Fjord - Lives Lives
< author: The GRB > |
Fjord Lives Lives Label: Eulogy |
I might as well include a disclaimer and say that a lot of “metalcore” or metallic hardcore hasn’t been my bag lately. In fact, I tend to avoid the genre like a venereal disease. While there are some groups out there that have gotten it right(The Dream is Dead, anyone?), some bands have fallen into the same tired formula. Where’s the excitement and originality that bands like Kiss It Goodbye injected into the genre? What happened to a simple, yet confrontational pulse that
bands like Chokehold and Indecision threw into the mix? Why are we advertised bands who have a freakish fanbase consisting of kids who were brought up on Slipknot and A New Found Glory?
While I’m pleased with where I stand on most forms of heavy music, I have a feeling that Fjord won’t be hosting social gatherings for androgynous misplaced Marilyn Manson fans who found the lost wardrobe trailer for Eighteen Visions, and that’s probably a good thing. While I feel that their press release exaggerates somewhat, for example: In an age of repetitive breakdowns and lyrics you’ve heard a million times over, Fjord delivers Lives Lives to remind us there are
still musicians with a passion for what they do and how they represent themselves. While I don’t doubt their dedication to just flat out rock, I still think this album has many elements that will appeal to fans of contemporary metalcore, but I don’t think Fjord shirts will be appearing on your faux-hawked mall rat any time soon. There’s an even balance of the right amount of mosh parts to wreck your friend to as well as guitar wankery that can appeal to fans of Ed Gein.
With their willingness to branch out, Fjord manages to go beyond the typical “1-2 mosh,” to include some effects-laden guitar riffs, showcased in a brief moment on “The Vulgar” and they are capable of playing slow, cleaner, and somewhat eerie melodies as evident in the distorted vocal drenched break in “Travail.” While some may beg to differ, I feel as if the pace of the album might have slowed down with the inclusion of two instrumentals. “Dining With Rats” has an Isis (or is that Tool?)-like flow to it with extended druggy like guitar noodling, while “Shape” is more of a noisy, yet somewhat dreamy interlude. Vocally, Matt Tarpey’s range has a more screechy take on
the strain/scream/yearrrgish style most commonly heard in Bloodlet’s Scott Angelacos and even Will Haven’s Grady Avenell. While their press release proclaims the music is for fans of Botch, Converge, and Norma Jean, I think Will Haven’s 1997 release, El Diablo might
be a better reference, which combined the heavy groove that was found in most metallic hardcore at the time and combined it with moodier moments of semi-experimental noise rock. The closing track, “Only Time Will Tell,” begins with a Burnt By the Sun-esque riff and then ends on the same exact notes that started the whole album. No really, listen to it and then listen to the opener, “Ascending White Mountain.”
Will a bunch of local guys save metalcore from the depths of tight pants tomfoolery? I have no idea.
Fjord - MySpace