Fallen from the Sky "Tonight We Radiate"

Channeling Hot Water Music and Polar Bear Club, Fallen from the Sky brings a driving, hardcore-inspired energy and sense of camaraderie to the gruff, textured punk rock with which the aforementioned bands are so closely associated. Up-tempo and built for big, group sing-alongs, the band's sound is noticeably accessible, with more than enough memorable choruses and lots of catchy guitar leads in the verses, but still raw and believable. Singer Ryan Loughley deserves credit for the band's genuine delivery; his deep, barked vocals and not-quite-perfect singing sound comfortable amongst the driving chord progressions and breezy lead guitars. For my money, Tonight We Radiate's 10 songs don't get much better than "Out of Control," which absolutely erupts at 2:30 (after a subdued, rhythmic bridge) for a booming, stepped-up version of the already killer chorus. "Skeletons" is equally catchy, with its simple chorus lyric of "I'm kicking out the skeletons tonight!" and "The Torch" lunges at you with its brisk, melodic hardcore direction. But, man, "Out of Control" is where it's at.

Fallen from the Sky - Out of Control

Find a copy here.

Braindead "No Consequences"

"Wait. What? This isn't right."

And so began my first listen to Braindead and their full-length debut, No Consequences. Having thought that this was a new record from those endearing Chinese punk rockers in Brain Failure, I was quickly surprised (and humbled, as I apparently don't know it all [sarcasm]) to hear a diverse brand of in-your-face, melodic hardcore.

Braindead. Brain Drill. Brain Failure. Brain Dead. Honestly, can you expect me to keep them all straight, all the time? (To be fair, I think it's at least a little obvious which one of those is the brutal death metal band.) The band at hand is Braindead – one word, one capital letter. And the band at hand is really good, taking vocal and songwriting cues from the likes of bands from Count Me Out to Kid Dynamite, and making them their own with varied combinations of dark, melodic guitar parts, slower tempos and a lush bass presence. While the heart and soul of No Consequences is familiar, melodic hardcore and throaty, shouted vocals, Braindead fashions a masterful ebb and flow through ambitious (and awesome) instrumentals – opener "ATI" establishes that direction in 36 quick seconds, "Dear Alison" expands on it for three minutes and forty seconds right in the middle of the record, and "A Wake for a Dream" literally blows it out as the song progresses from expansive instrumental to surprisingly climactic, pounding, static-y noise.

Braindead shows just the right amount of ambition and poise on No Consequences; they've got one collective foot rooted in hardcore's traditions, and the other in unexpectedly musical and dynamic territory. My initial impression was a false, knee-jerk feeling that something wasn't right. But when all was said and done, it had made a squealing 180-degree turn.

"Yes, this is right. Very, very right."

Braindead - So Single

Grab your copy here.

Incommunicado "Losing Daylight"

Color me stumped. I'm not really sure how to describe Incommunicado, other than they remind me of the relatively obscure, now-defunct band Kicked in the Head and they play a quirky, driving blend of melodic punk rock and tastefully experimental post-hardcore. Catchy yet clever and angular yet concise, Incommunicado has a sort of At the Drive-In thing going on; they've struck a balance between experimentation and gruff, punk rock energy that keeps Losing Daylight intriguing and, at the same time, safe from going off the deep end. And I've got to give credit to singer Chris Feigh, whose unique singing and shouting sound right at home amongst everything from the catchy choruses to the experimental flourishes, for helping bind things together in ambitious and dynamic fashion. A solid, near-half hour of music.

Check it: Incommunicado - Electrode Cathode

Pick up a copy here.

Inhale Exhale "I Swear"

I'm not hesitant to admit that Inhale Exhale's sound, as it shakily walks a tight rope between chunky metalcore and Underoath-y "screamo," is formulaic. You've got a blend of gravelly screaming and familiar, soaring hooks. Heavy, metallic riffs and upbeat melodies. Double bass-fueled beats and poppy, driving rhythms. In your head, you've practically heard it already.

