BITTER LIFE PG 14
WHAT’S NEW 2
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LAWNMOWER
MY OWN WILL
MICAH COTNER
NATIVE
EUDONIA
MARISSA WARD
POP PUNK
METALCORE
IS YOUR BATHROOM HOUSE SHOW READY?
CHAOTIC HARDCORE
METALCORE
VENUE REVIEWS
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THE ILLUSTRATOR
BITTER LIFE
THEATRICAL POST-HARDCORE
HARDCORE
ALBUM REVIEWS
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MIRE LORE
“MARROW LEECH”
HOLLOW FRONT THE ILLUSTRATOR SLEEP WAKER
“STILL LIFE” ”THIS ONE’S FOR YOU”
”DON’T LOOK AT THE MOON”
AND WE’RE BACK! John Webb // DESIGNER & CREATOR
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t seems like ages since I’ve been staring at my computer to put the finishing touches on another issue of this project that I am so incredibly blessed to be at the head of. Before publishing this issue, I debated removing this beginning segment where you – the reader – get to hear me blabber on about what’s new and what’s changing. But after much thought; I decided it should stay for now. So much has changed since the last issue. For starters: we picked up some new writing talent in the wonderful soul that is David Keoppen of “My Own Will.” He has been a huge help in writing a major review for
this issue and other articles as time goes on. I would also like to give a loving shout-out to Dylan Dulberg for helping to edit this issue and pick apart all of the mistakes I make while writing. Our online version of the publication also recently passed 1,000 recurring readers and an astonishing 2,500 hours of time spent reading the magazine. I am so thankful for the opportunity to head something that has already built this much traction and I’m even more excited to show you all where it goes next. Over the break, some crazy things changed in my personal life. First and foremost: I got engaged! I am so, so thankful for your
understanding of needing time away to enjoy vacation and some time with my lovely fiancé. I promise we will be coming back stronger and better than ever as I learn more and more about the ins and outs of publication and printing. In less happy news: over the break, I decided to lay a chapter of my life to rest and quit my band “Dethrone the Deceiver.” The boys and I have been heading in different directions with goals and motivations for a while now, and we all agreed that it isn’t fair to hold each other back. I still have tons of love for them and you may even see them featured here in the magazine in the future.
I am also very excited to say that some new ideas I have been working on for a while are finally coming to fruition. The first of which being our lovely sponsor this month – Red 8 Printing – who are donating some Musicore shirts for the readers who have been supportive of this publication since the very beginning free of charge. I can’t thank you all enough for giving me a chance to make this dream a reality, but I hope this is a good place to start. Be on the look out for more nifty stuff as time goes by and feel free to contribute any ideas you have to our email or me personally! -John
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Bryce Mata // Photography
LAWNMOWER: “GOT NO JUICE” Sam Moore // GUEST WRITER
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n 2011, Lawnmower was on a quest for a bass player. Prior to that time, the band was more of a solo project for Travis JB (vocals, guitar) featuring Aaron Quillen on drums. After playing a house show in Flint, Lawnmower bumped into Mack Partin who was playing in another band featured on the same show. As Partin explains it: “JB had said, ‘Mack, I’ve never met you but you were really good. You should play bass in Lawnmower.’ And I said sure. JB said ‘You haven’t even listened to us!’, and I said ‘...Yeah?’ And that was it.” Based on nothing at all, or perhaps a weird stroke of fate, Partin joined the band and they have remained a three-piece ever since. An oddball origin for an oddball band, Lawnmower has been putting out addictive
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fuzzpop for several years on Michigan’s own Save Your Generation Records. In 2013 the band released an EP titled “Whack Yer Brain”, followed by a full-length record in 2015 called “Major Head Injury”. Both are reminiscent of the quirky, fuzzedout style of 90s rock such as Pixies, Pavement, and Smashing Pumpkins. The lyrics are equally strange, digging up imagery and metaphors from unlikely places. Songs like “Practical Skateboard” and “Tetherball” use objects of adolescence to sing about memories, situations gone wrong and apathy. “Let’s stay in bed / And pretend we’re dead” sings JB on “Tetherball”. Other songs push the oddity even further such as “Dinosaurs”, which tells of an ancient world when giant lizards spent their time burning literature and Elvis
records while gobbling up the weirdos of society. That is to say, Lawnmower is no stranger to the strange. Last year, the band released a reimagined version of “Major Head Injury” titled “minor head injury”, where each song was rewritten as 80s synth-pop in minor key because, why not? While their music might be wrapped up in sugary pop melodies and occasionally paired with goofy lyrics, that’s not to say Lawnmower doesn’t have an underlying bite right beneath the surface. The band’s latest record, “Got No Juice”, is a shade darker and armed with sharper teeth than before. The songs are more abrasive and discordant, tackling its themes with lyrics that are a touch more cynical. The album kicks things off with the title track’s first lines: “Feed the pigs to the pigs / A dose of their own
medicine.” JB spoke briefly about the album name, explaining, “The phrase ‘got no juice’ is about being left off of shows. The term ‘juice,’ to my understanding, represents power and credibility. Within the context of the album, it also represents religious communion, and being a part of a community. When we were a little more active, I had a tendency to get really pouty and sour about not being involved with cool shows, especially when they involved promoters and considered things like radius clauses and how many people you can draw. I still think that’s a pretty ugly aspect of DIY/ local shows.” Recognizing the depth of that feeling, JB says the root of the problem is more complex. “Its probably self-imposed because there’s obviously so many great people in DIY and the area
that have done so much for us,” JB admits. Another track, “Masochism Catechism,” meshes an eerie pair of verses with a fuzzed-out, catchy chorus. It builds on similar themes, drawing comparisons between religion and DIY punk shows. “You’ve got all these kids that are pouring their hearts out and it’s not all that different than going to church and raising your hands and worshipping,” says JB. “All that kind of religious devotion that people have to bands, for better or worse, is something that sticks out to me.” Religious themes are sprinkled throughout “Got No Juice,” but it’s not the focus of the record. “My main theme lyrically is always anxiety and mental health,” says JB. “It absorbs so
