Q&A with Indicator Dogs

The Dogs, as the band like to call themselves, are no newbies to the indie rock scene. Originally formed in 1997 in New Zealand by Dan Young and Val Hunting, the band has only recorded two full-length albums over a span of 14 years, an output much lesser than most other bands. But who is to say that they don't produce quality material? Way before the recording of their two full-length records, their unique sound from their early demos and strong live performances had attracted award winning producer Malcolm Welsford's attention; who immediately offered to produce their debut album, "Anschluss". Welsford teamed up with the Dogs again in recording their sophomore album, "In The Face Of Disagreement", at Infrasonic Sound Studios in Los Angeles, and also gave them the added bonus of a new member, Grammy nominated drummer AAron Rossi of Prong, Ministry and John 5 fame. We catch up with the Dogs via e-mail and find out how they are doing so far.

Zetalambmary: Good day Dogs! It has been 14 years since the band was formed, so how does it feel to finally have a sophomore album out?

Aaron Rossi: I'm excited for ID!! The new album rocks!
Dan Young: Good, thanks.
Tomas Henry: Alright, thanks. How are you?
Val Hunting: Worth the wait for us and you guys.

Zetalambmary: The name of the new record sounds like it is about resisting an established order. Can y’all explain the meaning behind it?

Dan Young: When you buy the album, the artwork contains a short message we wrote which is a distinction of the meaning as we see it.
Tomas Henry: For me, this is one of many songs I’ve written words for with difficult political and social views. On the first record it was the advertising industry’s insistence on creating cripples, either physically or mentally in the population. On this one I had all kinds of different thoughts, one of which is the way we are all full of opinions but spend most of our time yelling at the TV or computer rather than turning it off and getting on with the life outside our door as well as changing the world by the actions you show people how to be with each other.
Val Hunting: We all come up against disagreement in our lives whether it be political, social, personal etc. We all have to prove who we are in the face of that. This record would not have happened if we let the “disagreement” win.

Zetalambmary: How did Malcolm Welsford learn about you guys? Do you all think he did a good job on the new record?

Aaron Rossi: Malcolm produced a great rock record for Indicator Dogs. He used to be a drummer, so we got along really well in the studio.
Dan Young: Malcolm saw us play live and offered to produce some early works, which led to him doing our first record. We became close friends and he brought us all to LA for the second one. I think he nailed the production; he has a gift to feel and understand music spatially... and has a great ear.
Tomas Henry: I think this is the best record Malcolm has ever produced for us, he’s our bro and is in the dog family now. He was the biggest supporter of me coming back to the band and never lost faith in what I was capable of doing once he heard the songs in pre-production with the wood chipper (AAron).
Val Hunting: Malcolm saw that early on people didn’t get us and they tried to change us so he got involved. He knew that we were unique and it was best to let us be ourselves and evolve as artists. The music industry used to support artist development back in the day (unfortunately not so much now), and Malcolm understood that we needed that. I think this record speaks for itself in terms of the quality, both in the maturity of the music and also the production. I love our first record, but this is a whole new level.


Indicator Dogs - Zoo Keeper (8th track off "Anschluss")

Zetalambmary: This album smells so much of indie rock that if you guys go any more indie, hardcore indie rock aficionados will have to drill through kilometres of earth just to dig you all up. Why doesn’t Aaron’s industrial background from his Ministry days turn up in the songs of “In The Face Of Disagreement”?