But I'm also not hesitant to admit that Inhale Exhale pulls it off well. It's clean and accomplished; the band proves to have a handle on writing everything from memorable hooks to lumbering, metallic riffs to gratifying breakdowns. Plus, they feature John LaRussa, a former member of the defunct (and seemingly forgotten) Narcissus, who brings a certain progressive slant to the guitars and, I imagine, the songwriting process. His signature, atmospheric picking sequences break up the metallic and chord-based riffs, and often give Jeremy Gifford a particularly golden opportunity to fill in the low-end gaps with slick, creative bass lines. The best example is "It's Myself Vs. Being a Man," a big, expansive song that heavily relies on LaRussa's melodic, progressive playing, clean singing and prominent bass parts.

All things considered, I Swear is a reputable record, rife with sizable, satisfying songs. Nothing terribly special, but far from offensive.

Inhale Exhale - It's Myself vs. Being a Man

You can pick up a copy here.

Killing the Dream "Fractures"

For Killing the Dream, some substantial lineup changes weren't necessarily a bad thing. While holding onto their core source of identity and rage -- singer Elijah Horner, of course -- the band's two new guitarists have introduced some flavors and spices that make Fractures a progression from 2005's In Place, Apart, and a smooth one at that. You need look no further than the title track for ample proof, as medium-paced drumming and pulsing bass lines back up swooping, melodic chord progressions and strings of shimmering guitar notes. It's powerful, atmospheric and different, even going so far as to throw in some clean backing vocals.

These sorts of expansive, breezy post-rock tendencies creep into many of Fractures' songs but, for the most part, Killing the Dream churns out the abrasive and unforgiving breed of melodic hardcore they've come to represent. Horner's harsh, desperate screams tend to take center stage -- deservedly so, considering he's so able to deliver just about any lyric with emotional, throat-shredding intensity. The barreling drumming keeps the tempos fast and the momentum going, but the band's got enough songwriting tact and sense to incorporate some climactic, explosive peaks and tasteful breakdowns. The final buildup and subsequent explosion in "Thirty Four Seconds" will raise goosebumps on your arms, and "Everything But Everything" closes with a supremely juicy breakdown. The last song, "Resolution," is the longest song (at 4:23) with the biggest climax, and serves as a memorable and reflective way to end the record.

There's a lot of variety and texture to Fractures. While it doesn't quite match the chaotic intensity of the band's early material, it's certainly better arranged and more carefully detailed -- two qualities that help make it the band's most intriguing, memorable and re-playable album yet. Good stuff.

Killing the Dream - Thirty Four Seconds

Grab this full length at the Deathwish Inc. store.

Verse "Aggression"

There's a slight chance that, in the midst of a deep sleep and a vivid dream of my ideal, 2008 hardcore record, I sleep-wrote (analogous to the more common sleep-walk) a touching, handwritten letter and addressed it to Verse. There's a slight chance that, in said letter, I asked them to write an album full of passionate, socio-political messages and melodic, ebbing-and-flowing songs, and influences ranging from Modern Life Is War to Have Heart. There's a slight chance I did it in such moving fashion that the band felt obligated to come through.

Okay, I'm retarded. There's no chance that happened. But what should I think when I hear a record that's got just about everything I could want, in just the right quantities?

While I liked Verse's first two full lengths, Aggression stands out as something special for having a musical approach that is just as significant and urgent as the strong lyrics. There are, of course, bursts of the traditional -- blazingly fast drumming, brisk chord progressions and in-your-face shouting -- but most of the songs go beyond that, to near-epic proportions. Explosive, poignant climaxes dot the album's length, and intricate melodies, heavy-handed drumming and mammoth heaviness fill the gaps. While countless bands have attempted this tense, climactic breed of hardcore since Modern Life Is War blew it up a few years back, Verse is one of the select few that has fully realized its potential for chilling, humbling results.