much of my thinking.” Perhaps the most obvious example of this on ‘Got No Juice’ are the final two tracks, ‘The Curses Of Modern Life’ and the Dinosaur Jr-esque album closer ‘Suffer & Endure’ can be kind of a downer. I’m complaining about how life can be difficult when you have anxiety and mental health issues and things like that. But also, I’m a straight white guy from a privileged background with every advantage I can think of, and life is still hard for me. I wanted to have a preface for that. ‘Curses’ was created to say, ‘Hey, I recognize these privileges, and I know that there are a lot of people in tougher positions than I’m in, but it’s still hard.” While the record does mirror feelings of anxiety by creating something more discordant and abrasive, it’s still got plenty of
fuzzed-out guitars, memorable melodies and new ideas to offer. One of “Got No Juice”’s best qualities is a variety of flavors spread among ten tracks. “Burton Cummings” is signature catchy Lawnmower, while “Facedown and Floating” is a washed-out track coated in dreamy sonic landscapes. “A Few Corrections” might be the most oddball song on the record, something of a funk-jam with spoken-word style vocals that the band pulls off like it was second nature. Each song on “Got No Juice” sounds different than the one before it, right to the very end. Both Partin and Quillen agree “The Curses Of Modern Life” is their favorite song on the new record. “The normal Lawnmower thing would be to have it fuzzed out and gnarly for the majority
of the song,” Partin says. “But the fact that 75 percent of the song is nice and clean sounding and pretty is kind of cool.” “Compositionally dynamic, it’s something we don’t do a ton of,” adds Quillen. “I think it is the most in-line with how I like to play drums, tempo-wise and style wise. It’s the most ‘me.’” As a whole, “Got No Juice” has the sharpest bite of the band’s catalogue thus far. It draws more inspiration from Sonic Youth and Speedy Ortiz than anything the band has done before, managing to be equal parts critical and optimistic. -Lawnmower’s next show is August 17th at The Avenue Cafe in Lansing.
“THE BAND’S LATEST RECORD, ‘GOT NO JUICE,’ IS A SHADE DARKER AND ARMED WITH SHARPER TEETH THAN BEFORE.”
LAWNMOWER “GOT NO JUICE” AVAILABLE NOW
faceboom.com/lawnmowerband @LAWNMOWERband
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David Keoppen // WRITER
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t doesn’t take a genius to realize that the world is flawed. Greatly so, in fact.
It is with this idea in mind that Oxford-based heavyweights My Own Will aim to create honest, heavy music that is genuine, aggressive and straight to the point. The 3-piece metalcore outfit was founded in 2015 by vocalist David Keoppen, guitarist Kyle Cummings and drummer Danny Cummings, after their previous band dissolved.
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After years of writing a more upbeat and lighter style of music, the trio decided they were done trying to please a wide audience, instead focusing on writing heavier music they enjoy. They have released two EPs, (“Ghosts” in 2015 and “Heretic” in 2017,) on their own, with no financial backing aside from the money they make working their day jobs. Humility and dedication are two concepts the band hold very near and dear to their hearts, and they take pride in their DIY approach
with releasing music and touring across the country. The band will be entering the studio to record their third EP this month, with a release before the end of 2018 and a national tour to follow. The band’s Facebook says the following, which the band considers to be their mantra: “We are the underdogs of heavy music from the backwoods of Michigan. We are violent, negative, and pissed off. We are My Own Will.”
IS YOUR BATHROOM TOO CLEAN FOR A HOUSE SHOW? Micah Cotner // WRITER
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unk and uncleanliness just go hand-in-hand, and house show bathrooms are no different. In some spaces, going pee can be the most interesting experience of the entire night. The idea that houses hosting shows might be a little dirty shouldn’t come as a surprise to anyone: we’re basically at a house party with
live music, and for some reason, nobody knows how to clean up in this environment. A bit of a mess is something that both the attendees and the homeowners have signed up for. This brings us to the real question: is this messiness a problem? Would house shows be better experiences if the bathrooms were a bit more put together? In short: I’m not sure. It should go without saying that the discussion isn’t whether or not the residents of the house should clean their toilet. I would hope that would be obvious. If there is mold
growing in the sink, then it needs to be cleaned, end of discussion. No, I’m talking more about whether or not the people who live there should should take the time to make sure every bit of the bathroom is in perfect order before the show starts. House shows are already a stressful, strange environment for many p e o p l e , with tons of loud noise, new people and often strange environments. The last thing somebody needs is a pristine, overly-decorated bathroom that looks like it came straight out of a maga-
“Guilt and uncertainty in every step”
zine, where there’s a guilt and uncertainty in every step, from using too much toilet paper, to not leaving the towel exactly how you found it. Somewhere in middle is the ideal “punk” bathroom: clean enough that somebody isn’t afraid to sit on the toilet and touch the sink, but not so nice and neat that they aren’t sure what soaps and towels aren’t just for decoration. Minimal effort for the hosts, minimal anxiety for the attendees. There’s a certain level of comfort that comes from being in a house that actually feels lived in, and I think the bathroom is no exception. Plus, it’s going to get ruined by the end of the night anyways,
Underrated Monthly David Keoppen // WRITER
Native - “Views” lint-based Native have made a bold statement with their debut release, “Views”. They have taken a melting pot of genres within the heavy music spectrum and mashed them together into something that is raw, aggressive and pissed off. But “Views” is not your traditional heavy release. Native have found a way to brilliantly blend the tone & chugs of Nü-Metalcore, the atmosphere & ambiance of Black Metal, and the angst & chaos of melodic hardcore. Plus, there are bits of sludge metal sprinkled into the mix
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every now and again. Basically, this EP is all over the place ... and it is oddly captivating. Usually mashing so many different genres into such a short release would feel out-of-control and cluttered, but the songwriting flows very well. They manage to go from a tension building black metal verse riff into a Slipknot-influenced NüMetal pattern effortlessly, in a way that captures your attention and keeps you engrossed until silence fills the room and you realize it is over.
