoustic 4 minute epilogue (“Mælstrøm”) that brings you back in a safe place and lets you breathe at normal rates again. Imagine Botch’s Afghamistam (the first part of it) with clean female vocals like Gathering and you get the picture! When the singing part starts, it's hard to believe that it's not Anneke Van Giesbergen's (The Gathering, Agua the Annique) voice, not only because of the voice similarity but also because of the similar vocal lines.

Sludge/Doom influences are also observed, i.e. in the third song of the album (“Fate Is High”), which starts with a riff that brings in mind bands like Solitude Aeturnus and Cathedral but it continues heavily influenced by more contemporary acts like High on Fire, Black Cobra and Kylesa. The rotation of fast and slow rhythms, the atmospheric feel and a more “fixed play” give you a feeling of entering dark passages and facing dragons and demons. Same story happens during the song “Black Sun”, which could be easily be described as the end of the story that started with “Fate Is High”.

Some of you might have been already convinced to check out the album (or not). Some of you might be confused. To be honest now from reading what I have written so far, I am a bit confused too. In the end, is it a good album or not? Can it be that such a weird mixture is good? Is it maybe a bit too much? Are they just copying all the things that I have described with nothing new to tell? But then I am thinking that Mælstrøm has been stacked into my playlist for more that two months already.

Oathbreaker sound way more mature than their previous work, show a tremendous capability to combine so many things, and they are not afraid to show their influences and to experiment with them. Finally, I would like to mention that I cannot think of or even imagine a better production for this album.

For the confused ones then, the clearer answer I can give to their doubt is: Check this shit out!

Nikos Tolis

nikostolis [at] gmail [dot] com

Record Reviews: BEAR "Doradus" (Let It Burn Records)

Naming your band "BEAR" is all good when you actually make music that sounds like a huge fucking bear landing on your head!

And this is the case here. These wild Belgians have managed to take the hardcore/metal background and shoot it to the moon. In my book, their new album entitled Doradus deserves a place right up there with the essentials of  tecnhnical and progressive hardcore/metal like Coalesce, Curl Up and Die, early Converge, etc. Putting the cherry on the cake for us, Bear also manage to produce some huge sounding, epic moshing rock (or rocking mosh) that is catchy and tuneful, and goes down well any time of the day. It's awesome to hear some music that retains the true hardcore fury of previous époques, but also goes the extra mile, maintaing an equally badass and intellectual feel all the way through.

When a band plays such an interesting mix of sounds, the production that coats the music is always crucial. On Doradus, Bear packs a crystal clear production sound that creates a wrecking ball out of the twisted metallic riffs and groovy drum patterns; Everything crumples under the undisputed pressure of this solidly built destruction machine! The songs are pretty short for this genre (around the 3 minute mark), which is a good thing. However, Bear manage to squeeze in all the power, intensity and passion in each and every song, as they scoop the best elements from deathcore, progressive/post hardcore, djent, and even good old black metal.

The most important thing that this record reminds us, is that even though it's good to take different elements and mix them into the melting pot, balance and composure (sic) are also essential. It's no good to have an album that sounds like it's made up of guest musicians. That is to say identity is all important for a band, and Bear have that in check. They manage to unite all the influences into something we can simply call hardcore/metal, and which isn't overly progressive and/or tiring. Congrats to Let it Burn records for having a band like this on its roster! I am super happy to see hardcore music still making a progess without losing its touch! Check this shit out!

www.facebook.com/bearpropaganda

UPs: Super tight playing, super groovy rhythms, good catchiness factor without going pop, brutal and heavy without being chaotic.

DOWNs: None that I can find.

LOWDOWN: Diligent metallic hardcore making a tour de force, celebrating all extreme music.

Record Review: IRONWILL - "Unturned" (Blood & Ink Records)

IRONWILL is an awesome, spirit-filled band on Blood & Ink Records and their new record Unturned is a piece of emotive hardcore which is so sincere and deep that it will go down well with fans of metal, hardcore and punk alike.

The thing with Unturned is that, albeit a solid hardcore record, its sounds create a heavy-thinking and melancholic atmosphere every time you put it on. It is so nice to have a band that can create feelings and convey unspoken messages through their music, and IRONWILL does that very well. They use thick guitar layers and superb hardcore drum patterns to create a very solid base for the singer to come in and scream his lungs out about all kinds of personal and philosophical matters.