Aaron Rossi: Ministry's music and style is night and day compared to Indicator Dogs. They're a band whose albums consist of mostly electronic elements and heavy vocals, whereas Indicator is a pure rock band with melodic singing. I suppose Indicator could add more electronic elements and samples, but that would just be weird.
Dan Young: Hehe...I'm down with that. (know what I'm sayin'). Personally, if I was on "Who Wants To Be A Millionaire" and I was sitting at 500k and the final million dollar question was: "The band Indicator Dogs can best be described as; a) Heavy Rock; b) Alternative Rock; c) Indie rock; d) Progressive Rock?"... I would pass & walk away with the 500k as I have no idea how we should be classified! As to Aaron and Ministry ... Aaron is an artist and plays for the songs.
Tomas Henry: Yeah, too close to the band to understand how to answer that too dude. I’ve heard it described as validly fitting into so many styles so, ahh! Sorry.
Val Hunting: I agree with Dan and I think our fans are smart enough to listen to a wide array of genres and be able to discover us. This isn’t industrial music so AAron was able to play differently. That style of playing has its place and AAron does it better than anyone, but he was able to bring more drumming variety to our record because it is a different style to Ministry.

Zetalambmary: On the first record, “Anschluss”, you guys had a much rawer sound as compared to the more radio-friendly sound of the second record, “In The Face Of Disagreement”. Do you all think that you have grown mellow?

Aaron Rossi: I think the band matured musically; the second album is proof.
Dan Young: Yes. I blame the fast cars and long lunches. This is definitely us in our best Sunday Threads. Seriously though, if you listen to both you will still hear the interesting time signatures & rhythms, but the second album is presented in a way to draw the listeners in. This album is more resolved, less conceptual.
Tomas Henry: The other thing to remember is there are two different vocalists on the initial release. You can listen to the original record with just my vocals on it and it’s a different experience. I know that sounds like I’m a wanker and it’s almost certainly true, but because most people don’t realise that the record seems somehow too heavy when Christian (who stood in for me while I was in hospital) yelled and scream-sang, and I yelled, screamed and sang along together too. So with our voices combined, it’s a lot of information to try and take in.
Val Hunting: I actually think that the music is heavier on this record, but the vocals are mellower.

Zetalambmary: The term “indie” can be a very difficult term to be used accurately. Certain “indie” rock bands like Death Cab For Cutie and Neon Trees have grown so famous that it is ironic how their fans still consider them “indie rock”. What are your views on this issue?

Aaron Rossi: I'm not familiar with these famous bands. I would think indie bands are bands on an independent record label. I've only heard the term "indie rock band", not "indie metal band", so it probably has to do with their style, not their status. To me, they're just rock bands.
Dan Young: I think it’s fun discovering a band and playing it for your friends. As to my views about success, I'm all for earning a decent living, and less about the fame.
Tomas Henry: Man, I just get up and do what I do and it’s the greatest thing in the world to make people have fun and feel their joy when you sing to them. I don’t think about some other fucker crying about his wealth and fucking houses; I just sing the songs and the company takes all my money.
Val Hunting: With the current state of the industry, aren’t we all “indie” these days? I agree that it’s a difficult term to use accurately. I remember when “indie” rock was [made up of] bands like REM, U2, STP, Nirvana and they all became famous as well from underground activity. I think “indie” is a term that really means, “the-record-label-will-eventually-catch-on-if-enough-people-think-its-cool” and do something about it which makes them more famous. I think this is what has happened to indie bands over the years, they build their fan base independently and then they get support from labels or investors. It has nothing to do with the style of music that is played or how famous they eventually become.


Indicator Dogs - Summer Storm (5th track off "In The Face Of Disagreement")

Zetalambmary: Do you guys strive to be as successful as them someday?

Aaron Rossi: For sure! We wanna be famous like those bands you're talking about.
Dan Young: Wednesday.
Tomas Henry: Refer to answer above.
Val Hunting: If you define success by money, then yes, Wednesday is good.

Zetalambmary: What are some of your all-time favourite records?

