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Fastest Kid in School Relaunch!

http://fastestkidinschool.com/

Have you seen the Fastest Kid in School in school relaunch yet? We've returned with four new staff writers, Featured Artists (including an exclusive stream from the upcoming Deadron/Tundras split), our take on the ‪#‎emorevival‬ situation, and Chelsea Carlson's beautiful photography from The National show in Grand Rapids, MI last month!

Well, what are you waiting for? Check it out, spread the word, and let us know what you think! ‪#‎SummerOfFKIS‬ P.S. We've missed you.

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A Balance Between - Negative Space

A Balance Between-Negative Space

1.7.14/Broken English Records

8.5/10

  by Aaron Mook

Musical dry spells seem to be somewhat common at the top of a new year. Perhaps this is actually due to a lack of album announcements and release dates, or (more likely) it's the result of laziness and eggnog hangovers on our part, but luckily, A Balance Between has set out to shatter expectations and start 2014 on the a strong note. Throughout their debut EP Negative Space, the band vows to take post-hardcore back to its prime and channels classics such as Thrice's Vheissu and Circa Survive's Juturna while simultaneously cementing their own identity in the scene, and in the regard, Negative Space is a refreshing success.

From the crashing guitars that introduce opener "Your Own Hell", we are given a sense of unbridled emotion we like to expect with debut releases. Paired with a fleshed out and fitting production, each instrument hits as hard as the others, topped with vocalist Jeremy Hernandez's mid-range croon. This mix is hardly contained to tracks in the same vein, as even the slow-burner "Reaching Out" brims with equal bouts of musical force and calming optimism. While the lyrics may not always cross the line as something to write home about, they fit nicely within the context of the music and this itself is enough of a surprise to stand out amongst a community of peers the prefer to play it safe.

The band does a wonderful job of exhibiting a sense of variety and direction throughout the EP. Larger-than-life riffs dominate "Ocean", just to lead into the sprawling six-minute title track. "Negative Space" attempts to slow things down, giving each instrument its time in the limelight before a haunting, stripped down interlude and jam session of an exit. If these songs are good, they merely provide support to Negative Space's standout centerpiece, "The Ruse". "The Ruse" rivals several classic post-hardcore gems as a glimpse towards something better, a slice of progressive aggression we can hope might take part in whatever step comes next for A Balance Between.

 While A Balance Between may have yet to reinvent the genre (as letlive. very well may have last year), they certainly have done a hell of a job reinvigorating it. Negative Space spews the energy and creative highlights we've come to love from young bands, both building from their peers and doing what they do better than anyone in recent memory. At a time when we are generally recovering from the year previous and looking forward to later releases, A Balance Between have cannonballed into the community in a risk vs. reward scenario that will almost certainly pay off as we can now keep a welcome and watchful eye over this talented group of newcomers.

  Key tracks: There's only six tracks and none of them are bad, but "The Ruse" is extraordinary.

For fans of: Circa Survive, Thrice, Deftones

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Deahaven's "Sunbather" - Revisited (Sort Of)

Zac and I wrecked kind of debated what this piece should be labeled as, seeing as the record was released last year, but since it's not a formal review- focusing more on WHY 'Sunbather' was the best reviewed record of 2013- I've decided to call it Revisited. Sort of. Enjoy!

Deafhaven's Sunbather - Revisited

by Zac Djamoos

Out of every single album released last year, Deafheaven’s Sunbather was the highest reviewed. Averaging the scores of every major publication that reviewed this record, it would be given a 92%. This is the first time aggregate website MetaCritic found a metal album to be the highest-reviewed album since the site began over a decade ago. In a glowing review, Pitchfork’s Brandon Stosuy called the album “a modern classic;” Gray Currin of Spin declared the album “practically filmic” in its “brutal and blissful” sonic twists and turns; AbsolutePunk’s Drew Beringer went a step further to say this record was not only “the best album many will hear all year,” but even “one of the three best albums I’ve heard in the past five years.” And reading this now, you probably had no idea what Sunbather even was.

In short, it’s a black metal album. But that’s a horribly simple description, and does no justice to the layers and layers of sound present on this album. It’s evident straight from the cover: there’s no spider-webby band logo, no black or navy hues, no Norse gods engaged in battle. Instead there is a sunburst of pink with the album’s title spelled out in large white letters. It’s an incredibly pretty cover for a metal album - which is appropriate, for Sunbather is an incredibly pretty metal album.

Part of the beauty of Sunbather is in its crossover appeal. There are no breakdowns to be found in the album, no pulverizing guitar solos, no lyrics about killing nor any other metal cliches. Rather than shred, Kerry McCoy’s guitar lines seem to shimmer.  His riffs are often coated in delay and reverb to give a dreamier effect. While Daniel Tracy’s drumwork features metallic blast beats aplenty, his percussion is not meant to crash and overwhelm, but to punctuate and emphasize. When he comes in with lightning-fast drumrolls thirty seconds into album opener “Dreamhouse,” he’s not delivering typical metal instrumentation, he’s advancing the story along. It’s accessible to people who like any kind of music. All that really makes Deafheaven a metal band is vocalist George Clarke, who possess a high pitched banshee wail that could aggravate some listeners and definitely take time to adjust to. However, they’re mixed back in the music, creating just another layer of sound - they’re treated like an instrument. Plus, the album is designed so that there are four main movements, and between those three spoken-word-but-otherwise-instrumental interludes.

On your first listen through Sunbather, you’ll enjoy it (given Clarke’s vocals don’t grate on you). But it takes more than that for the album to truly sink in. On your first listen, you won’t grasp that what Clarke is shrieking in the last verse of “Dreamhouse” is perhaps the most beautiful verse written by any vocalist of any genre last year: “I’m dying. ‘Is it blissful?’ It’s like a dream. ‘I want to dream.’”  You might not hear the sample underneath the feedback in the instrumental bridge of “The Pecan Tree.” You may not catch Clarke’s voice break at the end of that song. You likely won’t even notice when “Dreamhouse” ends and first interlude “Irresistible” begins. But it’s things like that that make the album even more enjoyable. In the album’s final minute, Clarke assures you that “I am no one,” but you can’t help but feel that isn’t true. Clarke is someone real and someone human, and so are McCoy and Tracy. They are genuine, passionate people who’ve created one of the most genuine, passionate albums of the year.

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I Am the Avalanche Anounce 'Wolverines', Launch Preorder and Stream New Song

I Am the Avalanche have announced their third full-length, Wolverines, to be released March 18th via I Surrender records. You can preorder the record below as well as stream a brand new song, "The Shape I'm In" at Esquire. What do you think of the song?

Preorder: http://www.merchdirect.com/ISurrenderRecords

Stream: http://www.esquire.com/blogs/culture/we-are-the-avalanche-the-shape-im-in

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New You Blew It! LP Avalable Early for $5

You can now download You Blew It!'s new full-length, Keep Doing What You're Doing (due Jan. 14), for just $5 via their Bandcamp. You can't beat this deal (while still supporting the band), folks. What do you think of the record?

http://topshelfrecords.bandcamp.com/album/keep-doing-what-youre-doing

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Human Animal - Dark Days

Human Animal - Dark Days

10.16.12/Self-Released

8.4/10

by Aaron Mook

A few nights ago, I wrote a piece about the state of my local scene here in Erie, Pennsylvania. The piece attempted to explain the legacy we called Lake Effect Hardcore, the state of the scene now and what has changed in the past 15 years. This was a triumph to me, not only because it was being published in a local zine but also because it broke the typical review/interview/feature format I was used to writing (not that this is a bad thing). The rush that came with interviewing certain "key players" in the community provided me with a rush of nostalgia involving my brother and I's youth, but also reminded me of a review I have been sitting on for close to a year. It's a review that deserves to be rewritten.