Aggression is sonic bliss, but I'd be remiss to gloss over the lyrics. Singer Sean Murphy brings a whole lot of depth to the record, and it takes center stage in the three-chapter (and three-track) "Story of a Free Man." Telling the tale of a boy whose father was killed at war, the three songs are both personal and political; they personify the stateside horrors of war and the death grip of addiction through a well spoken narrative. Murphy attacks in other songs the morality of our current administration, the justice system, war mongering, and the shallow Hollywood-driven media. Yet, he's still got plenty of hope:

"I could be destined to fade away like so many before me. But as long as my heart keeps beating. I still can't stop screaming. Silence -- is violence. I'm bending. I'm breaking. I'm broken. I'm still alive."

Aggression is worthy of all the praise I've got in me. I'm proud to love this stuff. From the musical arrangements to the heartfelt lyrics, Verse has poured themselves into their 12 newest songs, and you simply cannot say the same about most everything else out there.

Yes, yes, yes: Verse - The New Fury

Get it here. It's worth the money.

Spitfire "Cult Fiction"

The craze surrounding chaotic, dissonant metalcore has largely fizzled in the wake of the surging popularity of "deathcore." Instead of looking to Every Time I Die and Botch for influence, upstart metalcore bands are more likely to aspire to be the next Job for a Cowboy or Despised Icon. No surprise there; music goes through phases. That said, I was surprised to hear that Spitfire is still pumping some life into a genre that just doesn't have the buzz it did a few years ago. Surprised, yes; but not disappointed.

Cult Fiction, the band's second full length since reforming in 2004, draws on Botch's oddly timed riffs and rhythms, Every Time I Die's energy and sass, and Scarlet's penchant for smoothing out otherwise jarring noise (the latter makes sense considering Spitfire features two former members of Scarlet). Never content with straightforward time signatures or consistent tempos, Spitfire's rhythm section sets the stage for a familiar blend of lumbering, chunky riffs, angular arrangements of notes and scathing dissonance. The band focuses on strong, heavy, mid-paced tempos and guitar parts, but they occasionally throw things into high-gear ("The Animal Kingdom of Heaven's Gate," "Pro-Life," "Meth Monster") and even more often experiment with droning, sludgy riffs, somber atmospheres and rhythmic drumming. The slower stuff is certainly a welcome addition, as it still fits the record's flow and offers listeners a textured, more contemporary respite from the chaos.

Cult Fiction is as listenable as it is chaotic, and a flavorful taste of what was, for a while, a defining sound in metalcore.

Not the most representative song, but oh so crushing: Spitfire - Chemo The Rapist

Get it from good old RevHQ.

Scream Hello "Smart & Stupid"

Smart & Stupid is a four-song precursor to Scream Hello's (no more exclamation point!) forthcoming full length and, to be boringly blunt, it's got me jonesin' for more. While I enjoyed this band's debut, Infinite Son, it never struck me like Smart & Stupid consistently does; the band has simply made a lot of progress in the past year or two, penning more textured, smooth-flowing songs and bigger hooks with the natural ease and finesse of a knife cutting through soft butter.

Scream Hello plays an amalgamation of classic Midwest emo, bright, Piebald-like rock and gentle indie rock, and leaves any pretense at the door. Considering the level of detail and smart songwriting, it's surprising that Smart & Stupid never comes across as highbrow or overly intellectual. It's traditional, modest and, dare I say, timeless; as comforting and flavorful as home cooking. (I’m really into food similes today.) “A Few Minutes” is, for me, the standout song, thanks to its infectious guitar leads, unforgettable sing-along chorus, and even gradually slowing outro, but "Breakin' Shit" follows with similar qualities. "rrrrrrrrrrrrrrrrrrr" consists mostly of a piano and reverb-y singing and, even though the guitars and drums eventually join in for an energetic third minute, the song feels awkward. The band gets things back on track in the grand, six-minute closing song, “Vinegar & Baking Soda,” which all but cuts out at the half point before building back into a strong, driving closure with burly backing vocals.