I'd go so far to say that in way IRONWILL is for hardcore music what NEUROSIS and ISIS are for metal; that is, the more weird, dark and introspective side of the spectrum. In addition, all the hardcore on this record has been layered with some extra guitar work that borrows equal elements from metal, rock and even guitar-pop. It may sound weird, but the music is so solid that the extra guitars only elevate it to an even higher level.

Unturned is a strangely unique record and in a way, it will take its toll on you. After a few listens, these hardcore songs start to creep in and become more personal, and might even give you a sense of loss, regret and whatnot. So I'd say that this record is more hardcore than hardcore, even if it is filled with melodies and crazy build ups that are not so common in today's narrow confines of hardcore.

http://www.facebook.com/ironwillhardcore

UPs: Genre-defying guitar work, super-powerful drumming, intricate song structures

DOWNs: Not suitable for when you're already feeling like shit/hurt/whatever

Lowdown: Powerful and emotive hardcore with great musicianship and totally fresh ideas while staying true to hardcore

Cave In - "White Silence" Review

Today we have something different to present our readers compared to the usual all hard all core stuff we post here. The following review is written by my friend Nick, who is a definite brutal music afficcionado (proven by standing the test of time!). I think that many hardcore kids will lend an ear to music like Cave In, as they are one of those bands that came out of the hardcore/metal scene and stepped away throughout their career -- but kept  making good music. Read on and find out why you should check out the band's heavy as fuck new album!

Back To The Roots (?)

It is really admirable  when a band can modify its style so dramatically and provide good material. Cave In seem to me like a phenomenon in the extreme music scene. Ok, extreme in some occasions, I agree. Personally I don’t know what to expect anymore when a Cave In album comes out.

White Silence is an 180o turn again for Cave In. On one hand you’ll find heavy, complex riffs, intense bass guitar and noisy guitar fill ups and on the other hand a more prog- rock approach with psycho-traveling songs and less aggression. There is an obvious influence on the sound and the style as also on the vocals, from the sound of the project bands of its members (Zozobra, Old Man Gloom), therefore along with the complex and fast riffs you‘ll find slow, drown, heavy parts and mid tempo songs.

But that is what happens only till the middle of the album, because as the album goes on, Cave In sound more like a prog-rock band than a sludge-doom-metal core one. Prog-rock with a post-rock aesthetic and with loads of psychedelic sounds is what you will find at the second half of the album. Clean vocals appear quite often but when they do so, they are either distorted or alongside with some brutal ones.  I know that the marriage of these styles sounds a bit chaotic and wired. But Cave In do it and most important they do it very well.

“White Silence” is a complete album. You won’t get bored listening to the album and you will definitely play it again and again. You will move your head up and down and gradually you will become heavier, drown back and get lost. The overall result: a dirty, sick and traveling sound with loads of upside downs which leads to a dirty, sick, album that travels you from aggression to relaxation.

Typical Cave In stuff right?

THIS MURDER OF ANGELS - Wake (EP)

I will admit that the majority of the stuff I listen to is kinda violent, or at least intense in one way or another. However I try to keep an open mind and go for other styles of music every now and then, I mean it is always good to have different stuff in your record collection, and a wide palette of music to choose from so to speak.

Bands like This Murder of Angels come and fill that gap in my musical knowledge in a very efficient and refreshing way. They play a style of music that shares equal influences from pop, post hardcore, black metal, prog and even a dose of classical music. This may sound weird but when you actually hear Wake, everything sounds right in place and you can start getting into those chunky post metal grooves.

These Scottish dudes have created a new style in which they are not afraid to go all soft and then come back with hellish screams, thick-layered guitars and prog metal drums. I guess they do pretty much whatever they like, and this is something that I totally respect in a band.

I can imagine myself playing this on a variety of occasions, not when I want to mosh but when I'm feeling a bit down, when I want to go on thinking mode, when I read a book or even when I chill with someone who can't handle too much hardcore or metal. This is very progressive, very clever music and I am glad that a band like this would care to approach a hardcore fanzine like Take Your Shot. So, in the name of Unity, hardcore, metal, post-hardcore, whatever... let's go!

http://thismurderofangels.bandcamp.com/

UPs: complex, thick layered instrumentation with a wide range of influences to stretch and test our musical knowledge.

DOWNs: Not enough heaviness and maybe too much piano/keyboards.