Throughout the entirety of Human Animal's debut EP, Dark Days, the band not only surpasses the expectations  set by members' prior outfits but shatters Lake Effect's dormancy entirely. In a scene that had admittedly taken a tumble over the past ten years, Human Animal manages to build from their roots and act as a breath of fresh air where many other generic hardcore acts have become stale. Look no further than the title track, which wastes no time opening the EP with a wailing guitar solo before picking up the pace and getting the blood pumping with every "woah-oh" or gang vocal that trademarks Dark Days. The guitar solo is no isolated incident either, most notably making a return during "Out Cold". This is all building up to what is easily the EP's strongest track, "Swine Flu". Fast and furious, the standout is essentially relentless and acts as a 'sum of all parts', eventually leading into a massive breakdown led by vocalist EMS's howl of "I've seen your kind before...".

Perhaps most impressive about the release is its pristine production, which certainly stands out for a local act so young in their career. Mixing the instruments in a way where each have their own destructive moments (particularly the devastating drumwork on "Faded Pictures" and the crashing guitars of epic closer "Time Tells All"), Dark Days' production is just tight enough to match its execution. For those of you who may not have felt the wrath of the Lake Effect, you're probably wondering, "Why should I care, Aaron?" Let's put it like this- in five songs and 16 minutes, Human Animal has managed not only to reinvigorate a local scene but release one of my favorite (and only) traditional hardcore EP's of the past three years, incorporating distinct metal edge. And, it's offered on Bandcamp as a free download. I didn't write this review with any obligation; I wrote this review because Human Animal could easily crush much of the competition presented by their peers. Prepare to embrace the Effect.

  BandCamp link: http://humananimal.bandcamp.com/album/dark-days

Key tracks: There's only five, and they're free via the above BandCamp link below. However, these music videos are dope:

"Swine Flu": http://www.youtube.com/watch?v=_Id5Vpb5imc

"Dark Days": http://www.youtube.com/watch?v=VBlIDbw8yi8

For fans of: Madball, Terror, xRepresentx

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Hopeless Records stream new Neck Deep LP, "Wishful Thinking"

Hopeless Records is now streaming the new Neck Deep full-length, "Wishful Thinking", via Youtube. What do you think?

http://www.youtube.com/playlist?list=PLKAm0swRNcktPCiCj0phNhbiVYy9zMa2v

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Two Tongues: Revisited

"Take Two...Tongues"

Built by Max Bemis, Chris Conley, Coby Linder and Dave Soloway

  Written by Jess Scutella

A meeting of the minds. A preternatural twisting of different species. A wonderfully mixed album that deserves your ear, regardless of its age and initial criticism.

Two Tongues is the capitalization of two dynamic and masterfully divergent singer-songwriters. The fact that I have to tackle this piece as an argument to persuade you to listen to this project is almost laughable, because this album was the impetus to much of what is today in the energized and expressive emo, indie punk music milieu. Yet here I am, explaining why a wordsmith psychopath (Max Bemis and Coby Linder of Say Anything) and pop-punk legends (Chris Conley, Dave Soloway of Saves the Day) have more than earned your listening in their collaboration, and why their album was unrightfully pushed under the tide and not given the respect it deserved.

I plan to be terse so you will instead spend time finally picking up this record. First, we hear some beautiful and challenging dialog between Bemis and Conley; which is intriguing on its own. Imagine your two favorite band’s singers, both of which emerging from totally different pasts and writing experiences, brought together to smash their differences into headphones. The real and insane lyrical babbling of Bemis, along with the smooth wails of Conley are tampered over some dynamic and fulfilling guitar patterns (“Crawl”, Wowee Zowee”). I even caught some parallelism in guitar riffs to Saves The Day's 2011 Daybreak. It was like foreshadowing with the musical genius of Saves The Day’s comeback ( Soloway and Conley).

Editor’s note- Soloway left the band before Daybreak.

Further, the drum strategies were perfectly maneuvered (“Come On”), as always, by one of my favorite and most creative drummers in the genre, Coby Linder. From pulling off accents that deliver the vocals in a more full presentation to remaining reserved to fill out the beat and rhythm. If drummers know anything about Linder, they should be able to pick up his little nuances immediately.

As for the strange underground dismissal of the album, we at FKIS remain quite confused. I thought maybe some of the flak it garnered was from the itchy STD fans still complaining about Conley’s natural voice change, or perhaps the fan drama surrounding Bemis and his strong relationship with Sherri Dupree. I never thought it to be the content of the album, is its material is both strong and diverse enough (“Tremors”, “Try Not to Save Me” respectively) to stand out against hundreds of the pop-punk releases over the past five years. People simply need to give it a full bridled chance.

Just so you know, the most interesting aspect is that this band’s existential status is still active. This leads the oh-so-wanting me to think that more could be coming from this collaborative makeup. And man do I hope so.

Editor’s note- Word on the street is, a new record is halfway completed and scheduled for release later this year (as well as a new Say Anything album!).

Cheers,

JS

Be sure to follow me on Twitter and Instagram @MrScutella, and if you would like to talk to me more email me at [email protected]. Thanks for reading words.

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Erie, Pennsylvania's "Lake Effect Hardcore: Still in Effect?"

The following is a piece I wrote about my local scene, and the question of whether or not its true spirit still thrives the way it did in the early 00's. Hope you enjoy it.

Lake Effect Hardcore: Still in Effect?

  BY Aaron Mook (Contributor at Absolutepunk, Founder of Fastest Kid in School and Lead Vocalist of Attic Sounds)

When I was a kid, my brother would come home late, soaked in sweat with ears freshly ringing. It seems like some kind of distant nostalgia, the way he’d bring back local samplers and demos that I would sneak into my CD player after school before anyone else got home from work. It shaped the writer and musician I am today, and from old-school Thursday hoodies to the A.K.A’s 7” we found in the basement, remnants of the Lake Effect scene in its prime still litter our houses and rooms.

As a local scene, Erie has had it rough since the late 90’s/early 00’s. As a freshman in high school, I actually was lucky enough to experience two first shows; the first was a War of Ages music video shoot at Forward Hall, which I’m hesitant to count as they just played the same single over and over. The other, which will always remain one of my favorite memories, was the killer lineup of The Wonder Years, Polar Bear Club, Four Year Strong and Every Time I Die at the Hangout. The Wonder Years played their recent LP The Upsides in its entirety, Polar Bear Club ripped through “Bug Parade” in an epic finale, Four Year Strong kept having to be told not to curse on-stage and Every Time I Die proved a proper introduction for me into the intriguingly aggressive world of hardcore. Both venues have since closed, and along with them the hardcore scene that changed so many lives…or has it?

Enter Basement Transmissions, one of Erie’s most recent venues that you are obviously aware of if you are reading this article. With local shows weekly and even some pull from bigger bands (such as Hit the Lights), BT has garnered a reputation for being a  safe and fun place for Erie’s musicians and scenesters to gather and appreciate up-and coming acts like Polaris Breach and Burrow Drive. This, alongside PACA seem to be the backbone of Erie’s scene today, and in order to answer the question this article is centered on, I set out to interview who I’m calling several “key players”, or staples of the original Lake Effect (be they musicians or showgoers) Generation. I’ll admit, I was at first skeptical of the state of Lake Effect Hardcore and the views these veterans would hold towards the scene today, but after days of discussion, we all seemed to reach a general consensus. As EMS of Human Animal and Ink Assassins, explained, we may be holding today’s community to an inappropriate and nostalgic level of standards:

“There were always similar scenarios years back, too…poor attendance at times, not a lot of new bands happening, etc.  Sometimes shows suffered due to poor promotion, no strong or known headliners, local bands playing too often or just not being liked.  Sometimes venues came and went and there was nowhere to do shows.  Very many similar to how things have occurred in recent years.  Hardcore is a very cyclical.  The longer you're around the more apparent it becomes.  Sometimes it's for the better, sometimes for the worst.”