The vocals are delivered in an angsty mid-range scream, with utilization of high screeches & low gutterals in certain sections, plus layering effects. The delivery is angry and almost painfulsounding – adequate to say the least. This EP is something that just needs to be experienced to be understood. There is so much going on, that any attempt to describe it would fall short of doing it justice. “Views” is an acquired taste, but something that
you will love if you can get on board with such an interesting amalgamation of heavy music. These two worked really hard to release this record, and their hard work paid off.
unoia originally started off as a solo project by frontman Austin Glahn, under the name Against All Odds.” The original idea was to bring a message of positivity, due to the overwhelming negative vibes the metal community creates. After releasing a single under the original name and deciding against the idea, Austin left the project all together to create Eunoia. Eunoia, a word which means “beautiful thinking,” is based on the creation of in-depth stories. He wanted the music to be theatrical and exotic, containing
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elements found in one of his biggest inspirations: Ice Nine Kills. Scrapping the original ideas for songs, only to save a few pieces, the first song to come out under the name Eunoia “Second Chance.” “Second Chance” is the first chapter in the story for the upcoming album. It tells the story of a man who wakes up in a cold and dark place, not knowing how he got there. From there, the man meets a mysterious figure who informs him that he is in purgatory, but is being given the chance
to come back to life. From this song, Austin found the rest of the members he needed to bring Eunoia to fruition. The first member to join was drummer Ryan Sherwin. After displaying his skill and ability to adapt to new styles, he was the perfect member for Eunoia’s ever-changing sound. After the recording of the “Second Chance” music video, a mutual friend informed Eunoia of a guitarist by the name of Joshua Saddler. According to the mutual friend, Saddler was a fantastic guitarist who was educated in creating
orchestrations and writing symphonic pieces. He was an obvious fit for the band due to the sound Eunoia was perusing. Finally, during the release of Eunoia’s cover of Charlie Puth’s hit song “Attention,” a second guitarist showed interest. Charlie Pfahlert, previously of the band Westhand, gave Eunoia much more potential due to his playing, writing and experience in the music industry. Eunoia is currently working on new music and new stories to share with the world, hopefully to inspire others to be creative.
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Maxxwell Lange // The Sanctuary
Marissa Ward // WRITER
hen it comes to concerts: the right venue can make or break your experience. Otherwise incredible acts can leave a sour aftertaste with you for a long time if your experience at the venue is a negative one. The overwhelming ammount of options for venues to spend your weekend enjoying music and sharing some drinks with friends got us here at Musicore thinking: “What venues do we absolutely love to spend our time at?”
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SANCTUARY
2932 Caniff // Hamtramck By far one of the best venues Detroit has to offer. The (new) Sanctuary has taken over the previous location of Paycheck’s with an array of much-needed
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upgrades. A new sound system, new floor, full bathroom updates, the list goes on. Run by one of the most honest and dedicated people there is, it’s great to see a venue in such good hands. Street parking is available (and free) as well as two lots across the street. There’s a few liquor stores, grocery stores and carry-out places nearby if you’re looking for a quick bite between bands. The beers are cold and cheap, there’s a great selection, and if youre only looking for something to snack on mindlessly: they even sell baggies of chips. Next time you’re in Hamtramck, I’d highly suggest popping in.
TRUMBULLPLEX
4210 Trumbull St. // Detroit Defined as “an anarchist commune and art gallery”, you’re bound for a good time here. You can catch almost every type of artist here, and dance your heart out. The Trumbullplex has deep roots in local activism and should definitely be on your radar. Theres a decently sized gender-neutral bathroom, large stage, decent sound and it’s run by some very wholesome and radical people. The venue is BYOB, and theres a liquor store right down the corner with an excellent selection of tall boys and rap snacks, as well as brightly-lit parking up and down the street and featuring donation-based shows for local
and touring acts. It’s a great place to swing by – even if youre not familiar with the events – because its still bound to be a great time.
COUNTER CULTURE 620 Gratiot Ave // Saginaw
A bit of a hike from Detroit, Counter Culture is one of those places you look back on and say “Holy shit, I can’t believe I saw this band in a venue this size.” The stage is a decent size with plenty of room to move around, and has excellent sound to go along with it. The venue does not serve or really even allow outside drinks, but there is a bar about 50 feet away at the corner with cheap drinks and standard bar
food. My only complaint about this venue is the limited parking space, especially if you’ve got a van and trailer. All in all: a great place to see or play a gig.