Aaron Rossi: Death - Symbolic. Rush - Exit Stage Left. Sublime - 40oz To Freedom. Slayer - Divine Intervention. Yanni - Live At The Acropolis. Maynard Ferguson - Live From San Francisco.
Dan Young: PJ Harvey - Stories From The City, Stories From The Sea. Fugazi – Repeater. Fugazi - End Hits. Refused – The Shape Of Punk To Come: A Chimerical Bombination In 12 Bursts.
Tomas Henry: The Cure - Kiss Me, Kiss Me, Kiss Me. Beethoven’s 6th, 7th and 9th Symphonies. Sinatra’s Christmas record. Bad Brains – Rock For Light. Bad Brains – Quickness.
Val Hunting: (Seriously, how much time do you have!) Fugazi – Repeater. Fugazi – 13 Songs. Kate Bush – The Dreaming. PJ Harvey – Dry. Kate Bush – The Dreaming. Kate Bush – Hounds Of Love. Mastodon – Crack the Skye. Mastodon – Blood Mountain. Vision Of Disorder – From Bliss To Devastation. Vision Of Disorder – Imprint. Skinlab – Bound, Gagged & Blindfolded. Girl Talk – All Day. Kronos Quartet – Phillip Glass String Quartets. Echo & the Bunnymen – Heaven Up Here… and about 50,000 more I didn’t mention.....

Zetalambmary: What about your influences and the musician each one of you admire the most?

Aaron Rossi: Jimi Hendrix.
Dan Young: Abstract painting. Prince.
Tomas Henry: David Turner, gut reaction and contemplation are wonderful places to create from. Handel.
Val Hunting: Dan and Tom influence me as well as the art of creating unique harmonies; the less travelled musical path. Kate Bush.

Zetalambmary: Had the North American tour with Killing Joke still went on as originally planned, what would have been the first thing each one of you would say or do to Jaz Coleman when you all saw him?

Aaron Rossi: Hey Jaz!!
Dan Young: Offer him one of Mama Rossi's cookies.
Tomas Henry: Give him a hug and tell how bad we feel for his band then ask him about some quantum string theory I've been thinking about.
Val Hunting: Tell him he could have Mama Rossi’s cookies but NOT the pumpkin or lemon slice.

Zetalambmary: Have you all ever thought of asking Dan to design a unique recording studio just for Indicator Dogs?

Aaron Rossi: Ya, we'll call it the Indicator Dog Pound.
Dan Young: Haha! I’m pretty sure I slept through Acoustics theory at university... but I know Tom and Val would bounce ideas off me for their Mansions.
Tomas Henry: Yes, and we have already talked at great length about such a thing.
Val Hunting: Of course, he would ace it with German precision.


"In The Face Of Disagreement" was released on 24th May, 2011 through Rocket Science Ventures.

Q&A with Richard Patrick of Filter

Filter, the 30 Seconds To Mars of the alternative metal scene, is one band that piqued the interest of many extreme metallers worldwide during fall last year. Their latest studio album "The Trouble With Angels" had its distribution in Europe secured with famed extreme metal label, Nuclear Blast!

Nonetheless, regardless of whether you are an extreme metaller or not, Filter's music will most probably still warrant at least a listen from most people. It is pretty easy on the ears, and the heartfelt clean singing from our dear interviewee here is what puts the "alternative" into the metal for them. So without further ado, let's have a little chat with Richard!

Zetalambmary: Hello there Richard, pardon us for asking this a tad bit too late, but is there any significance behind the band’s name?

Richard: The band’s name “Filter” came from just the overall functionality of the brain. Everybody’s brain is a filter.

Zetalambmary: You used to play guitar in NIN. After so many years, have you ever regretted leaving NIN and setting up Filter?

Richard: Nope! I quit that band and never looked back. I had a blast when I was in it but I just never felt comfortable in that situation.

Zetalambmary: Do you feel that you have matured in any way with Filter over the years?

Richard: I think everybody matures. I think every band matures. I think it’s healthy to explore. Have you ever thought your writing has changed as a journalist?

Zetalambmary: Have you ever considered dabbling in noise music?

Richard: Yes! I created my children! They take every musical instrument I have and make tons of noise. They are the best and they will kick ass over any other noise band in the world.
That is a challenge, world!

Zetalambmary: So “The Trouble With Angels” is indeed a heavier album than “Anthems For The Damned” as you promised it would be. Is it a sonic representation of your frustration at anything while you were recording the album?

