Artist: Heartist
Album: Nothing You Didn’t Deserve EP
Genre: Post Hardcore
Label: Roadrunner Records
To be honest, I only recently heard of Heartist.
They were recommended to me by a friend so I decided to check them out.
I can see that these guys have some good potential. They certainly have
not gotten there yet, but they have all the elements to be memorable. I
had the chance to sit down and listen to their debut EP Nothing You Didn’t Deserve.
In the first song, “Disconnected”, there are definitely some moments
when his voice reminds me a little bit of Cove Reber when he sang in
Saosin. Aside from that, he showcases a strong vocal range. The same
goes for the unclean vocals. They’re strong throughout this track as
well as the rest of the album. I’m just not a fan of a few of the
verses.
The title track, “Nothing You Didn’t Deserve” is easily my favorite.
I’m sure they made sure they put their best foot forward on it as it is
the title track. I feel like if they put this effort in every song they
would have easily gotten a 5/5 out of me. This track sounds like it has
most of their passion, most of their energy.
My biggest complaint about this album are the lyrics. Some of them
are pretty good, but a lot of them sound cheesy to me. I think if that
is the one think they focus on for a future release they would put out a
significantly better album. With all that being said, I enjoyed
listening to the EP. The vocals are great, but the rest of the elements
don’t really stand out as much. I would recommend it for anyone who’s a
fan of hardcore/post hardcore music.
SCORE: 6/10
Review written by: Kriston McConnell
Stone Sour’s House of Gold and Bones (Part 1) has
all the hallmarks of an event, but somehow it feels like a non-event.
It’s a fine record, but not in a showy or extravagant way – rather, its
cutting, clinical precision is what gives it an air of accomplishment,
neither excessive nor modest but dead on the mark. It’s as if the band
conceived of each song in its entirety and moulded them carefully
together to create something just as proficient in its full form. It is
both stirring and profound, harbouring light beneath its darker moments
and backhanded bile for all its emotiveness.
The mixture of tracks is particularly commendable. There are plenty
of riled, aggressive anthems designed to raise the hackles and get a
crowd going, but there are a surprising number of more wounded,
heartfelt, even intimate tracks here. They contrast with the raucous
splendour of the solos and offer a more human series of moments to
counteract the will and domination of the heavier songs. Leading the
fray, Corey Taylor’s vocals are as sharp and precise as the band’s
music. He has the power to enliven a faster track, instil mayhem and
malevolence in the surging guitars, and yet possesses a kind of broken
frailty that brings real pathos to the slower moments. Best of all, House of Gold and Bones seems to be a grower, with repeated listening doing much to unveil its hidden glories.
The opening group of tracks set a temperamental, fearsome pace in
motion. “Gone Sovereign” is ballsy and confrontational, with an oddly
jubilant feel to its overture. The chorus spurs the song to come into
its own, adding a gnarly toughness with the upsurge in tempo. This is in
turn enhanced by the solos, which are drastic and wilful and give the
song a real spark. “Absolute Zero” turns things up a notch again. The
breakdowns are slick and cutting, with an enthusiastic beat and more
excellent guitar work adding much to its fervour and appeal. It’s
effective, commanding rock, rooting itself firmly in the conscience and
building relentlessly to its conclusion. “A Rumor of Skin” can sound
forced, but it’s forced in the most wonderful of ways. It’s likeable and
invigorating, zealous in its pursuit of power and potential. The lyrics
here are particularly striking – there’s a kind of reckless abandon to
Taylor’s singing, with the dominance of the music serenading his
aggressive resolutions with twisted glory. What’s perhaps most
surprising about this opening series of tracks however is how generic
they tend to sound. They’re easily accessible, widely engaging, and have
a distinctively popular appeal. The balance of power and meaning gives
them an edge, which the band capitalise on with their slower tracks.
The two-part “The Travelers” is a tender and heartfelt odyssey. Both
parts are simplistic in sound and very stark for their vulnerability.
The first part sounds quite saddened at times, yet it’s neither
defeatist nor deadpan. The guitar and words evoke a light spark of
hopefulness and Taylor never sounds quite resigned. The music ponders
amiably until it fades out on a series of piercing whispers and
harangued strings. The second part picks up several tracks later,
immediately revoking the tone. This part is strangled and put upon,
bearing some burdensome weight that it struggles angrily to shuffle off.
Its piano work is intricate; the instrument a sullen, grim presence to
underline the difficulties derided in the words. “Taciturn” is also
worthy of mention. Taylor is alone and emotive, the need and pleading in
his voice both tangible and affecting. The instrumentation is reserved
at first, though as the vocals become increasingly harrowed, it erupts
in something raspier, demanding, and demonstrative. The solo in
particular is redolent of the sentiment in the lyrics, and as the song
fades out the music retreats into a calm, methodical sway, accompanying
Taylor with dignified grace.
House of Gold and Bones may be the finest thing Stone Sour
have done, particularly if the second part (due early next year) lives
up to the fine precedent set by this one. A consuming and compelling
work, it deserves to rank among the year’s best.
SCORE: 9/10
Review written by Grace Duffy