Perhaps the reason Lake Effect has been questioned can be traced back to the simple ebb and flow of the scene. Still, what factors weigh against the hardcore community when it is low? What causes a scene to fall? I suppose first and most reasonably, we must keep in mind that Erie is not a large city. We aren’t talking about hundreds of dudes rowboat-moshing at an Emmure show in Philly (Youtube it), and when paired with the loss of two legendary venues? It all plays varying roles in the desecration of the community’s morale. Another interesting point was brought up by one P.J. Wroczynski:

“When I was 14 coming into it, it was the older vets that showed me what it was about. To me it's more than going to shows and "picking up quarters" or jumping on your friends. There was a passion and pride for the scene. I don't see that now, but maybe it's there and I'm just not involved like I was. It was a community feel…countless benefit shows for the hungry, rape crisis center, and animals. There would be spontaneous shows with fairly large acts, at times, in people's garages with 20 to 40 kids. H2O (yes, I know, NYCH) said it best when they asked, what happened to the passion?  I think every generation needs to make it their own, without forgetting the roots and history. Hardcore in general was and is family.”

 P.J. certainly has a point. Yet, I still feel a strong connection between the regulars and venues like Basement Transmissions. Whether or not the music is the same as it used to be, there’s not a doubt in my mind that the care and brotherhood is far from being depleted. It’s like P.J. was saying; isn’t that why we fell in love with hardcore music in the first place?

I have concluded the scene is alive, although something has changed. Something that, for now, feels unfamiliar, and may lead some to believe that Lake Effect is not the unstoppable tour de force it used to be. There is always the possibility of this being strictly due to numbers; while people like Cole Schenley have been supporting the scene since 1999 and still find themselves making it to as many shows as possible, others (even xRepresentx veteran Matty B) just have trouble finding the time to make it to shows like they used to (especially due to work and families). My brother spoke of a torch being passed down to today’s local acts, a third wave of the Lake Effect Generation that’s seemingly flickering out as the original vets begin pushing 30 or older. Meanwhile, Will Taylor of Sonder (ex-Squid Vicious) argued that tradition is important, but so is the acceptance of change.

Indeed, things were going to change eventually, and this leads me to another question; why shouldn’t hardcore be versatile? Why does it feel as though Lake Effect is a term strictly contained within the bands that originally coined it? A torch can’t be carried if nobody passes it, and so while we all have the right to enjoy the nostalgic moments that built our spirits and the young adults we became, it Is important that well continue to allow new generations to experience that which we were lucky enough to.

I recall hearing of past arguments that the genre and label belonged to those who were ‘pure’, to which my brother and I’s response is:

Seriously?

It’s as if somewhere along, someone tried to decide that this was hardcore circa-1940’s Nazi Germany. The idea that someone must be practically born into the scene in order to be considered a part of it is spoken garbage, contradicting everything that hardcore music stands for- mainly, the idea of acceptance. Adding any brand of exclusivity to our community, founded on brotherhood, will sure be what kills it in the end. I may be beating a dead horse here, but in all honesty, the central question of this piece wouldn’t be lingering through Facebook posts and show-talk if the idea wasn’t still lurking amongst those too cynical to show others one of the very things that carried them as a young adult. Many of the original Lake Effect veterans have shown nothing but support for the new scene, and perhaps this is exactly what it needs to be put in full force once again. I mean, why wouldn’t we do everything in our power to openly spread the seeds of what we care about, so that we can continue to watch it grow?

No one is ‘entitled’, and hardcore doesn’t owe you anything. We’ve spent days in anticipation and sweat-soaked nights on the shoulders of our brothers and sisters, screaming along to words and thoughts we wanted permanently inked across our wrists. If you are reading this article, you know the feeling I speak of and the nights you would give anything to feel again. Whether it’s metal bands or pop-punk kids, the traditional hardcore we’ve come to know and love or something else entirely, let’s shows this generation what it’s like to call each other a family. Lake Effect isn’t dead; it merely laid dormant, waiting for us to dust it off and step on a stage built upon the true spirit of hardcore.

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Foxing - Albatross

Foxing - Albatross

11.12.13/Count Your Lucky Stars

9.5/10

  by James May

A few weeks ago, while aimlessly scrolling through Facebook, I saw that the band Old Gray posted a music video with the promise that the song and the album from which it came were probably the most beautifully crafted pieces of music in 2013. Obviously, I checked it out, and was immediately floored by what I heard. The video (which was apparently shot with the same camera used to shoot the latest Hobbit film – random factoid of the day) was for the song “Rory” off Foxing’s latest record The Albatross – and man, does it crush. If you’ve not heard it yet, please stop reading right now and check it out. I'll wait...

  I know, right?

Fortunately, Foxing toured through my city soon after this revelation, and I was lucky enough to catch them and scream along to one of the best, most intimate sets in recent memory. I picked up The Albatross LP and have listened to very little else since. I feel as though I’ve slighted Foxing by catching on to them too late for my EOTY list, so many spins later I figure the least I could do is tell you all why you should check out their latest effort.

Very loosely, The Albatross tells a story of unrequited/faulty/misled/other-words-for-messed-up love between two characters. Part of the album’s brilliance is the manner in which it tells their story; both the album title and an early lyric, “when the tide rolled in there was nothing left/but an albatross hanging from my neck,” immediately call to mind the famous Coleridge poem, The Rime of the Ancient Mariner, in which a seafaring individual is cursed for killing an albatross, which he must wear around his neck as a symbol of his ill-decision (very basically – don’t hate me, literary scholars). Foxing takes the theme of the ocean and the sea and exploits it to the fullest, creating vividly poetic images whose symbolic consistency adds a very natural sense of cohesion to the album. For example, the songs are framed by the contrasting confessions, “Just as you could not contain the sea/you could not contain me,” and, “I am anchored/because I cannot contain you.” Other lyrical highlights include, “It was bigger than me, it was bigger than the sea/and I’m not waving I’m drowning,” from “Inuit” and, in direct reference to the poem, “took to the sea before you could have read it/retreated to the snowcapped water of the unknown” from “Rory”. The lyrics unrelated to seafaring obviously also stand out as well-written, but stand unified largely due to the record’s thematic cohesion.

Just as important as the lyrical quality is the vocal delivery on the record. Vocalist Conor Murphy commands an incredible sensitivity throughout his performance, from being barely above a whisper to harsh and demanding yelling. He also displays a very acute sense of when certain musical aspects are appropriate – while many singers in this genre limit themselves to one basic vocal style, this record showcases an extremely versatile vocal ability, another trait exploited to the fullest throughout each track. In this vein, he also communicates his lines as though he is telling a story, incredibly conscientious of the flow of the poetry and the impact the words should have on the listeners.

