With something of The Cardigans’ coming-of-age melancholy and vulnerably out-of-tune harmonies, it’s obvious why Joint Custody was a staple on the college festival circuit.
Those who know what “They Might Be” means will be very interested in this. Songs about mix tapes, a math prof rock star, and schizophrenics appear with singable pop harmonies galore.
Formed in the mid-to-late ’80s, Exhorder are credited with starting the “Southern trendkill” style of thash-hardcore-sludge insanity eventually carried on by the likes of Crowbar, Eyehategod, Soilent Green, Down, and – of course – Pantera.
The historical importance placed upon Elvis Costello and The Attractions’ first three/four albums have shouldered out the band’s later-but-worthy albums.
The real reason to get this reissued classic is the buncha speedy rockers that woulda put’m on bills with DMZ, Smack, The Fluid, The Lazy Cowgirls, Electric Frankenstein, or The Hives.
The Weakerthans are to other rock bands what a dog-eared philosophy book is to junk mail. There are issues harbored in their bosom; intellect wrapped in humble introspection and self-discipline.
The sophomore outing by all-girl hardcore act The Wage of Sin is much better than their debut, The Product of Deceit and Loneliness. While still hardcore rooted, there’s a much more pummeling, anthemic flow this time around.
The claustrophobic drum programming and Ed’s lumberjack holler can fatigue, but steamy riffs erupt, sophisticated samples enter, an acoustic guitar or plain singing intrude.
Samoth and Destructhor have created a record where the songs have self-contained logic, the guitar tones are robust and bottom-heavy, and where Trym’s drum vibe is thick and warm.