KORNER BAR 10001 Joseph Hamtramck
Campai
//
Located a hop, skip, and a jump away from The Sanctuary, Korner Bar is a nice location that’s become a bit more prominent booking heavy shows. The stage is a bit small, and the room where the music happens is made of concrete so it can get a bit noisy but that doesn’t mean it’s not worth checking out. The drinks are decently priced, clean bathrooms, and theres a great atmosphere set with the décor and lighting. Street parking is available, but watch out for the one ways and private lots!
NEW DODGE LOUNGE 8850 Joseph Hamtramck
Campau
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If you are – or ever have been, – involved in the more extreme side of music, you’ve either been to or heard of the New Dodge. The building has been around for a while, and it might need a bit of an upgrade. With a stage set up right by the front door, you’re sure to get blasted as soon as you walk in. There’s a nice balcony area upstairs, with a few arcade games and a pool table if you feel like hanging back from the crowds. Definitely has more of a ‘dive bar’ feel, but don’t let that stop you from catching a show here. Drinks are cheap, and there’s a gas station about 50 feet away if you get a craving for some snacks. Venue parking is scarce, like most of Hamtramck, but street parking is available.
PJ’S LAGER HOUSE
1254 Michigan Ave // Detroit Known for equal parts food and tunes, PJ’s is a Detroit legend. Located in historic Corktown, PJ’s has been a staple for live music in detroit for years. Posters line the wall of past shows of all genres, and it’s a great place to hear some music you might not have been exposed to previously. Great sound and stage area, semi-private lot off the side of the building. The bar has a great selection of food, (including vegan options), as well as fairlypriced drinks. I recommend the Po Boy and a ginger beer.
HOT ROCK (THE RITZ) 24300 Hoover Rd // Warren
John Webb // (Co Writer)
The most common of the local music and small tour stops. Hot Rock, (formerly known as ‘The Ritz’) has gone through tons of renovations and improvements in the last year to change it from a decent dive to play with some friends on the weekends ... into the epicenter for the smallto-midrange tours that pass through the area. With fairlypriced drinks and a full menu of delicious bar food: there’s something for everyone here. This venue has gone through a complete turnaround and if you haven’t been since the name change: it is definitely worth a second chance to see the hard work and dedication that the staff have been putting in.
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“It was one of the most rewarding and stressful things we have ever done.�
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(Left to Right)
Kyle Zander // Guitar Karl Seger // Bass/Vocals Sean Hill // Lead Vocals Devin Attard // Drums
Jeffery Mullins // PHOTOGRAPHY
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HOW LONG HAVE YOU GUYS BEEN PLAYING MUSIC? “The four of us all started our musical journey at different times. Sean, Kyle and I started playing together about 6 years ago, while Devin has been playing with us for about a year. We all started playing different styles. Kyle was into cinematic soundtracks. Sean was a big fan of oldies. Karl attributes Dashboard Confessional as his musical inspiration. Devin listened to different genres growing up, but has a specific love for metal.”
WHAT MAKES THE ILLUSTRATOR DIFFERENT THAN YOUR PREVIOUS MUSICAL ENDEAVORS? “Prior to The Illustrator, Sean, Kyle and Karl played pop-punk music and decided it was time to branch out. Playing that style grew stale and we knew there was more to our story than just one style. We wanted to explore areas of the musical canon that we feel are underappreciated.”
WHAT IS THE NAME OF THE NEW RECORD AND WHAT DOES IT MEAN?
many of the themes of the album are first hand experiences. We have moments of pure insanity and instances of sincere regret.”
WHAT IS YOUR FAVORITE TRACK, NEW OR OLD? Kyle: “Doctor’s Orders” Devin: “Fifty Shades” Sean: “Settle the Score” Karl: “Monster”
HOW FUN HAS IT BEEN RECORDING THE TWO THEATRICAL MUSIC VIDEOS YOU’VE BEEN WORKING ON? “It was one of the most rewarding and stressful things we’ve ever done. We spent countless hours shooting and re-shooting. Working with Brandan Keller was a fantastic experience. He’s the best.”
WITH NEW MUSIC COMING SOON, WHAT ARE YOUR HOPES FOR THE RELEASE?
“The album is titled ‘This One’s For You.’ It can (and should) be interpreted differently by each person. Some might view it as threatening. Others can perceive it as a comfort in their struggle.”
“We view each time we release material as a stepping-off point in our lives. If anyone hears our music and it helps them in some way, the same way it helps us, that’s worth more than anything.”
WHAT CAN PEOPLE EXPECT FROM “THIS ONE’S FOR YOU?”
ANY FUN BAND STORIES?
“An introspective reflection of self-doubt, addiction, loss and redemption. It doesn’t necessarily tell one person’s story; however
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“Filming the music video for ‘Settle the Score’ was insane. The scene in the plastic room where we beat up Jeremiah was one of the funniest times ever. Jeremiah, the male
lead in the video, is one of the funniest guys we know and even though he was covered in make up that looks like bruises – every time we cut he’d be cracking up and making jokes.”
IF YOU COULD TOUR WITH ANY BAND WHO WOULD IT BE? Karl: Pierce the Veil Sean: Panic! at the Disco Kyle: Ice Nine Kills Devin: My Chemical Romance
WHAT RECOMMENDATIONS WOULD YOU GIVE TO YOUNGER BANDS JUST STARTING OUT? “Don’t get a large ego, no matter what. If people don’t like you back home, then that will cripple your chances of branching out to other states. Always be willing to help out other bands and try to just keep your mouth closed when it comes to someone goading you – online or in person. It’s just not worth it to be that band.”