Richard: I had a blast on that record! I can't wait to do a little tour over there in Europe. I hope it leads to greater things.

Zetalambmary: Based on earlier interviews you have done, the lyrical content of the latest album seems quite eclectic. I mean, it ranges from touching on the friction between Galileo and the Church to talking about your intoxicated past. Is there an overarching theme linking these lyrical subjects together?

Richard: You've gotta speak your mind. It needs to come naturally...
I'm actually getting to a point where I want people to take what they want from my lyrics, and for me not to give it all away…

Zetalambmary: News has it that you have been working on new songs for movie soundtracks again. Do you constantly work on movie soundtracks so as to gain more exposure for Filter?

Richard: Yes, I'm actually writing a movie right now. It's so much fun.

Zetalambmary: Ever considered acting in a movie instead of making music for it?

Richard: Acting is fun, I love acting. I'm going to continue to do it all!

Zetalambmary: Do you see yourself working together with fellow Rocket Science Ventures label mate Clown from The Black Dots of Death in the future?

Richard: As long as I'm on the bottom! ;)

Mmhmm.

Zetalambmary: Nearly 9 years have passed since you successfully completed rehab. How were those 9 years without alcohol and drugs? Do you still feel the urge to smoke or drink these days?

Richard: Thanks for noticing! Not until September 28th is it 9 years. I am so fucking done with drugs and alcohol. It is sometimes hard to remember that I was that guy. I love being sober.

Bullet For My Valentine: Fever

Year released: 2010
Website: www.bulletformyvalentine.com, www.myspace.com/bulletformyvalentine
Label: Jive Records (a unit of Sony Music Entertainment)

Tracks:

1. Your Betrayal [4:52]

2. Fever [3:57]

3. The Last Fight [4:19]

4. A Place Where You Belong [5:07]

5. Pleasure And Pain [3:53]

6. Alone [5:56]

7. Breaking Out, Breaking Down [4:04]

8. Bittersweet Memories [5:09]

9. Dignity [4:29]

10. Begging For Mercy [3:56]

11. Pretty On The Outside [3:56]
__________________________________________________________________________

“Fever” is the third studio album released by the Welsh metal band, Bullet For My Valentine. It was released on 27th April 2010 in the US. Since then it has risen to debut at #3 on The Billboard 200 and #1 on the Rock and Alternative Charts, making it the most successful BFMV record out of the three, the others being “The Poison” and “Scream Aim Fire”.

Listening to the record, it is easy to see why; Fever is comprised of 11 songs, with a mix of infectious and catchy riffs, anthem-ish rhythms, both upbeat and slower songs with tinges of Matt’s screaming giving the whole album that edgy feel, there’s something for everyone. The sound on this album is definitely more calculated than that of The Poison with “a crisp, clean production where every note is experienced.” (Noisecreep). Looking in terms of the band’s individual skill, the more complex riffing progressions, guitar solos, and unusual breakdowns and layers makes it obvious that each band member’s skill is improving. As usual BFMV pulls out another record of high quality, and depending on how well they continue to do, they could be en route to being a future classic of the metal arena. Although they have improved, I can’t help noticing that the band has however toned down the screaming compared to their debut album, “The Poison”. The screaming on the title album now serves mostly to accentuate and not as the main medium of singing, a slight downside for me.

The first song and also their single, “Your Betrayal” is possibly one of the best openers I’ve heard in a long time with the first 1:20 of the song serving both as a superb build-up as well as showing off the skills of the drummer (Michael Thomas) and the guitarists (Matt Tuck; Michael Paget).The progressive layering together with the first line of the song when Matt whispers ‘Am I going insane’ runs chills up my spine and the other whispered parts also serve to a great effect a contrast to Matt’s screaming. All in all, it’s the little details (like the bass slide at 2:33) that make this song outstanding, and it really sets the tone of the rest of the album. A noteworthy song (hah, noteworthy) is ‘Dignity’, because this is a song that I reckon more screaming would really suit it, especially at the part where the lyrics go – “Don’t push me because I won’t go quietly”. But then again this is still a good song, with a well-placed guitar solo that shows BFMV is still a band that doesn’t hide its skill and pugnaciously shreds for the world to hear.