Foxing continues to flex its dexterity with its instrumentation. Beyond the core “guitars and bass and drums,” scattered throughout the record are tasteful uses of horns, strings, piano and more. The album demonstrates a somewhat understated and mellow take on the "emo revival" (ugh) genre, channeling lots of  ambient, Explosions In The Sky-esque guitar and drum work. Even the more punctuated and upbeat rhythmic and melodic moments, notably in “The Medic” and “Bit By a Dead Bee Pt. 1”, do not stray too far from this basic template. This is not to say the instrumentation is boring; in reality it’s quite beautiful, tender, and/or aggressive whenever called for. However, it does seem to serve more as background support for the vocal performance than as a central focal point for listeners. Purposeful? Probably – I think the idea of one general wash of sound both reinforces the oceanic theme of the record and allows for an expanse of stylistic display without coming across as sonically jarring or scattered. Yet with the sensitivity to emotion and attention to detail the band already displays, I definitely feel that they could push the boundaries on this aspect of their sound without losing their consistency.

In a nutshell, Foxing have created a truly brilliant record. The Albatross deftly captures very pure, very powerful emotions, communicated through their lyrical prowess and reinforced by their instrumental capacities. For a relatively young band (they apparently joined Facebook in 2011, if that means anything), Foxing put on an incredibly mature and developed show with The Albatross. Should the pattern continue, Foxing is guaranteed to be one of the biggest emo bands of the next few years, and there couldn’t be a better time to jump onboard.

Key tracks: "The Medic", "Rory", "Bit By a Dead Bee Pt. 1" For fans of: The World is a Beautiful Place & I Am No Longer Afraid to Die, Prawn, Local Natives

[ripfkis]

After the Burial - Wolves Within

After the Burial - Wolves Within

12.17.13/Sumerian Records Before I get into the review, just let me say....holy crap, this hits hard. This is by far the best prog metal/djent album I've heard all year. After the Burial has released what I feel to be the best album of their careers. That being said, let's get into it, shall we?

With their fourth full length release, Wolves Within, After the Burial has hit the bulls-eye with aggressive metal and a groovy undertone. Every song has hit me hard, leaving me wanting to jump into a pit in the middle of my own living room. It's pissed, it's relentless, and it's leaving me wanting more.

The first track "Anti-Pattern" starts off with a low, hard hitting guitar bend and then leads into a full eight measure poly-rhythm drum fill. The first time I heard this, the hair stood up on the back of my neck. I knew this album was going to be different. The vocals come after a full minute, setting the dark tone of the album. They have already been known for their darker lyrics, and this album is of no exception. The breakdown near the end of the song paves the way for the rest of album, letting you know that nothing is the same as it was.. 

"Of Fearful Men" is the second track. It starts off with a melodic dual guitar into. This song is more along the lines of a deathcore/death metal track, featuring lots of blast beats and death metal growls. Right near the 1:30 mark, the breakdown hits already. It gave me goosebumps with their syncopation and tightness, followed by an almost classical clean guitar fill, leading into more blast beats and tremolo picking. This song features a solo, which is fitting, but very unexpected from the feel of the song. There is a nasty Djent breakdown near the end, further making this one of my favorite songs on the album. 

"Pennyweight" brings the balls with the use of eight string guitars. The first notes of the song are near brown-note scale, making any djent fan grin as soon as it's heard. Even though this song is lower tuned and very djent-y, it still has a very melodic feel to it, showcasing an ambient lead. The song seems to be full of melodic djent riffs and is a nice change from the previous two tracks. With the breakdown coming near the two minute mark, After the Burial shows how they are a huge contributor to the djent movement. There's a very melodic solo in this song tying it all together nicely in an angry, low tuned package. At the end of the song there is a second pause, making you think the song is over, when suddenly the low tuned ballsy breakdown comes back out of nowhere.

The fourth track "Disconnect" is a very pleasant surprise, starting out with a pleasant acoustic riff. This transitions well into a melodic metal riff. It's fast, full of blasts and trill picking, but has some very nice melodic ambient leads over djenty riffs like in the previous track. It;s amazing how tight the trill breakdowns are, with the bass managing not to bleed over the notes one bit. I'm still trying to figure this one out. It only goes to show how will the mixing and mastering were done on this release. The ending seems to give a slight nod to All That Remains and other such bands. 

  "Nine Summers" brings back the meaty riffs that the previous opening songs brought. When the vocals come in, we are confronted with a driving bass beat under the chug-riffing guitars. I felt chills throughout the song, especially while listening to the lyrics. The chorus will hit home for a lot of people, speaking of the lost love of a dear friend, and the nine summers they spent together in misery together. After the second chorus, there's clean guitar leading into a nice ambient metal groove, a dark solo festering under a driving drum beat and screaming.

I'd also like to talk about "Neo Seoul". The tile makes me think it's a nod to the excellent book and recent movie adaption "Cloud Atlas". The whole song feels angrier and more hurtful than the rest of the album. It has a very "Visible Scar" feel to me, making me think this song is about healing and expressing rage at something that has happened and (possibly) changed his life. It's not fast or particularly gnarly in guitar riffs, but it just feels heavier and more emotional.

The last song I want to mention is "A Wolf Among Us." This is the first song I heard off of the album, on Sumerian's YouTube channel. I knew as soon as I heard it that I had to own this release. It feels so much different from their other albums. "A Wolf Among Us" is one of the longest songs on the album, but it is pure djent. The haunting choral vocals near the end of the song give this a very dark feel under a quick djent groove. The guitar and drums fade out so only the choral vocals can be heard. It is a well-suited, haunting end to this amazing album.

Overall, this is the best prog-metal/djent album released in 2013, or perhaps in the scene yet. It's very obvious that ATB spent as much time as needed perfecting the album's twists and turns. I am beyond impressed at how these guys have become capable of, and if you haven't heard them yet, I strongly urge you to grab this album as soon as you can. In the name of djent, I promise you will not be disappointed.

  9.5/10

  Key tracks: "Anti-Pattern", "Pennyweight", Neo Seoul" For fans of: Between the Buried and Me, Born of Osiris, Monuments

[ripfkis]

EOTY Lists (Listmas '13) Conclusion: Personal Top 10 Albums/Songs of 2013

Readers, We at FKIS would like to thank you for making our first year an incredible one. From laying out reviews and interviews, song premieres and original features, we're proud to announce that we are now well on our way to making Fastest Kid in School its very own website! That may be a few months a way, but until then, remember to stay tuned, share the page if you like what you see and remember that we are always open to feedback.

This is a tad late, but we present you with our staff's personal Top 10 lists of 2013. While you read, why not check out last week's Fastest Kid in School's Top 10 Albums of 2013  via these Rdio and Spotify playlists?

Rdio: http://www.rdio.com/people/AaronMook/playlists/7599277/Fastest_Kid_in_School%27s_Top_10_Albums_of_2013/

Spotify: https://play.spotify.com/user/1245261705/playlist/5Q42SLxwRi8HhlKnqhLHeA

You may just discover your new favorite band. Coming up later this week, we have James May reviewing Foxing's debut, Alexander tackling some more djent-metal and Jess Scutella telling us why Two Tongues deserves way more love than they were initially given. See you then!

  Staff Top 10 Lists of 2013

Aaron Mook

Albums:

10. Childish Gambino - Because the Internet

9. Sainthood Reps - Headswell

8. Drake - Nothing Was the Same

7. Kevin Devine - Bubblegum

6. The World is a Beautiful Place & I Am No Longer Afraid to Die - Whenever, If Ever

5. Justin Timberlake - The 20/20 Experience (Part One)

4. The Wonder Years - The Greatest Generation

3. Balance and Composure - The Things We Think We're Missing

2. letlive. - The Blackest Beautiful

1. The National - Trouble Will Find Me

Songs:

1. "Shadows" - Childish Gambino

2. "Tiny Raindrop" - Balance and Composure

3. "Strawberry Bubblegum" - Justin Timberlake

4. "There, There" - The Wonder Years

5. "This is the Last Time" - The National

6. "Wu-Tang Forever" - Drake

7. "Climbers" - Mansions

8. "Chum" - Earl Sweatshirt

9. "Getting Sodas" - The World is a Beautiful Place & I Am No Longer Afraid to Die

10. "Virgin Dirt" - letlive.