IS THERE ANYONE YOU WOULD LIKE TO PERSONALLY THANK FOR THEIR HELP WITH RECORD?
WHAT DO YOU LISTEN TO OUTSIDE OF YOUR OWN GENRE? Karl: Jazz and Blues Sean: Rap Devin: Metal Kyle: Acoustic Pop
WHAT’S YOUR FAVORITE PART OF PERFORMING? “Jumping around on stage is amazing. However, it pales in comparison to hearing people sing your songs back to you. It really affirms what you’re doing is the right path for your life.”
WHAT WOULD YOU TELL SOMEBODY BEFORE LISTENING TO “THIS ONE’S FOR YOU”, SORT OF LIKE A MUSICAL TOUR GUIDE? “If you’ve ever doubted yourself, hurt someone you’ve loved, begged for forgiveness, lost your mind, hated yourself, or have kept going when giving up seemed like easiest thing to do – this one’s for you.”
“We’d like to thank Michael Martenson and Tony Camposeo, who helped us record and make this album. We’d also like to thank Corbin Alvae, who works tirelessly on our behalf even though he is working full-time on his own. Finally, to our fans that have waited so patiently for us to release new music: you are all amazing and we wouldn’t be anything without you.”
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NEW MUSIC, WARPED TOUR AND MORE Marissa Ward // WRITER HOW DID IT FEEL HEARING THAT YOU WON THE BATTLE OF THE BANDS FOR THE LAST WARPED TOUR? WHAT WAS THE INITIAL REACTION?
NOT ALLOWING ANY OTHER LOCALS TO PLAY. DO YOU FEEL AS THOUGH THIS IMPACTED THE LAST WARPED IN ANY WAY FOR YOU PERSONALLY?
“I think everybody was still in shock for the most part. Hearing our name being called was just an overwhelming rush of emotion. Mostly excitement and relief. As a new band, we never expected to be able to bring as much hype as we did. It was so awesome having such an incredible response from the crowd. The fact that we have 0 music released yet, and we still had people chanting our name at the end, is just mind blowing. That’s a memory that none of us will forget. Also shoutout to Vile Company and Live Nation for the opportunity and everything they do to make this shit possible. They’re the real ones.”
“Finding out that the local stage was being shut down for the day was heartbreaking. We’re extremely grateful that we still got the opportunity to play our set, but knowing that our homies in Scapegoat and Torchbearer wouldn’t be able to do the same was the worst. Those are some of our best friends, and we were all so stoked to share that experience together. It almost makes me feel guilty that we were the only one to play. But it was still a good time regardless, and there will definitely be more from the Holy Trinity in the future. Bitter Life x Scapegoat x Torchbearer 2018.”
DID YOU DO ANYTHING SPECIAL TO PREPARE FOR IT? ANY SPECIAL RITUALS OR PRE-GAMING? “After finding out that we won the poll to even be on the BOTB, we had to really crack down to prepare. Last minute merch and practices, getting everything lined up and ready, all the fun stuff about being in a band. We spent the night before Warped in a Walmart parking lot with some other bands just grilling shit, drinking beer, and telling jokes. Majority of our night was just whispering “peepee” to each other because we’re all children lmao. We may have also set off a car alarm at 4 in the morning and caused some ruckus. Barely got any sleep, but it was definitely a good time.” THE LOCAL STAGE GOT RAINED OUT,
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AFTER YOU FINISHED YOUR SET, HOW DID IT FEEL? “Considering it started raining as soon as we finished our set, I’m not sure if there was even much time to feel anything. It was just a huge rush of unloading gear, getting it back to the trailer and trying to stay dry. I guess over all though it was still a great feeling just being there and finishing our set with a crowd of people who stuck around to watch. To anyone who may have even just caught 1 song, thank you. It means the world that people were willing to watch us at a festival full of so many other bands.” WHATS IN BITTER LIFE’S FUTURE? ANTY NEW SONGS OR PROJECTS? “Bitter Life will be releasing our first EP called
Tooth & Nail in the near future. That’s number 1 on the list, so keep an eye out for that. You can also expect an EP release show sometime late September/October. We’re working out those details now, so once everything is finalized we’ll be spreading that all over Facebook. I think there’s a few other tricks up our sleeves we’d like to work on, but we’ll keep those a secret to build some suspense. It’s only up from here.” WHAT’S ONE THING YOU WANT PEOPLE TO TAKE AWAY FROM YOUR MUSIC? “If there’s anything we want people to take from our music, it’d be to love yourself and be yourself. Don’t let anybody tell you how you need to live your life or try to bring you down. So many other musicians write music about these problems, but never offer a solution or shed a positive light on things. We wanted to show that there’s a way to release anger through music while still being positive. Each song on the Tooth & Nail EP is about some sort of struggle in life, and overcoming all these obstacles that may get in the way. It’s important to value and cherish everything you can, even when times get tough.” IF YOU HAD A CHOICE TO COVER EITHER “AFRICA” BY TOTO, OR “LIVING ON A PRAYER” BY BON JOVI, WHICH ONE WOULD YOU DO? “Between ‘Africa’ or ‘Living on a Prayer’? Shiiiiiit, probably ‘All Star’ by Smash Mouth. That’s that day one meme, right? Maybe even ‘A Thousand Miles’ by Vanessa Carlton. That shit slaps.”