Morbid Sweethearts: From left to right - Matthew 'Matt' Tuck (Vocals, Guitar), Michael 'Moose' Thomas (Drums), Michael 'Padge' Paget (Guitar), Jason 'Jay' James (Bass Guitar)

Another song that caught my attention is “Begging For Mercy”. This song was available to the public as a free download prior to the album’s release, and it features much more screaming than the other tracks. This is one of the few songs on “Fever” that shows Matt has not lost his edge since “The Poison”, which is probably his way of gratifying the scream-starved metalcore fans awaiting for BFMV’s return to harder songs. Since this album features a lot more singing than “The Poison”, it is worthy to note that Matt’s accent becomes apparent here and it might sound strange to listeners of mostly American metalcore. An example would be his accent giving the ballad “Bittersweet Memories” a ‘flat’ tonality. The closing song “Pretty On The Outside” is a really good song with very good energy, rapid-fire screamo parts, and sorrow-filled chugging guitar riffs that ensure most listeners would remember what this album was all about.


BFMV is back on track: Heavy, fast, infectious

Fans of “The Poison” will be glad with the reversion to a similar style after the departure from the forgettable sound heard on “Scream Aim Fire”. Matt explains that this album was intended to return to the formula that created “The Poison”, but with greater experimentation with sounds and techniques he never tried before. This album finds an interesting mid-ground between “The Poison” and “Scream Aim Fire”, highlighting the aggressiveness of the record with greater technical detail and embellishments, leaving listeners to look forward to the next BFMV album. Personally, I feel that this album does succeed where “The Poison” never did, and that is its dynamical sound. It seems to me that with their accumulation of better techniques gained through musical experimentation, BFMV will definitely be capable of throwing out a truly epic album sometime in the future.

Verdict: 9.3/10

Written by guest writer, Low Yi Ming (edited by Shadori).

Song Of The Week: Destrophy - The Way Of Your World

It's all been done before and
No one can listen to anyone's answers
They're drifting farther everyday
And they say

“We hold our hands to block the sun
We blame the light for what we’ve done
We look away so We’ll forget what We’ve become”


First take what you want
Then you throw it away
- This is the way of their world
Don't know what you've got
Until it's taken away
- This is the way of your world

When the night falls you know who you are
And you cast reflections as the mirror gathers rust
“It’s so safe and lonely with you”
Lovers ripping in two
Grind away ‘till nothing’s left
There’s nothing left inside

First take what you want
Then you throw it away
- This is the way of their world
Don't know what you've got
Until it's taken away
- This is the way of your world
Your lives will fade before their time
And you’ll never say goodbye

The end of all the things you know
And all of what you can be
It’s fading fast before you

What we want, we are.

Ah, another solid metal band to add to Victory Record's roster of diverse musicians. Formed in 2002, this Iowa "melodic metal" band is certainly radio-friendly.

As they themselves have said it during an interview in VictorV Episode 51, they are basically a band that plays heavy stuff yet throw in poppish-sounding choruses that are easy to get hooked on as well. Well, not like most metal fans would be complaining anyway (me included). If you were to ask me to choose between, say, Dead By April and them, I would definitely choose them. I mean, sure, they both have poppish-sounding choruses, but Dead By April's poppish choruses just sound a little too whiny for my own liking. Destrophy's style of poppish-sounding choruses on the other hand, are just right, and in fact, they remind me of those old metal bands whom utilize group vocals frequently throughout the entire length of their songs.

Heh, I wonder if they did it on purpose to get some airtime on radio, 'cos that was definitely a tried-and-true tactic for popular metal bands of the past.