  Zac Djamoos

Albums:

10. Turnover - Magnolia

9. The Swellers - The Light Under Closed Doors

8. Tim Kasher - Adult Film

7. The 1975 - The 1975

6. Balance & Composure - The Things We Think We're Missing

5. The National - Trouble Will Find Me

4. Moving Mountains - Moving Mountains

3. Have Mercy - The Earth Pushed Back

2. The Wonder Years - The Greatest Generation

1. Captain, We're Sinking - The Future is Cancelled

Songs:

1, "Shoddy Workmanship" - Captain, We're Sinking

2. "Catholic Girls" - The Dangerous Summer

3. "The Great Lake State" - The Swellers

4. "Daydreaming" - Turnover

5. "That Fear Fever" - letlive.

6. "Robbers" - The 1975

7. "Bukowski" - Moose Blood

8. "Hiding" - Pianos Become the Teeth

9. "Notice Me" - Balance and Composure

10. "Cul-De-Sac" - The Wonder Years

  Chelsea Carlson

Albums:

10. Sigur Ros - Kviekur

9. Houndmouth - From the Hills Below the City

8. Panic! At the DIsco - Too Weird to Live, Too Rare to Die!

7. Various Artists- The Hunger Games: Catching Fire OST

6. Justin Timberlake - The 20/20 Experience (Part One)

5. Local Natives - Hummingbird

4. Frank Turner - Tape Deck Heart

3. City & Colour - The Hurry and the Harm

2.  Imagine Dragons - Night Visions

1. The National - Trouble Will Find Me

Songs:

1. "I Need My Girl" - The National

2. "Sirens" - Pearl Jam

3. "Radioactive" - Imagine Dragons

4. "Miss Jackson" - Panic! at the Disco

5. "The Hurry and the Harm" - City and Colour

6. "Wouldn't You Like To Know" - The Evening Guests

7. "San Francisco" - The Mowgli's

8. "Recovery" - Frank Turner

9. "Devil May Cry"  - The Weeknd

10. "Low Light Buddy of Mine" - Iron & WIne

  James May

Albums:

10. The Front Bottoms - Talon of the Hawk

9. Touché Amore - ...Is Survived By

8. Defeater - Letters Home

7. Have Mercy - The Earth Pushed Back

6. Frank Turner - Tape Deck Heart

5. The World is a Beautiful Place & I Am No Longer Afraid to Die - Whenever, If Ever

4. Old Gray - An Autobiography

3. The Venetia Fair - Every Sick, Disgusting Thought We've Got in Our Brain

2. letlive. - The Blackest Beautiful

1. The Wonder Years - The Greatest Generation

    Songs:

1. "I Just Want to Sell Out My Funeral" - The Wonder Years

2. "Rory" - Foxing

3. "Four Simple Words" - Frank Turner

4. "27 Club" - letlive.

5. "Too Late to Dream" - The Venetia Fair

6. "Wolves" - Old Gray

7. "Cardboard Houses" - HRVRD

8. "The Ancient West" - Have Mercy

9. "Montreal" - Captain, We're Sinkng

10. "Paddington Frisk" - Enter Shikari

  Steve Gergley

Albums:

10. The Saddest Landscape - Exit Wounded

9. The Ocean - Pelagial

8. Night Verses - Lift Your Existence

7. Defeater - Letters Home

6. Circus Fires - All Living Things

5. Iron Chic - The Constant One

4. Restorations - LP2

3. Norma Jean - Wrongdoers

2. The Dillinger Escape Plan - One of Us is the Killer

1. Cult of Luna - Vertikal

Songs:

1. "Synchronicity" - Cult of Luna

2. "A Deep Slow Panic" - AFI

3. "Bastards" - Defeater

4. "Bring You Down" - The Dear Hunter

5. "Breath in a Darkened Room" - The Saddest Landscape

6. "Spent Bullets" - Circus Fires

7. "Funeral Singer" - Norma Jean

8. "Fever Hunting" - Modern Life is War

9. "If I Had a Tail" - Queens of the Stone Age

10, "What I Want (Fuck Who's Watching)" - Death Grips

CJ Pawlik

Albums:

10. Daylight - Jar

9. Into It. Over It. - Intersections

8. Defeater - Letters Home

7. Citizen - Youth

6. Alkaline Trio - My Shame is True

5. Counterparts - The Difference Between Hell and Home

4. Polar Bear Club - Death Chorus

3. The Wonder Years - The Greatest Generation

2. Balance and Composure - The Things We Think We're Missing

1. The World is a Beautiful Place & I Am No Longer Afraid to Die - Whenever, If Ever

  Songs:

1. "Pictures of a Tree That Don't Look Okay" - The World is a Beautiful Place & I Am No Longer Afraid to Die

2. "Notice Me" - Balance and Composure

3. "Upstate Mosquito" - Polar Bear Club

4. "The Night I Drove Alone" - Citizen

5. "Ghost" - Counterparts

6. "The Shaking of Leaves" - Into It. Over It.

7. "Around the Railing" - Daylight

8. "Bastards" - Defeater

9. "I Just Want to Sell Out My Funeral" - The Wonder Years

10. "She Lied to the FBI" - Alkaline Trio

  Alexander Rice

Albums:

10. Red - Release the Panic

9. Asking Alexandria - From Death to Destiny

8. Plini - Sweet Nothings

7. Glorified! - The Faith Complex

6. After the Burial - Wolves Within

5. For TiorI - Chronicles

4. Born of Osiris - Tomorrow We Die Alive

3. Scale the Summit - Migration

2. TesseracT - Altered State

1. Projected Twin - Earth vs. World

Songs:

1. "Atlas Novus" - Scale the Summit

2. "Follow the Signs" - Born of Osiris

3. "Of Matter - Retrospect" - TesseracT

4. "Tarred and Feathered" - Plini

5. "Secrets of the Sane" - For TiorI

6. "Nocturne" - TesseracT

7. "Please Grab On" - Projected Twin

8. "Pain of a Promise" - Projected Twin

9. "Satellites" - Echoes of Creation

10. "Responses" - Circles

Travis Mook

Albums:

10. Modern Life is War - Fever Hunting

9. Defeater - Letters Home

8. Tim Kasher - Adult Film

7. The National - Trouble Will Find Me

6. Childish Gambino - Because the Internet

5. The Avett Brothers - Magpie and the Dandelion

4. Tyler, The Creator - Wolf

3. Sainthood Reps - Headswell

2. Tallhart - We Are the Same

1. The Wonder Years - The Greatest Generation

  Jess Scutella

Albums:

10. Saves the Day - Saves the Day

9. New Found Glory - Kill It Live

8. Neko Case - The Worse Things Get, The Harder I Fight, The Hard I Fight, The More I love You

7. Justin Timberlake - The 20/20 Experience (Part One)

6. The Hell - Southern Medicine

5. Benjamin Gibbard - Former Lives (Yes, this came out last year, and yes, it deserves far more attention.)

4. Auras - Panacea

3. George Colligan - The Endless Mysteries

2. Rotting Out - Wrong Way

1. Alkaline Trio - My Shame is True

So what was on your list? Whose list do you identify with most? Is there something we missed? Be sure to follow us, share the Facebook page, and hit us on Twitter @FKISmusic. Yes, Basement's "Colourmeinkindness" is still the best record released in the past three years, "Everlong" is still the best rock song to hit the radio and we really should have mentioned The Republic of Wolves' "No Matter How Narrow". It's about to be one hell of a new year.

