Converge : 'Axe To Fall'
Released: Out Now!!!
Label: Epitaph
One might argue it was a little backward, but for me hardcore achieved perfection early on in the decade with the masterpiece, Jane Doe. This was a record of such magnitude I have yet to be affected by an album in the same way since, not by a hardcore album, a rock album, an electro record, a dubstep record, a techno record, nothing. I have always found something special about bands who can switch from mind bending heaviness with face melting screams to tear-jerking beauty at the flick of a switch to be few and far between, especially if it is done well. Band such as Isis and Neurosis have pretty much got this down, and are some of the finest bands I have ever had the pleasure of listening to. Along with these rarest of bands are Boston’s Converge, who also manage to build heart-achingly beautiful songs, but have an ability to do so without losing an ounce of the heaviness of the rest of the record, thus keeping the tone of the album whole and complete. Jane Doe, the closing and title track of the aforementioned record is possibly the finest example of this in existence. It is, quite simply, a magnificent piece of music.
Moving away from such sycophantic tones, however, what we have here is perhaps their finest effort since Jane Doe, though with marked differences. Despite being unequivocally a Converge record, Axe To Fall contains far more of a metal influence than I would expect from such a seminal hardcore band. It is almost as if the band are standing up to lesser acts citing them as an influence for their woeful “metalcore” nonsense and have taken the time out of their diary to show them how the genre should be done, if one must. Though it is best not to get too tied up in the ridiculous definitions of sub-genres of metal and hardcore as otherwise I might end up writing some form of thesis…
Opening on the surprisingly metal infused opener of ‘Dark Horse' we are instantly treated to some of the finest guitar work this side of impossibility. Blended with Nate’s monstrous bass and Ben Koller’s thundering drums, Converge set one hell of an opening gambit for Axe To Fall. 'Reap What You Sow' takes us back into slightly more typical Converge territory with searing, though cleaner than I am perhaps used to, guitar lines while the bass thrashes over the top of drums that may as well be some kind advanced military weapon for all their precision and destruction wreaked. Title track, 'Axe To Fall', is, simply, going to raise venues to the ground when they tour.
'Effigy' written with long time friends and collaborators Stephen, Adam and John from Cave In (whereas once I could have listed all their collaborations in a heartbeat I now struggle somewhat more, I have a feeling Old Man Gloom may be one though…), is a rip roaring ride through the mad cap minds of some of hardcore’s most innovative and experimental figures (not to mention that John took over drum duties from Ben briefly a few years back). The ”artfully” titled 'Worms will feed/Rats will feast' is a slower affair, work he has done with Kurt and Nate on other, crushing yet more restrained acts than Converge. Think of two walls slowly grinding towards your inevitable doom as opposed to the clusterfuck attack of what one might consider a “typical” Converge track.
'Wishing Well' takes us back into faster territories and has an almost “old school hardcore” vibe to it, melded in with huge breakdowns and manic solos. 'Damages', meanwhile, exudes the most danger so far, with its creeping riffs and eerie background noises before seemingly deciding to teach a decades worth of pathetic “metalcore” bands how the sound was supposed to be done in the first place. Very, very heavy with an almost ridiculous breakdown towards the end before slamming back into an absolutely stunning ending that could have been worthy of closing out Jane Doe. 'Losing Battle' strikes immediately as being somewhat akin to ramming your head into a cement mixer, so thick, heavy and mind boggling is it, were it considered that being a pleasant thing to be doing with one’s head, whilst 'Dead beat'takes a similar tack, albeit with a rather dense yet melodic intro.
'Cutter' is, for this band, a straight up hardcore song, though with the likes of Kurt Ballou on guitar duty every riff throughout is easily as innovative as most bands entire album. One minute forty of nothing more than solid song writing from these masters of innovative oddness then, which should not be taken negatively. A great song it is, though less off the wall than others. Altered straight away, of course, by 'Slave Driver', a frightfully intense piece full of riffs played at a speed which, honestly, must see Kurt’s fretboard smoking, while time changes drop in out of nowhere with neck snapping speed. Ouch.
Then, we come to the close. Penultimate track 'Cruel Bloom' is graced by the brilliance of Steve Von Till of Neurosis fame on lead vocals. A hauntingly track opening with gentle piano and guitar lines playing around each other with Steve Von Till’s vocals creeping over the top, gaining more melody as the song builds around it’s core base and drums drop casually, harmonising vocals are added in and the atmosphere continues to build ever so slowly then… it drops. Distortion swamps the speakers, Von Till roars and melodic squeals fill gaps. The obvious Neurosis influence brought from Von Till almost brought tears to my eyes. A special moment. Then we are taken out on the seven minute ride of 'Wretched World' which again starts off quietly with a simple looped riff, building and drawing more and more into itself as the drums and aching vocals join the mix before the whole feels as though it is starting to peak before dropping away for but a few seconds and returning with searing, distorted guitar lines which embolden the track giving it a feel of grandiose before falling into a monogrammed wave of distortion as they leave the guitar to play it’s last.
Write a comment
- Required fields are marked with *.
-->