Destrophy is certainly a blast of fresh air to any metalhead who follows Victory's metal roster, because they are probably the only damn band in there who utilizes such catchy clean vocals. I am definitely one of them, they are a good break from deathcore and melo-death bands. Did I mention that Ari, their frontman (picture on top) is also one of those rare guitarists who can actually play half-naked during live shows? Yeah, look at his buff physique (*whistle*), that is the very good reason he has that many other of his peers lack to do so during live shows :P. So not only do Destrophy have a radio-friendly sound, they certainly have eye candy in the form of a frontman with the body of a Greek hero too. Man oh man, Petri Lindroos must feel so envious! Oh yeah, I personally thinks he resembles Hugh Jackman too.

Heavy Candy: From left to right - Phil. T (Bass Guitar), Ari (Vocals/Guitar), Bruce Swink (Guitar), Joe Fox (Drums)

All in all, Destrophy would be another good band to check out for this year. I especially recommend them for fans of alternative rock, or nu-metal. Fans of Five Finger Death Punch, Linkin Park, Korn, Papa Roach and the likes should like Destrophy's music. They are currently on tour with Type O Negative and Otep, and this is not related to this week's post, but check out Destrophy's fellow label mate, Otep, too. She's hot for a goth-makeup sporting, and heavily tattooed industrial metal musician. B-D

Alright, here is the awkward and time-wasting moment at the end of each "Song Of The Week" post when I try to come up with as many words as possible just to fill up the empty spaces left before this paragraph extends below that last picture used (in this case, the one on the right of Bruce Swink). Awesome, I just went below him, time to end if off here.

Song Of The Week: H.I.M. - Killing Loneliness

HIM - Killing Loneliness (Version 1)

HIM - Killing Loneliness (Version 2)

As usual, I am very late in putting up amazing songs up for this section of the site.

This is one of my all time favourite alternative metal/rock songs, 'cos it is just so darned emooo. Thrashes most of those indie emo numbers you see flooding the mainstream music market everyday I would say.

From the opening few notes from the soulful keyboard, to the uncouth but sorrowful entry of the electric guitar, the first few seconds of this song already strikes one so hard in the chest, that your breath is simply taken away as you are led hypnotically and helplessly into the pits of melancholy dug into your own heart by this HIM masterpiece.

As most of you should have realised by now, Finnish metal bands really are a class above the metal bands of other nationalities, probably thanks to their superb education system (one of the few in this sad world that actually promotes creativity rather than stifle it) , and even then, HIM is one of the more popular bands amongst this elite group of musicians in the metal world. They were the first Finnish rock band to achieve a gold record status in the USA (by the way, many people consider HIM a rock band, but I consider them to be metal since the band thinks so themselves, as evidently seen by the 2003 album name "Love Metal"), and that means being the first among an amazing group of musicians to sell 500,000 copies of their album in a foreign land. In fact, the album that gave them this breakthrough in the USA was 2005's "Dark Light", which contained the song of the week I am relentlessly praising at the moment, 'Killing Loneliness'. It was a single off that amazing album, and anybody who just listened to it for the first time a moment ago should really see by now why that album was so popular a few years back.

One reason why such alternative metal songs can manage to sound so melodic even with the punctuations of the ugly electric guitar riffs every now and then, is because of the wondrous inclusion of the keyboard. Without the keyboards, there would possibly be no such thing as a metal ballad, because unlike pop ballads, metal ballads do not rely solely on the vocalist's voice to bring out the emotions intertwined with the lyrics. They rely BOTH on the vocalist's voice and instrumentals to collectively bring out the emotions in the song, of which the electric guitars are definitely out since they are the ugly kick-ass fronting instruments of metal that were not bred for such gentle tasks. The keyboard, is the key to bringing out the colours in an otherwise black and white world of distorted melodies and heavy drum beats, and it is only when a keyboard is included in an emotional metal song can it be truly called a metal ballad. Although there are a few exceptions, such as Children of Bodom's 'Everytime I Die' from their album Follow the Reaper, which is considered a metal ballad by Zen even though the electric guitars sound more pronounced than the keyboard.

