Glass and Ashes
May08, music reviews, music May 25th, 2008
By Matt Walker, May 2008
Self-Titled, No Idea Records
Glass and Ashes’ music doesn’t fit conveniently into one particular musical genre. Instead, the Ventura, Ca. band pulls together some of the best aspects of several, including the ferocity of early hardcore, the precision of metal and the innovativeness of the ‘80s DC punk scene to make an explosive batch of ferocious tunes. And overall, it has a darker and heavier tone than 2004’s Aesthetic Arrest. The dual guitar riffs bounce off of each other wildly and cut viciously while vocalist Michael Carter screams – no – attacks the lyrics. It’s not all reckless energy though; some of the best moments on the album come when they pull back and allow the songs to breathe before taking us back under.
The title of the opener, “Seconds Before the Floor Drops Out,” pretty much describes the feeling that dominates the rest of the album that follows. Tension builds and it feels like chaos might prevail at any moment. You’re waiting for that fall. Many of the songs abandon typical song structures for a stream-of-conscious approach that sees the music moving organically from place to place while still maintaining the essence of the track. “Alpha State” moves from the powerful central guitar riff to gentle melodies and back into full chaos while Carter demonstrates his vocal range, letting go of his scream to reveal a melodic side at times reminiscent of Fugazi-era Ian MacKaye. And the instrumental “Exit Wound,” with its slow, heavy bass line is the perfect lead-in to the seething “Count Back From Ten” (Maybe we’re just desperate for a civil war / We’d abandon all reasoning and forfeit our lives at the hands of ‘the times.’”
Glass and Ashes’ latest is one of my favorite things I’ve heard from No Idea lately. It’s packed with amazing energy, songwriting and musicianship and it all comes together perfectly.
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Glass and Ashes
May08, music reviews, music May 25th, 2008By Matt Walker, May 2008
Self-Titled, No Idea Records
Glass and Ashes’ music doesn’t fit conveniently into one particular musical genre. Instead, the Ventura, Ca. band pulls together some of the best aspects of several, including the ferocity of early hardcore, the precision of metal and the innovativeness of the ‘80s DC punk scene to make an explosive batch of ferocious tunes. And overall, it has a darker and heavier tone than 2004’s Aesthetic Arrest. The dual guitar riffs bounce off of each other wildly and cut viciously while vocalist Michael Carter screams – no – attacks the lyrics. It’s not all reckless energy though; some of the best moments on the album come when they pull back and allow the songs to breathe before taking us back under.
The title of the opener, “Seconds Before the Floor Drops Out,” pretty much describes the feeling that dominates the rest of the album that follows. Tension builds and it feels like chaos might prevail at any moment. You’re waiting for that fall. Many of the songs abandon typical song structures for a stream-of-conscious approach that sees the music moving organically from place to place while still maintaining the essence of the track. “Alpha State” moves from the powerful central guitar riff to gentle melodies and back into full chaos while Carter demonstrates his vocal range, letting go of his scream to reveal a melodic side at times reminiscent of Fugazi-era Ian MacKaye. And the instrumental “Exit Wound,” with its slow, heavy bass line is the perfect lead-in to the seething “Count Back From Ten” (Maybe we’re just desperate for a civil war / We’d abandon all reasoning and forfeit our lives at the hands of ‘the times.’”
Glass and Ashes’ latest is one of my favorite things I’ve heard from No Idea lately. It’s packed with amazing energy, songwriting and musicianship and it all comes together perfectly.
Leave a Reply
Glass and Ashes
May08, music reviews, music May 25th, 2008By Matt Walker, May 2008
Self-Titled, No Idea Records
Glass and Ashes’ music doesn’t fit conveniently into one particular musical genre. Instead, the Ventura, Ca. band pulls together some of the best aspects of several, including the ferocity of early hardcore, the precision of metal and the innovativeness of the ‘80s DC punk scene to make an explosive batch of ferocious tunes. And overall, it has a darker and heavier tone than 2004’s Aesthetic Arrest. The dual guitar riffs bounce off of each other wildly and cut viciously while vocalist Michael Carter screams – no – attacks the lyrics. It’s not all reckless energy though; some of the best moments on the album come when they pull back and allow the songs to breathe before taking us back under.
The title of the opener, “Seconds Before the Floor Drops Out,” pretty much describes the feeling that dominates the rest of the album that follows. Tension builds and it feels like chaos might prevail at any moment. You’re waiting for that fall. Many of the songs abandon typical song structures for a stream-of-conscious approach that sees the music moving organically from place to place while still maintaining the essence of the track. “Alpha State” moves from the powerful central guitar riff to gentle melodies and back into full chaos while Carter demonstrates his vocal range, letting go of his scream to reveal a melodic side at times reminiscent of Fugazi-era Ian MacKaye. And the instrumental “Exit Wound,” with its slow, heavy bass line is the perfect lead-in to the seething “Count Back From Ten” (Maybe we’re just desperate for a civil war / We’d abandon all reasoning and forfeit our lives at the hands of ‘the times.’”
Glass and Ashes’ latest is one of my favorite things I’ve heard from No Idea lately. It’s packed with amazing energy, songwriting and musicianship and it all comes together perfectly.