There’s plenty of cleverness and complexity behind Smart & Stupid’s four songs but, at heart, Scream Hello hits listeners with likeable, accessible tunes.

Scream Hello - A Few Minutes

Get a copy here; it's only $6.25!

H2O "Nothing to Prove"

All it took was two listens to "What Happened?" and I was sold on H2O's comeback record, Nothing to Prove. After a maligned attempt at some mainstream exposure in 2001's Go (man, that was a long time ago), this long-running New York hardcore act has simply reverted to what they do best: fast-paced, upbeat hardcore punk and chunky NYHC. As familiar and tried-and-true as Nothing to Prove is, it's got such a sincere sound and delivery that I have, for all practical purposes, fallen for in a matter of days.

I love the fast, melodic chord progressions and quaint guitar leads. I can't help but get wrapped up in the brisk drumming. The gang vocals and guest spots (Roger Miret, Lou Koller) fall right into place. And singer Toby Morse contributes an expectedly great performance, shifting gears between throaty shouts and melodic singing to bring his words to life. He touches on a variety of topics, from the evolution of the hardcore scene to straight edge to his family to society's skewed, judgmental perspective of him, and brings to it all a personal flair that's more personable than poetic. That's what I love about the entire record; it's just real, not to mention tastefully catchy, concise and meaningful.

Nothing to Prove is the kind of album that excites my senses; the kind of music that incites in me some need to write and spread the word. These days, those records are truly few and far between.

"For those who don't know... H2O GO!": H2O - 1995

You can pick the album up from the RevHQ.

Spark Is a Diamond "Try This on for Size"

Try This on for Size is Spark Is a Diamond's debut release; a blend of dance-y beats, rocked-out post-punk guitar riffs and singer Alison Bellavance's gravelly, grating screaming. (You might remember it from her previous metalcore band, Fall River.) While it's got the makings of a shitty record, it's actually not bad -- it's catchy enough to keep me coming back, and it's got enough solid, often single-string guitar riffs to provide me some real substance. There's some sort of a Refused influence running through Try This on for Size -- the few electronic flourishes drive home the comparison -- but don't expect anything nearly as ambitious or expansive as something like The Shape of Punk to Come. It's generally stripped down to the basics.

The biggest issue Spark Is a Diamond faces is working some variety into their songs. The screaming, the guitar riffs and (especially) the drumming follows a standard path in each of the 11 songs, and you'll feel like you've heard them all twice by the time it's over. (Okay, excluding the cover of Salt-n-Pepa's "Push It.") This is fun, but, at this point, I wouldn't want more than 24 minutes of it at once.

Spark Is a Diamond - ___ ___ Has a Deathwish

Little pricey for the amount of music you get, but what can you do?

Bloodbath "Unblessing the Purity"

Unblessing the Purity is four songs of heavy, churning death metal with a nice, balanced split between shredding riffs and blast beats, and crushing, double bass-fueled grooves. Aside from the guitar solos and dark, melodic segues, Bloodbath doesn't let any frills, bells or whistles hamper their music's barreling energy -- it's all balls, all the time. And while a lot of similarly straightforward death metal loses me with its sheer technicality and utter lack of hooks, there's something subtly catchy and accessible about Unblessing the Purity. I can't quite put my finger on it, but it probably goes back to the concise songwriting, forceful riffs and big recording quality. It also doesn't hurt that the band features Opeth singer Mikael Åkerfeldt's monstrously powerful vocals. (I wish my throat was capable of creating such hellish noises.) I'm the first to admit that the artwork and song titles reek of stereotypical death metal, but Unblessing the Purity is surprisingly (or not, considering the band's extensive credentials) solid and entertaining.

Bloodbath - Weak Aside

Grab a copy here.

