Hardcore music shows us the paradox of the individual and the group. The more individualistic someone is, the more they want the group to like them. But to do that, they need to fit in, even if being ironically “different.” This phenomenon ate up hardcore music as former anarchists found out that soliciting support for their bands was a lot like, well, capitalism and politics.
Since that time, stretching from the dawn of the 1980s to late in that decade, hardcore has been contorting to find a new voice for itself. The best candidates came out of the late 1980s post-hardcore bands, who essentially “got postmodern” by deconstructing music into lots of simple bits put together into something bigger. But instead of becoming complex, it became disconnected, dissassociative and chaotic.
After that point, and the onslaught of grindcore, hardcore headed further into the breakdown model. How chaotic could something be before it fell apart? In the late 1990s, they reinvigorated the genre with a dose of metal, which gave it more complex riffing, but still the songwriting aspect of this new genre was elusive. One reason some bands around here get praised is that they’ve tried to make songs coherent again.
Into this drops Antigama, who use the techniques of the current time but are trying to get back to the punk ideal of simplicity. They use the math-metal slash “progressive hardcore” (emo/indie) riffs as much as the next band, and they feature the frenetic vocals that match eight syllables to each beat and stay slightly ahead of the beat as if commanding it like propaganda through megaphones. However, these songs are at heart very much in the classic hardcore vein of verses and choruses and, when a point has been established, some kind of break (not breakdown) before repeating.
The problem is that the “collage” mentality afflicts them still. Under this mentality, it’s bad to have too much focus on any one thing, but better to be open to everything. Thus you mix it all in your music, throwing in as many radically different things as you can to maintain high contrast. Antigama do this more as the album goes along (was this written in studio?) tossing in bits of hard rock, jazz, blues, and other genres.
The first half of this album is really the part to listen to, which is some good and focused hardcore dressed up as metalcore (the hybrid of metal and hardcore that focuses on high contrast through abrupt changes to unrelated riffs). If this band thought through this situation further, they might pick up where hardcore left off actual experimentation, and try some more complex but structured song forms or more articulated riff styles.
Like most record reviews, this one is essentially a “it’s good if you like this style.” This means the band are competent, but when dialogue is about style only, it means that the content wasn’t there enough. What did this record express? Better than average participation in metalcore by a band that should’ve written hardcore music instead and completed the album before getting into the studio.
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There have been many publications written about black metal, in an attempt to understand a difficult and enigmatic genre. Most focus on either the musical style of the genre from a historical viewpoint or on the ideology and views of the genre – including the illegal actions taken by a few energetic participants.