LOWDOWN: Very progressive but also catchy post metal with awesome vocals and and an artistic, almost theatrical feel. Not yer mama's Deftones, but an original band!

Jawbone - "Loss of Innocence" EP Review

When we say 'heavy hardcore' nowadays, most people think of beatdown stuff with bad death metal vocals and people wearing basketball shorts. We are lucky to have labels like Blood & Ink Records, which has been working hard at bringing us the real, quality heavy hardcore sound that is worth listening to. There are a number of bands on its roster bringing modern hardcore to a new level of chaos and brutality. Jawbone and their new ep Loss of Innocence are here to add some more credibility to an already awesome label.

Loss of Innocence consists of five songs of relentless hardcore intensity that hits hard from start to finish. This is some serious devastating metallic hardcore with complex, constantly changing drum patterns, chaotic guitar riffage, and a huge analog sound to bring everything together. I dig the fact that the vocals sound pissed of without being typically heavy. We could actually say the dude almost sings and this brings to mind mid 90s metallic hardcore bands - which is obviously a very good thing. Jawbone is a pretty exceptional band because they've managed to create a sound that will go down well with both Earth Crisis and Neurosis fans while always keeping one foot down in the roots of the original hardcore sound.

There is always room in the hardcore scene for bands who push the envelope a bit further and expand the genre's boundaries. However, I like the fact that there are bands like Jawbone who manage to walk the thin line between being innovative and at the same time true to their roots. This is 2011's true metallic hardcore!

www.bloodandinkrecords.com

www.bloodandinkrecords.com

www.bloodandinkrecords.com

www.bloodandinkrecords.com

Street of Possession - 'The Wolfman' EP (self-released) Review

Just how much ambient instrumental beatdown death metal have you heard lately? Probably not much... Nevertheless, this crazy 'prog meets mosh' band from Lyon, France is here to create a new niche and satisfy your insatiable need for new, crazy, and heavy as fuck music.

The thing with Street of Possession's amazing new EP The Wolfman is that it is actually has no vocals and consists only of heavy downtuned guitars, sick groovy rhythm patterns and beatiful ambient layers to accompany all the unsurmantouble heaviness. A one-man project on this one, SOP also work on stuff with death metal vocals on other recordings, but here Jeremie (guitars, bass, drum prog, samples) ventures on his own to create a masterpiece of avant garde post-deathcore. This is really like nothing else I've heard before, as this kid takes the ball from bands like White Chapel, Misery Index, For Today etc and keeps running, stripping it all down to the bare essentials.

SOP manages to combine the heaviness with some hair raising type of melodies, thus balancing between the extreme and the almost catchy, even mainstream sound if you like. The record is also based on something like a concept theme, about the cruel transformation of a man into a wolf. Sounds kind of crazy (or maybe typical if you're a metal fan), but as I am into all that anarcho primitive, back to wilderness feral type thinking, I can surely dig! Our feral edge is always calling, waiting to make a beast out of us again... Another interesting fact is that  since there are no lyrics, each song leaves you on your own to start making a plot in your head based only on the song title and the complexity of the music.

Awesome work from this French beatdown eccentric! I easily give it a [9.5/10]. I am just curious to see how the next stuff (with vocals) will sound like...

Every Time I Die antics

Every Time I Die, the US chaotic hardcore band now has a reason to be stupid and crazy: they are being sponsored by Vans for it. The clothing company has teamed up with ETID to make a weekly series of episodes documenting the band's life on the road. The 12 episodes uploaded so far are just a display of general mayhem and absurdity, as ETID go around fucking stuff up. This is all far removed from the typical hardcore DVD stuff we know, where bands usually just play and speak about the music. This is more MTV-oriented stuff, with a bunch of heavily tattooed dudes going around wrecking stuff as well themselves.

As frontman Keith Buckley put it in a recent Metal Hammer interview: "Filming the shows and those serious interviews is boring... if I want to see the show I'll go to the show." Is all this entertaining or simply lame? It's up for you to choose. However, the band's latest, 2009 album New Junk Aesthetic (out on Epitaph Records) is a brilliant sample of modern discordant hardcore, with no trash involved whatsoever.

http://www.vans.com/microsites/etid/

http://www.vans.com/microsites/etid/

http://www.vans.com/microsites/etid/

http://www.vans.com/microsites/etid/

Every Time I Die: Gifted but absurd