Blacklisted "Heavier Than Heaven, Lonelier Than God"

Like so many hardcore bands, Blacklisted burst into the scene with a justifiably loud buzz -- due in part to their killer Our Youth Is Wasted EP -- and quickly fizzled out after one subsequent release and an untimely breakup in 2006.

But unlike so many hardcore bands, Blacklisted reformed shortly after calling it quits. And they clearly didn't get back together to do more of the same; they kept Blacklisted going to make something a little different, and even stronger.

Heavier Than Heaven, Lonelier Than God is Blacklisted's return to the full-length realm, and it's proof (along with the preceding Peace on Earth, War on Stage 7") that the band hadn't reached their potential before throwing in the towel. While it's got the manic, crunchy intensity and hard-as-rock grooves that the band kept front-and-center on their previous releases, Blacklisted incorporates much more diverse and eclectic influences this time around. From the middle of the first song, "Stations," through the end of the record, you'll notice a dingy, bluesy note to some of the guitar parts and even front man George Hirsch's singing. You'll be surprised by sudden, acoustic guitar plucking that somehow fits. You'll hear sludgy riffs and lumbering, melodic songs in "Circuit Breaker" and "Wish." There's a lot more going on and, still, the 11 songs last a short, but tasteful 20 minutes; there's nary an indulgent, unnecessary moment on Heavier Than Heaven.

I'm more than thankful that Blacklisted's breakup was as short-lived and temporary as it was. The band has tapped a bank of ideas and inspiration that might have otherwise gone untouched, and swiftly delivered what will be one of 2008's best hardcore records.

Blacklisted - Touch Test

$10 will net you this gem at the Deathwish Inc. store.

The Hottness "Stay Classy"

Wow, I wholly expected to hate this record (I'm starting to realize that I say that a lot). The Hottness? Is that not one of the worst band names you've ever heard? It sounds like real Rise Records shit to me. Yuck.

But Stay Classy is an enjoyable record, making the best of big, bold, sometimes Southern-sounding guitar riffs, a combination of forceful screaming and surprisingly (for this genre) masculine singing, and driving, meaty drumming. Everything on the album just sounds big and energetic, a stark contrast to the whiny, weak stylings of the bands with which The Hottness probably shares the stage. There's more of a gruff, alternative rock slant to their sound and, as much as I can't stand that label, it speaks to Stay Classy's character. Nothing here is particularly new, but it's all entertaining and crafty in a big way.

Like the similar I Am Hollywood-era He Is Legend and Maylene and the Sons of Disaster, The Hottness showcases natural songwriting tact, tinges of the South and plenty of energy on Stay Classy. The record isn't winning any awards from me, but I've spent more time listening to it than most everything else in my collection over the past couple weeks -- a pleasant surprise.

The Hottness - Blue Eyed

You can nab a copy of the full length here.

Said Radio "Tidal Waves and Teeth"

Tidal Waves and Teeth is a cool, quick EP from Said Radio, a relatively new band that's usually (and justifiably) touted as featuring members of The Nerve Agents and Redemption 87. Most notably, the voice of both those bands, Eric Ozenne, fronts Said Radio, finally bringing his unmistakable presence back to the hardcore punk fold.

While the similarities between Tidal Waves and Teeth and anything The Nerve Agents did are largely unavoidable, Said Radio does hardcore punk with a very different slant. Not only are there some experimental flourishes, from the moody, spoken-word "Rogue Transmission" to the eerie first half of "The Killer (Mara)," the guitar parts emphasize texture as much as sheer speed. There are lots of little, less distorted riffs and leads layered over the base chord progressions, and they most definitely contribute to the dark, mysterious tone of the record. While the sound ultimately stems from classic hardcore punk (it even has a bit of a retro feel), Said Radio takes it in a direction that I haven't quite heard from anyone else. As a debut effort, Tidal Waves and Teeth sets the stage for a potentially sweet full length.

Said Radio - The Killer (Mara)

And the first store to show up on my Google search is... RevHQ!