Happy holidays,

Fastest Kid in School

[ripfkis]

"This year will be better than the last..."

                                      On behalf of the FKIS staff I'd like to wish all of our readers a very happy new year holiday.  The title of this post is two-fold.  On one hand, yes, this year will in fact be better than the last.  FKIS will have a load of new interviews, music, and features for all of our readers.  On the other hand, the quote is not only optimistic, but it brought a band back together; It brought Thursday back together.  Devastated by a lawsuit, one that is all too common with Victory Record bands, Thursday was on the ropes and ready to call it quits.  However, when brought back together before recording their major label debut, "War All the Time," they produced one of my favorite tracks of the new century: "Jet Black New Year."

     The year is 2000.  I was given two demos by a friend that would change the way I listen to music to the present.  One was by a small band making waves out of Long Island, Taking Back Sunday.  The other was New Brunswick, New Jersey's Thursday.  Both bands would eventually land on Victory.  One made me yearn for lovers past, while the other made rebel against all that chic in the musical landscape.  When it dropped in 2001, Thursday's "Full Collapse" changed the landscape of the second wave of emo.  Gone were the Sunny Day Real Estate and Mineral lyrics that represented the young man standing in the back rocking on his heels.  Thursday made you mad.  It made you fight for something.  It made you feel alive.  It was, and still is, a testament to raw emotion.  For the first time since hearing a Rites of Spring record, I felt urgency.  It provided a sense that this is the "now:" live in it. 

     In 2002, in order to fulfill their contract with Victory, they released the "Five Stories Falling" EP.  It contained four live songs from the previous record, as well as a brand new track, one that is credited with saving the band: "Jet Black New Year."  At this point, as a high school junior, I had been through the rigors of teenage love, depression, prescription medications, and every emotion a 17 year old can experience.  Music kept me hanging on.  Whether it was a new record or a show, it allowed me to look forward to the next release, the next weekend.

     "Jet Black New Year" is the darkest single that I have ever heard.  There is seemingly no hope in the track.  At first the track seems like it is all over the place.  Released a year after the invasion of Afghanistan, there are references to unbridled warfare.  In the next breath, it seems as if Geoff Rickly is telling us that we must persevere in our political, social, and personal lives.  Yes, there are bombs dropping, but they are dropping all around us.  The explosions follow us from thousands of miles away to our bedrooms where we press our foreheads into the pillow and beg to be free from everyhing: free from media, free from our depression, and free from all that binds us.  

     We were a confused generation.  We were supposed to be hardcore.  We were supposed to be tough.  However, we weren't.  We were feeling pain every day.  We weren't partying as if Kiss was playing in our basements.  We were confused, wondering every day when things would get better.  "Jet Black New Year" reminded us that we had a responsibility to look forward to tomorrow.  If there's no tomorrow, what is our value?

    The bridge, in full, reads:

Ten seconds left until midnight,

Nine changes to drown ourselves in black hair dye

Eight faces turned away from the shock 

Seven windows and

Six of them were locked

Five stories falling

Forever and ever

Three cheers to the mirror

Now there are two of us

Can we have one last dance?

     Could we truly have this last dance?  Though the song depicts a new year's party, complete with "drunk dying girls writing suicide on each other's wrists," is there truly hope with the upcoming year?  There is, and there was.  Thursday would go on to release four more full length releases, including the sentimental "War All the Time."  These records became my personal soundtrack throughout my college years.  

    Personally, the track reminds me that I need to keeping pushing through the challenges in my life.  Some of them are personal.  Some of them are professional.  However, they are all highly "emotion."  Isn't that what "emo" has been about since the second wave?  It became a dirty word for those who never understood.  However, it's a word, a genre, that saved a generation of listeners.  It provided us with a sense of urgency that, if we died tomorrow, would allow us to live forever in the spirit of what we lived for: the shows, the friends, the personal moments we couldn't share with anyone.  It is my hope that a new generation finds this bands, just as my predecessors rediscovered bands like Fugazi and Rites of Spring.  

    The closing line of "Jet Black New Year" states, "How long can we take this chance not to celebrate?"  How long can we take this chance not to celebrate life?  We're here.  We live now.  This song teaches us to celebrate now.  That's what I needed 11 years ago when it was released.  That's what I need now.  Happy New Year's Eve FKIS.  It's going to be a great 2014.

Love,

Travi$ R. Mook

[ripfkis]

EOTY Lists Part Three (Listmas '13): Staff Top 10 Albums of 2013

Readers, it's been an incredible year for music, and after lengthy discussion an votes, FKIS has narrowed down the releases to the very Top 10 Records of 2013. Keep in mind that just because a release didn't make the list doesn't mean it didn't make one of the staffer's; this is merely an accumulative list put together by everyone on the team. Personal lists, including our Top 10 Songs of 2013, will be added onto this post in a bit- in the meantime, enjoy, share, and let us know what your thoughts on this year are! And as always, thank you so much for your support.

-Aaron Mook and the Fastest Kid in School Staff

  Fastest Kid in School's Top 10 Albums of 2013:

  10. Frank Turner - Tape Deck Heart

Having a hardcore-punk background adds a pretty individual dimension to Frank Turner’s “singer-songwriter” niche. Tape Deck Heart is another excellent showcase of his reflections on life, love, and loss. While the more socially or politically oriented anthems of his earlier days are mostly gone, Tape Deck Heart still displays his wide range of songwriting talents in the most cohesive and thorough album he’s produced yet. Songs like “Recovery” and “Four Simple Words” channel his faster pace, while songs “Tell-Tale Signs” and “The Way I Tend to Be” are perfectly painted demonstrations of his newer folk/pop hybrid. As always, his lyricism and poetry are stellar, a strong point on which he never fails to capitalize. [JM]

  9. Have Mercy - The Earth Pushed Back

This album…I don’t even know where to start. Have Mercy have debuted with an incredibly solid record, on pretty much every front. The music is well-crafted, displaying a grab-bag of alternative/punk tunes that leave us with what I guess people are calling "emo" these days. The vocals are raw and emotional, standing in perfect combination with the other tones of the album (see: “The Ancient West”). Further, the lyrics really stand out, capturing very specific emotions without being cliché or contrived. As far as unsolicited suggestion, this might be my most strongly encouraged “check this shit out” album of the list; it’s catchy, thoughtful, and memorable, all without ever becoming overwhelming. [JM]

8. Alkaline Trio - My Shame is True

My Shame Is True is the peak of a colossal punk-rock mountain. It is the perfect mix of musical maturity, brought on by the members' fleeting youth and nostalgic airs. Ask any longtime Trio follower and they are likely say the same. That in itself is quite the compliment, mainly due to the fact that most albums following 2005’s Crimson were debated as incredible or terrible. Nonetheless, this album discusses Matt Skiba's relational difficulties and woes of love, while Dan Andriano continues to swoon us. Plus, Derek Grant keeps a simplistic, but masterfully driven continuation of his career behind the kit throughout the whole record.  If this record (along with EP Broken Wings) is not in your stockings, iPod, or collection, I guarantee you’re missing out! [JS]