Our Infernal Majesties: From left to right - Janne Puurtinen (Keyboard), Mikko Lindström (Guitar), Mikko Paananen (Bass Guitar), Mika Karppinen (Drums), Ville Valo (Vocalist)

That's all for today folks, if you are feeling suicidal or downright depressed, don't fret, HIM is here to emo your way out of it. Watch and listen to the music videos for this song of the week above, and follow the lyrics at the same time if you can to experience the song in the best way possible. Kill some time (and perhaps loneliness) while you guys are at it yeah, life often moves so fast that we barely have enough time to stop and admire the beautiful things around us before the little flame of existence that is each and every one of us is extinguished mercilessly one day.

Song Of The Week: Silverstein - Vices

Finally, my favourite post-hardcore band for the past 4 years make an appearance on Zetalambmary! :D

Silverstein, the Canadian quintet has made quite a name for themselves on the indie punk scene ever since they formed back in 2000. Revitalising a dying scene with their fresh, earnest take on independent music, this band has been successful in fusing emo, hardcore, and alternative rock tunes into what I would call 'Stein-mo' for nearly a decade now. This week's featured song by them, "Vices" is the first single off Silverstein's 4th studio album, released earlier on this year at the end of March.

When the first few seconds of this epic roll in, any good ol' 'Stein fan can instantly tell that this band has finally matured into something more. Something darker. Something a wee bit more sinister. Something insinuating towards... M-E-T-A-L. Showcasing a very different kind of raw energy on this song compared to the previous few singles from their previous albums, Silverstein is now balancing on the tightrope separating indie hardcore punk from alternative metal, teasing the rope by bouncing gently on it on a few occasions, sometimes even nearly giving in to temptation to jump on it. I haven't heard the album of "A Shipwreck In The Sand" in its entirety yet, but from the sound of the single above, if the rest of the album is like that as well, this would be one of the occasions where Silverstein is boldly jumping on the tightrope, almost daring themselves to push it to its limit until it snaps. Lyrically emo at heart, Silverstein's lyrics are typical indie punk lyrics though, dealing more with human emotions and conflicts with the usual tragic love story thrown into the midst of the lyrics as a story device, or just plain rebelliousness as heard on their first studio album, "When Broken Is Easily Fixed". The song names and album title usually don't really have any synergy.

These outstanding Canadian hardcore rockers are: From left to right - Paul Koehler (Drums), Billy Hamilton (Bass Guitar), Shane Told (Vocals), Josh Bradford (Guitar), Neil Boshart (Guitar)

However, they have finally started to experiment with a conceptual album, and so came along "A Shipwreck In The Sand". Just a note of interest, conceptual albums are usually done almost exclusively by metal bands (e.g. Mastodon, Kamelot, Amon Amarth), and it is indeed very rare to see a post-hardcore band do one. Also, Silverstein's instrumentals have become overall more thunderous and foreboding, as evident from the intimidating opening of thudding drum beats and the reverberating bass line, and even the twin guitar melodies has sped up significantly while remaining capable of dishing out melancholic tunes, bearing a huge resemblance to common melo-death songs. Best of all, vocalist Shane Told's harsh vocals have improved tremendously, as they sound more aggressive yet polished instead of the previously angsty scream-growls that were much more unpolished in comparison. Oh yes, Shane's mellow clean-singing is still in tip-top condition and ready to solicit tears from the eyes of girls, and it really balances out the overall feel of the song by acting as a sort of counterpoint to the angsty, screaming alter-ego of Shane.

This brings Silverstein's unique brand of hardcore to a whole new level, which creates more room for them to experiment with their music in future as the doors to the varse kingdom of metal are now thrown wide open, ready to receive them with warm, molten steel.

All in all, this song is aggressive and gritty, yet pleasant to the ears with the combination of infectious clean vocals. This would be another nice song to warm anyone up to the genres of post-hardcore and metalcore.