Metal Bulletin Zine (est. 2006) is a metal music zine (Seattle region), online and on paper. 160 issues so far.
online pdfs available at www.fuglymaniacs.com
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Tuesday, July 2, 2019
Failure to Thrive
Release: 12 July 2019
The album is the work of a band full of enthusiasm for the possibilities of what they can do when they work together. One track might be mellow and serene and the next one is harshscreamo-extreme 2019, and the song afterwards is more along the lines of sludge, and the one after that might show post-rock/post-metal influences. We could say the band shares a tremendous affinity for the American shouty/yelly//screamy combination of hardcore, post-rock and sludge, for a sound of sludgy post-rock hardcore heaviness with light moments as a recurring contrast. The one trait that stands tall is the enthusiasm or the excitement for the overall execution of the material. The album generally breaks down as follows:
01.R62.7 2:37 —droning reverb (or something similar); not a song, just the sound of reverb
02.SKELETON CREW 6:08 —sludge-hardcore post-metal with yelling/screamo vocals; a chill, serene moment sandwiched between the loud segments
03.CHILDREN OF MAN 1:41 —mellow, serene track
04.KINGDOM 5:45 —serene segment with melodic vocals (first half); (second half) sludge-hardcore with melodic vocals (mostly)
05.FAILURE TO THRIVE 4:44 —sludge-hardcore with screaming vocals; serene segment (extended); sludge-hardcore with yelling vocals
06.EDEMA 2:19 —mellow post-rock guitar track
07.COMEY 3:32 —angry sludge-hardcore with screamo-hollering vocals
08.SASSAFRAS 3:01 — sludge-hardcore with serene moments
Their audience will enjoy the angry yelling of hardcore. At times, it sounds so angry that the voice seems close to breaking, given the strain on it. Another side that their listeners will enjoy here is the non-riff heaviness of sludge; riffs and catchy guitar hooks are absent, and what is present is simple heaviness that works similarly to the function of bass and drums, for purposes of rhythm, not melodies. Sometimes the band’s sound seems like a compilation of their influences, as if they are trying to do too much, or as if the transitions are not as smooth as they could be. Another element that is not smooth is the vocals, which often seem as if it is angry leftist dudes who really enjoy the angry-punk yelling and hollering for its own sake. The harnessing of the screaming has not happened or the band does not want it, perhaps for fear that the music might sound too toned down.
They have political lyrics, apparently of the left anti-Trump, anti-conservative persuasion, so conservatives or not very political people are probably not going to be potential fans for this music because it assumes that you are a liber-al/leftist/progressive/Democrat or perhaps an anarchist or something similar. Thus, be aware, if you are mindful of lyrics and political agendas, which is rather evident by the fact that one song is called Comey, in all likelihood in reference to the anti-Trump former head of the F.B.I.