  7. letlive. - The Blackest Beautiful

This may be slightly unfair, seeing as I reviewed The Blackest Beautiful back in July and found it to be a sprawling post-hardcore masterpiece, but I suppose it might help my case when I state that the record is far from perfect. Then again, one of the facts solidified after repeated listens is the fact that these imperfections are one the things that make the album so intriguing and, quite frankly, infectious. Jason Butler’s pop-sensibilities are just as apparent as they play back-and-for with the band’s shining knack for hardcore. From politically charges anthems to near nu-metal jams, letlive. have found a way to outdo not only themselves, but their peers (if they even have any? Simply put, The Blackest Beautiful is the best record Glassjaw never released. [AM]

  6. Justin Timberlake - The 20/20 Experience (Part One)

Justin Timberlake, more recently better-known simply as JT, has returned to us this year with The 20/20 Experience. Channeling equally his past with N*Sync as well as R&B and 50’s  swing influences, Part One is just as groovy as it is infectious. Transcending the barriers of pop, the tracks on this record go above and beyond the typical radio length of three minutes. In fact, the shortest song, “That Girl,” clocks in at just less than five minutes. While digesting it in one sitting may be exhausting, none of songs are dull to the point where listeners have the choice of tuning out. This is an attention-grabbing/keeping record that centering on a sweetly romantic theme. JT has managed to create two records that sell in an era where the only profitable pop is based on conflict. We’d be willing to put our money where our mouths are when we say JT is the next King of Pop. [CC]

  5. The World is a Beautiful Place & I Am No Longer Afraid to Die - Whenever, If Ever

Following up on a name made for abbreviation, Whenever, If Ever is a beautiful collection that refuses to succumb to any fear of boundary. Combining elements of Explosions in the Sky-esque post-rock, the lyrical prowess of Brand New and the uniquely loved/hated vocal tendencies of younger Isaac Brock, this full-length debut may be the best released in 2013, if not at least the most ambitiously successful. From instrumentals to gang vocals, parked cars on lawns and listening to mewithoutYou on drives home, it feels as though most of the palette of human emotion has been captured- much like the album’s cover- in ten songs. Time will tell, but I have no issue saying this record has the potential to be classic. [AM]

  4. Balance and Composure - The Things We Think We're Missing

"Even when you scolded me/ I still felt it special," sings Jon Simmons on "Lost Your Name," and it's a line that resonates throughout the album. Every moment of The Things We Think We're Missing - even the times when the band is seething at their loudest, heaviest, and fastest - seems a special moment. Even when placed next to their shining debut, Separation, TTWTWM is a unique record. This is the first time the band's attempted a full instrumental ("Ella"), contains the heaviest bridge they've ever written ("Notice Me"), and features a cameo from scene favorite Anthony Green ("Keepsake"). All of this works together to make one of the most cohesive albums of 2013m and one you'd be sorry to miss out on. [ZD]

  3. Defeater - Letters Home

I’m a sucker for a storyline, and Defeater may reign as the greatest concept band ever. Letters Home is the third installment of their saga, telling the tale of a war-torn American family while capturing problems of drug abuse, war violence, and maybe (probably) justified murder. So yeah, no light hearted feel-goods here. Which is great, because Defeater is at musically translating that level of aggression (“Bled Out” is a killer). This album is definitively heavier and more relentless than previous releases, but done so with the maturity and cohesiveness that started shining in Empty Days and Sleepless Nights. Derek’s screams sound brilliant, and the instrumentation really demonstrates Defeater’s talent for writing beautifully harsh post-hardcore (or whatever your identifier of preference is). [JM]

  2. The National - Trouble Will Find Me

I read review after review after review, and still I didn’t understand the genius behind the National. For months, I tried spinning Trouble Will Find Me in hopes of a glimpse of the brilliance that everyone was talking about, to no avail. And then, something happened- a breakup, a changing of the seasons, etc.- and suddenly, Matt Beringer’s words spoke to me like something I hadn’t experienced since Deja Entendu. Every song had a separate meaning; each lyric its own storyline, obviously written by the band and applicable to me in ways I only imagined with other artists. I wasn’t the only one; lists and lists this month have proved that the National has relayed one of the most important messages of music this year, through baritone voice and polished guitars- and that message is that music really can help people get by. [AM]

1. The Wonder Years - The Greatest Generation

When Dan Campbell and co. took the stand and challenged us to become the Greatest Generation, he inspired not only legions of pop-punkers but my graduation speech as well. In fact, The Greatest Generation may be one of the first pop-punk records with little-to-nothing to do with the genre; scratch the surface, and The Wonder years have created a collection of melodies diverse and mature enough to draw in new fans and fast enough to keep the loyal ones intrigued. As always, the calling card left here is how instantly relatable and emotional each lyric ends up being, no matter how devastating. When I reviewed Balance and Composure’s new record back in September, I stated that this was a classic year for alternative music not seen since 2003. I still hold that sentiment to be true, and if you’re looking for a single record to define the genre, look no further than The Greatest Generation. [AM]

[ripfkis]

Childish Gambino - Because the Internet

Childish Gambino – Because the Internet

Glassnote Records/December 10, 2013

8.7/10

  By Aaron Mook

When you have talent like Donald Glover's, it becomes fairly difficult to roam the world unnoticed.

From Youtube sketches he wishes people would forget about and writing for 30 Rock to starring in Community and releasing a universally praised mixtape and debut (unless of course you wrote for Pitchfork), Glover had done it all minus his first stand-up special...and then Comedy Central took care of that in 2010. So where exactly was left for Glover go from there? In a saddening but ultimately curious turn of events, Glover announced his intentions to part ways with the cast of Community in order to focus more intently on creating music under the now almost household name, Childish Gambino. This is roughly the time that Donald Glover fell off the map.

Interestingly enough in conjunction with the "experience" (Glover doesn't believe in albums anymore; in fact, Because the Internet was released with a 25-minute short film as well as a 75-page screenplay- but more on that later), Childish Gambino stuck to a strict regimen during the recording process including waking up early to hit the studio, staying away from social networking sites and not wearing shoes. I could go on about the odd circumstances surrounding the release of Childish Gambino's latest LP, but none of that matters now. What matters is the sheer amount of exponential growth Because the Internet shows in not only style but skill, as well as the way it solidifies Gambino's place among the most interesting figures in hip-hop music today.

As I stated earlier, Because the Internet is meant to be an experience- complete with a short film and screenplay to play along with the record. Now, does one need to be so involved in order to enjoy Because the Internet for what it is? No. Will it make the experience better? Maybe. Hell, Father John Misty released a novel with his 2012 debut Fear Fun, and I like to think that some day I'll actually buckle down and take the time to read it. But is the album enjoyable as a stand-alone piece? Absolutely. Honestly, it's hard to pinpoint what's more impressive- the diversity displayed throughout Because the Internet, or the way it never strays to form a cohesive unit. From the aggressive samples that plague tracks like "Crawl" and "Worldstar" to Drake-channeling R&B offerings like "Telegraph Ave." Gambino never seems to stay in one place for too long while remaining consistently well-rounded. Gone are the punchline-heavy verses and string sections, in their place a newfound sense of confidence and flow only hinted at on Royalty.