MIRE LORE
MARROW LEECH
2018 DEATHCORE
Connor Welsh // WRITER (New Transcendence) esides an exotic, kinda-tasty, kinda-weird protein commonly served in French cuisine, what is bone marrow? Well, fundamentally, it is the adult location of the vast majority of hematopoiesis, or, the synthesis of most of our blood constituents. Simplified: it’s the reason we’re able to function past 6-10 months of age. Diseases of the marrow are either fatal or wrought with complications, none of them being “pretty” or easy. We need our marrow, which means that which syphons it—slowly feeding from it as if an insidious and intelligent parasite—is synonymous with a creeping, unrelenting demise. That should paint a pretty vivid and gloomy picture in your head (hopefully), and if it does, it probably looks a lot like how Mire Lore’s debut album, Marrow Leech, sounds. Among the most absurd releases within the technical deathcore/ brutal death metal realm so far this year, Marrow Leech is a star-studded display of abyssal aggression and unfathomable brutality wrapped in an occasionally-atmospheric but alwaysoppressive package. In short, Marrow Leech is hard to describe beyond how incredibly intense it manages to be, using speed, heaviness, technicality and ethereality all to keep the listener wedged firmly under its thumb, spellbound and cemented in place.
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Mire Lore is a two-piece. Still there? Good—because if you aren’t instantly discrediting the band as a studio outfit (for now), then you’re in for a phenomenal treat. Instrumentally, the Lore that Is Marrow Leech is woven entirely by Frankie Cilella (formerly of Bodysnatcher and Existence Has Failed). Cilella’s ability to write mindnumbing, blistering percussion and play slam-tinted, technically proficient brutalizing hybrids of deathcore and death metal is profound, and Marrow Leech is USPSTF Grade-A approved evidence of that. Whether it’s the lead single and album opener, “Orb Weaver,” “Wrath of the Necromancer” and its appalling intensity, “The Gallows” or the closing epic “Return to the Abyss,” featuring Shadow of Intent and Currents’ own Chris Wiseman’s fretwork, every track on Marrow Leech is a slice of Cilella’s excellence. Even the more atmospheric cuts see Cilella shining in relatively unorthodox ways. “The Mire” and “The End is Near” are two such tracks—where Cilella opts for ambience over sheer aggression, highlighting his ability to write with majesty and ethereality in a way that still captures a dark and brooding sensation that sweeps over the listener like a chill. Cilella’s work is creative and crushing both, oscillating between the catchy, bouncy nature of deathcore
and the soul-smothering weight and devastation of slamming death metal—giving the listener a beefed up, thicker and meaner take on traditional deathcore with added blackening, atmosphere and technicality, transcending conventional genre boundaries to really knock the listener back. The frontman behind Mire Lore is none other than Dan Watson, who really needs no introduction. Watson’s legacy speaks for itself—but what might not speak for itself would be the amount of progression seen on Marrow Leech. A far cry from even his most recent outing with Enterprise Earth, Watson’s range is slightly expanded, but his intensity, strength and intonation are infinitely more engaging and able to convey a wider spectrum of emotion—this is evident from “Orb Weaver” and beyond. Then, songs like “The End is Near” (yes, those are “clean vocals,” chill out) and “The Mire” see an odd juxtaposition of Watson’s abilities and Cilella’s dynamic writing. The two vocal guest spots—Duncan Bentley (Vulvodynia) and James Mislow (King Conquer) are akin to Watson’s own prowess in that they don’t need a description—their pre-established talent already sets the standard expected by the listener—the very same standard that gets blown to bits by their actual recordings. Mire Lore is a multifaceted
listening experience with one underlying linking factor: aggression. Defined by the ability to get ungodly heavy while retaining instrumental talent and fluid, varied songwriting both, Marrow Leech is a masterful exposition of eviscerating musicianship and top-tier vocal work. Cilella and Watson have truly outdone themselves in crafting an absolut gutbuster of a venture—one that will keep fans of all things heavy coming back time and time again to steep their ears in the mire.
For Fans Of: Vulvodynia, Ingested, Hollow Prophet
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HOLLOW FRONT STILL LIFE
2018 HEAVY/METALCORE
David Keoppen // WRITER
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hen jokingly asked, Tyler Tate, the vocalist of Grand Rapids-based metalcore outfit Hollow Front, if they would prefer a “biased” review of their sophomore release Still Life, his response was: “Be honest as fuck, dude. Give it to us hard, haha!” This honesty is reflected in Still Life, which is an agonizing journey of aggression, loss, and unfortunate realization that begins as an aggressive and antagonistic expression of hatred. The album slowly manifests itself into a dangerous introspection of the darkest parts of Tate’s own self-image, set to Egyptian-esque leads, electronic ambiance and bone-crushing breakdowns. Let me start by saying that Still Lifes a good record. Not necessarily a great record, but solid in almost every area. I have been a fan of these guys since April/May of 2017, so I am familiar with their catalog up until this point. Their Homewrecker EP had the perfect blend of core and djent (terms describing a general sound, not a specific genre), while the stand-alone single Chameleon was a slow but enjoyable chug fest. While I don’t think the songs on Still Life as a whole are the best representation of the band, I do believe they are beginning to experiment in
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certain areas that will help these guys reach a wider audience.
rough clean vocal part thrown into the mix every now and then.
Let’s get this out of the way now: if you aren’t a fan of metalcore, you will not be a fan of this record. There is an emphasis on melody blended with aggressive and earth-shattering breakdowns. Cliche, yes, but there really is no other way to describe it. Some of the breakdowns are disgustingly heavy, the closing section in the album’s second track Backbone coming to mind.
You can hear the pain in Tate’s delivery. He traverses a wide variety of harsh vocals, ranging from a hardcoreesque high pitched screech all the way down to gut-wrenching lows.