Oftentimes, Glover's words sound calm and composed ("Crawl", "Shadows"), sometimes barely above a whisper while never really losing their sting. Not surprisingly, the record is riddled with references to the internet, the first of which ending a literary rampage during "Crawl" with the line, "Elle Varner, got a crush on her/I gotta wait in line for that/Ain't nobody got time for that/Ain't nobody gotta rhyme with that." It's a smart contrast, especially when paired against the dark beats we find in songs like "No Exit", driven by dirty bass, creepy synthesizers and insecurity. A lot of the production choices and style we face throughout Because the Internet seem to be inspired by the Odd Future gang, but all the while remaining refreshingly original among one of the strongest years in hip-hop in recent memory. Even throughout the guts and the grime, each glance of sunshine spotted throughout the album is guaranteed to be played over as some of its finest moments; "The Worst Guys" ushers you into a beautiful midsection sequence starting with the subtle but uniquely recognizable vocals of Chance the Rapper. Once album highlight "Shadows" kicks off with Glover's best vocal performance to date, you're strapped in for a ride that rivals even songs from Frank Ocean's Channel Orange. Hard-hitting wordplay ("The Aunt Mary and Mary Jane that I was hittin' on/To try and make me forget that there was something wrong/Love is Russian roulette, I had the safety on/We popped pills at the Coachella/Hold my head in the weeds, man, I can't tell her/The fear that I feel, man it might kill her") over the plucking of soft guitars suddenly cuts out, leaving the listener in a still pleasant but slightly unsettling moment that eventually explodes, a swirling descent into emotion only matched by album's artwork.

While it stands as one of the most distinctive of the genre you'll hear this year, the record's messy final third does begin to crumble starting with the ambient "Flight of the Navigator". Glover speaks in a distorted voice overtop more guitar as well as what sounds like a man using his finger to flick his lips up and down- this goes on for approximately five minutes. "Zealots of Stockholm (Free Information)" fails to be as innovative as it hopes, and the "experience" soon begins to just feel self-indulgent. Parts of Because the Internet feel as though you've stumbled into a hip-hop themed carnival, but without all of the posses of insane clowns. Perhaps this uncomfortable conclusion is dependent upon its accompanying screenplay, but while it doesn't necessarily bring down the record as a whole, it will make you appreciate and want to revisit the album's stellar first half. Even when Glover is conquering the misplaced trap beat of "Worldstar", the track eventually elevates into the same kind of mind-bending, acid-jazz instrumental that defined Tyler the Creator's Goblin (specifically "Radicals"). The four interludes found throughout the record are really neither here nor there, sometimes foreshadowing upcoming melodies but mostly just there to better "transition" the songs using off-putting instrumentals. Luckily, even after a disturbed Glover goes off the deep end during the record's final cuts, he just as easily pulls it all back together in the satisfying conclusion that is "Life: The Biggest Troll". Combining elements seemingly collected throughout Because the Internet, Gambino shows off his development against one of the most easygoing beats on the record, and just when it feels like Gambino is making the progress you're constantly wishing for him, Because the Internet closes with Glover begging for you to help him.

And then we find ourselves confronted with silence. It feels like watching a movie and knowing something the characters don't; is this what separates an album from an experience? Does that feeling the record leaves long after it ends prove to us that Gambino is rising in the ranks of today's independent hip-hop stardom? I was disappointed when Glover dropped the strings from Camp. I thoroughly missed the punchlines throughout Royalty, and when it was confirmed that this record would be titled Because the Internet, I was (unfortunately) close to writing this album off. But none of that matters now, because this longing to press play again has to count for something.

Key tracks: "The Worst Guys (feat. Chance the Rapper)", "Shadows", "Telegraph Ave"

For fans of: Drake, Earl Sweatshirt, Frank Ocean

[ripfkis]

Confessional: Beartooth's "Sick" EP

Ladies and gentleman, we'd love to introduce the third of a brand new series of original features entitled "Confessional", where one of our staff members confesses exactly what they love about a specific "guilty pleasure record". With that, I find this the perfect time to welcome the latest member of the FKIS crew, Jess Scutella! You can read his bio on our "About Us" page, but know that he is both an excellent artist and writer that we are proud to have joining the team. If you came here expecting Listmas, don't worry- despite some issues with our EOTY lists, the epic conclusion to Listmas '13 will be posted before Christmas Eve. Until then, enjoy the first brave and harrowing confession from our very own Jess Scutella. Thanks for reading!

-Aaron

Confessional: Beartooth’s - Sick EP

July 26, 2013/Red Bull Records

  By Jess Scutella

The Confession:

Here is a little secret- I am an atheist and humanist, but that does not mean I separate myself from the artistic expressions of the religious. I recognize that pious individuals and organizations have garnered some of the world’s most beautiful, magnificent, and amazing structures, artworks, and musical projects. Now for the case of this review, I am not going to say Beartooth’s EP is awe inspiring, but it definitely caught my attention. However, I hid it in my closet, because it is a genre I do not usually flex with; it preaches something extremely dangerous, and the members have had less than respectable pasts.  Nonetheless, here is my review of a classified album in my life:

Beartooth is a metallic hardcore band from Columbus, Ohio, born in late 2012. Manned by the infamous Caleb Shomo (founder of the depressingly popular Attack Attack!, and frontman of other contemporary bands), the project is something totally different than what Caleb has done over the years. I got to know him in 2008-2009 when his various projects came through Erie, and, to say the least, the guy had issues. Mixing alcohol abuse (probably some heavy drug use, as well), depression, and anxiety, he was hard to deal with, and that may have been the basis for his egomaniacal attitude. If it seems I am focusing on him for the majority of this review, it is because I am; he is truly an interesting being in the music world today.

Do not worry though, as I have brought these tasteless factors up for a reason. Throughout the EP, Caleb vomits up some pretty dynamic confessionals (much like this one) in his lyrics. Acknowledging his crippling depression, recluse nature, and alcoholism within the first few songs gives the EP a drastically more realistic feel than any of the trash he had put out years before. Even belting out the challenges of being a Christian in “Go Be the Voice” had me listening intently.  

Ok, let’s break down the songs:

“I Have a Problem” – As I stated before, Caleb presents his problems with the drink. The song is a fairly generic take of the melodic hardcore songs popular today, similar to that of Like Moths to Flames, Of Mice and Men, etc. The EP goes deeper from this point forward.

“Go Be the Voice” – The woes of Christianity—either it is the public scorn for fundamentalists or just self-doubt in personal beliefs. Beartooth commands that we “go be the voice of God, go live the life putting death to shame.” All of this is on top of paced, but punchy riff and drum strategies. Then the pre-chorus and bridge have this heavily bass ridden breakdown that is quite unique and dirty. The bass’s overdrive pushes the song forcefully forward, leaving scars behind it.

“Pick Your Poison” – Reaching back for the bottle, Caleb describes his fight with religious devotion and self-indulgence. With a punk rhythm and instrumental breakdowns, the song moves quickly and furiously. 

“Set Me On Fire” – Brandishing a Chariot-like guitar riff throughout most of the song (R.I.P The Chariot), Beartooth begs for their supposed savior to set them “on fire” to have the strength to keep singing and driving forward. Punchy and mean, just as a hardcore song should be. Next.  

“Never Back Down” – Strangely sounding different then the rest of the record, both in a produced aspect and a stylistic fashion, Beartooth provides a straight up early 2000 hardcore song. Even bringing on an unknown additional singer who sounds like he came out of 90’s hardcore scene, rusty and pissed off. The song is solid for those of us brought up in that era.

“Everything Stands in My Way” – Again sounding different from the rest of the record, this track centers itself around a gnarly metal riff and then finishes in perfect 90’s fashion.

I have no idea how the hell this all happened, but I like it, and I hope it is a forewarning of what the dynamic Caleb Shomo has in store for us with this strange new project.

Hope you enjoyed. Follow me on Twitter and Instagram @MrScutella or if you just want to talk about my view points email me at [email protected] .

Long days and pleasant nights.