The guitars find a solid middle ground between dark metalcore and prog, with chugs sounding as if they could be on a recent album by The Acacia Strain. The proggy tones are very reminiscent of Veil of Maya or Northlane (which is especially apparent in the bends and squeals, as well as the atmospheric guitar leads).
The self-titled track, Still Life, is what I believe to be the best Hollow Front song written to date. It is a wonderfully written trek across a certain realization that everyone has at one point in time: the aging process does not stop. Children grow into adulthood, slowly losing a grip on feelings and mindsets they once held close. It’s a very emotional song, and hits the listener hard in the feels and almost leaves you in a sense of melancholy. So why is this just a GOOD record? Why don’t I consider it a great record?
Some of the standout melodic sections, such as the lead guitar part in the album’s third track Nothing Lasts Forever and the entirety of the album’s closing self-titled track, completely make up for the albums faults, which are minimal outside of the occasional one-y-and-a-two-yand-a chug pre-chorus.
I don’t consider it a great record because, while I personally love the band and their music, there isn’t too much deviation from material they have already released. While they do angry and angsty very well, it is the deep and personal material that I found myself coming back to.
The various programming sections add a bit of ambiance and atmosphere to the mix, which keep most songs interesting and identifiable from each other. Tate’s vocals help in that department, with the occasional
I praise this EP for the self-titled track. The emotion that this song (and it’s instrumental intro In Memoriam) can draw out is uncanny. The sound has a sense of originality to it, a sound that I hope the band will experiment
with in the future. But the heavier sections fall a bit flat after releasing such a powerful first single. The atmospheric portions are interesting and do a good job at setting the bulk of the album apart, but do not save the heavier tracks from blending together. They just don’t seem to have the identity that has been seen in Hollow Front’s previous work. Still Life is not a groundbreaking record in the realm of metalcore, but its self-titled track alone justifies a purchase for fans of the genre. The album has all the tropes one expects of metalcore, but may be a bit dissatisfying to fans of their earlier material. After taking more of a step sideways and inching forward, one can only expect that their next release will make the giant leap to further solidify the band’s status among the elites of Michigan heavy music. Rating: Do you like metalcore? If so, check it out! Hollow Front is: Tyler Tate - Vocals Cody Davis - Drums Dakota Alvarez - Guitar Brandon Rummler - Bass
THE ILLUSTRATOR THIS ONE’S FOR YOU...
2018 THEATRICAL POST-HARDCORE Connor Welsh // WRITER (New Transcendence)
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usic—as well as being a form of expression—is a form of entertainment. Before there were big-ass robots blowing the hell out of each other in carbon-copy James Cameron movies, or absurd special effects designed to mesmerize moviegoers into a state where they’d be blind to the utter lack of plot (may also apply to James Cameron movies), there was music, one of the oldest forms of storytelling humanity has. But recently, that aspect— the grand, immersive, engaging atmosphere seems to be largely subdued; compressed into something of a joke, pushed aside by an obsession with loud bass, catchy hooks, absurd breakdowns…you get the picture. The point is that, where the more theatrical elements of music seem to have fallen out of favor somewhat, The Illustrator are proof that they haven’t been totally forgotten. Borrowing from artists in the vein of Ice Nine Kills or My Chemical Romance to great grandiose anthems that are catchy as they are spacious and laden with fantastic fable and lurid lore alike, their debut full-length record, This One’s For You…, is energetic, creative and driving, giving them an earnest and fun gimmick that allows them to stand out from the countless peers that vie for the spotlight.
At its foundation, This One’s For You… is an alternative rock record with copious elements of post-hardcore and a penchant for the grandiose. “Settle the Score” is an excellent example of this— with bouncy, fun percussion that pounds out a fun swingstyled groove that stays stuck in the listener’s head (with a lot of help from the catchy chorus and vocal structure). Other tracks—“Mønster” and “Harlot”— are more aggressive cuts from the record, with a booming bass tone and loud guitars that dive from grooves to riffs without skipping a beat. Even the conclusion to “Settle the Score” sees The Illustrator taking off their gloves and fighting a little dirty, dropping into a downtuned groove that still, somehow, keeps the listener’s fingers snapping along. “Little Loner” is another song that sees The Illustrator combining their various influences in an utterly unorthodox fashion. With driving guitars contrasting with a raunchy organ grinder and dancy drumming to keep the song moving forward, the track serves as a true stand-out from This One’s For You.., an album that’s already pretty out there with cuts that drive that message home without fail. “Little Loner” is another odd track in the sense that the closing segment to the track is among the heaviest that
The Illustrator get, even with a marked absence (for the most part) of harshly screamed vocals. Instead, the track highlights how spooky the band’s theatric persona can get, and it does so brilliantly. Vocally, the band stride the same line that their instrumental influences do, albeit with a little more of a shift towards the cleanly-crooned end of the spectrum, saving screams of both high and low pitches for moments of climactic intensity. “Lullabies” sees the band supremely catchy, as does “Settle the Score,” while “Harlot” uses a guest vocalist to keep the listener on their toes—because, if anything, the band are plagued by the notion that several of the segments throughout This Ones For You… sound a little too similar to one another. For the most part, the songs do a good job of standing out, with distinct lyrical themes and unique musical twists and turns that stave off monotony; however, with that said, there are moments (especially throughout the last several cuts) where the band take a nosedive into somewhat samey territory. However, for every section where the listener’s attention wavers, there are twofold where the listener is totally engrossed into the musical spectacle that The Illustrator have crafted;
“Doctor’s Orders” and “Little Loner” are two such examples, although there are certainly more. If you find yourself wondering where the grandiose, flashy and fun storytelling nature of music went, you don’t need to wonder—or look—any further; The Illustrator clearly have a surplus. This One’s For You… is fun, fresh, energetic, eerie and occasionally a little heavy, as well as checking several other boxes that allow it to be a standout record. This One’s For You… is an immense jumping-off point that highlight’s the band’s talents and, with a little more refining, gives the listener a taste of a band that could go places one might only read about in fables and tales age old. 8.5/10 For Fans Of: My Chemical Romance, Ice Nine Kills, Famous Last Words, Alesana
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SLEEP WAKER DLATM
2018 METALCORE
Connor Welsh // WRITER (New Transcendence)
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othing good ever happens in the midnight hour. You awake shaking, covered in clammy sweat that keeps your twisted sheets stuck to your skin. Your eyes—still yet to adjust—see nothing but dark, and your ears can only hear the sound of your heart beating out of your chest. The clock reads twelvesomething in the morning, and you don’t know what woke you, but you know something isn’t right. Your breathing gets shallow and quick, your heart rate jacks up to try and compensate for the burning pain in your chest and your inability to catch your breath. You’re paralyzed by a sensation you can’t describe—and while you don’t have words to ascribe to it, that cocktail of fear, excitement, uncertainty and suspense shaken by catecholamines—that feeling is remarkably similar to listening to Sleep Waker’s debut full-length release for the first time. Don’t Look at the Moon is as energetic and aggressive as it eerie and haunting, combining elements of metalcore, nu-metal, deathcore and heavyhanded hardcore into a scathing, barn-burning ass-beater of a record that incorporates the mythological and fanciful into a backbone of pure, bitter, brutality. Sleep Waker—in a somewhat tongue-in-cheek manner—refer to themselves as “dark hardcore,” and while genre elitists might cringe while others might miss it entirely, it really isn’t too far from the truth. While the band’s roots in hardcore are
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largely obliterated by nu-metallic and contemporary metalcore influence, they aren’t absent—and there is no doubting that the new Stay Sick Records act are dark. Where some tracks—“Don’t Look at the Moon” and “Don’t Look at the Sun,” among others—are entrenched in numetalcore, “Tongues” is an example of a song with a distinctly heavyhardcore hint to it. the majority of Sleep Waker’s diversity stems from percussionist Frankie Mish and his work with bassist Noah Boland. Together, the duo function as the heart to Don’t Look at the Moon, with Mish’s drumming managing to be both technical and punctual, pummeling the listener with gut-busting breakdowns while intertwining fastfooted, fill-heavy two-step sections that allow Mish to showcase his musical mastery. Meanwhile, Boland brings heaviness to the climactic portions of Don’t Look at the Moon. “Hell” is one such example, where his bass brings extra punch to the riffs played by Jason Caudill and Eric Overway. Caudill and Overway are a dynamic duo in themselves (regardless of how well they function with Mish and Boland), and “Dream Eater,” as well as “Tongues” and “Turnaround” are excellent examples. While the foremost of the three is a more ambient cut that morphs into malevolent heaviness, the other two are riff-and-groove heavy cuts that see Caudill and Overway raining down pain on the listener’s head. The duo use everything from heavy-handed
chord progressions to scathing leads and straight up abyssal chugs to unleash raw ruthlessness on the listener—and they do it damn well. Sleep Waker’s multifaceted instrumental approach is tied together with the vocal efforts of frontman Hunter Courtright. Courtright is a focal point for Don’t Look at the Moon—not only for his lyrical prowess, but for his constant vocal barrage, which serves as a relative anchor amid the shifting dynamics of the remainder of the band. Courtright primarily dominates with a raw and relentless mid-range yell—that which dominates on lead single “Turnaround”—but also uses gritty lows (“Tongues” is an excellent example) and screeching highs (“Dream Eater” sees these used intermittently, as do both of the “Don’t Look at the…” tracks). While many cuts from the back half of the release see Courtright using more of his lower register to compliment the more overall aggressive and headstrong nature of the songs and their relative hardcore influence, the earlier cuts favor Courtright’s mid-range yell with dips and dives into other styles, ensuring that every song features a line (or more) that stay stuck in the listener’s head. Courtright’s variety is carefully measured such that it compliments the music backing it without being too busy or clashing outright. Don’t Look at the Moon is as haunting and mysterious as the name might imply. Following a loose and eerie concept for many of the tracks
(with the closing cut just straightup pissed), Sleep Waker have toiled and toiled to much avail, creating an absolutely immense debut full-length record—one that is sure to keep you up all night listening on repeat, even if you best avoid looking skyward. 9.5/10 For Fans Of: VCTMS, Sworn In, Barrier, Extortionist, Mothersound
CONTRIBUTORS STAFF JOHN WEBB - DESIGNER / WRITER / HEAD SHYANA OCALLAGHAN - DESIGNER / CO-HEAD CONNOR WELSH - WRITER / REVIEWS JON VOKAL - WRITER MARISSA WARD - WRITER MICAH COTNER - WRITER DAVID KEOPPEN - WRITER
DONORS ASHLYN WILSON ROBERT MOSCOSO ALEX BRISBEY DAVID KEOPPEN SCOTT KRAUSE BRENDA WEBB
FOR INFOMATION ON SUBMITTING YOUR BAND OR BRAND: CONTACT JOHN WEBB AT MUSICORE734@GMAIL.COM