A Genetic Hoax
by Social Suicide
Released: 04/30/2012 |
Label: Brilliance Records |
Two years have passed. Back then, we were anxiously waiting to see whether these kids would fall prey to the entropic Kerrang! eating masses, or if we'd see something more. I've been playing this record for some weeks now, and the trajectory of the album's taken definite character, with each song carrying particular warmth and shape. In a nutshell, this album proves these kids are turning into something big.
There were days I couldn't listen to A Genetic Hoax. Not because of the quality -- but the pace. Once it kicks in, it's full throttle pit-whirling movement. No song goes far past 3 minutes, quickly bleeding into the next. Memories came flooding back, certain riffs dispersed in the record, even those filler hardcore ones, got me spinning back to days when I relished Jane Doe or We Are the Romans over and over and over. Know every part by heart. The nostalgia Social Suicide bring forth is a welcome one, with an appreciation for hardcore youngsters like these. These are clear-cut songs. It might not be apparent at first by it's intensity. Sure, there's the occasional lull of repetition -- but that's normal of any band branding a style, let alone a style in such a confined genre. It is after all, only their second album. Most importantly lays wherein this record; actual songs.
What further struck me was the song title to Track 6, "A Ghost Returns". This album is a crystal clear return of one ghost I'd say: the ghost of Silver. The album has Tommern Jubb, aka Amy Jubb, aka Tommy Silver, aka Turbonegro's latest member--'s production paws written all over it. Track 4, "One Tragic Victory" particularly honed into his style. This would be the music he knows best. The intrepid snare catching half a millisecond early in such a persuasive, pounding thud it's like a cheerleader screeching to everyone else in the room that the green light's on. This album is ballsy, with guttural vocal lines paced in lieu with melodies. Every time I think, or hope, or pray, please don't let this part go all Evil E(mo), I'm relieved. It never crosses that line, instead, turns back around and closes perfectly in on itself with tempered, thick guitar riffs and a good sense of structure. It's a fine line that makes hardcore bands the ones you remember, who give you that breathing space to understand what they're saying or after ("Justice Goes Asleep" definitely has that anthemic nature)-- and then the immature songwriters who figure hammering your head with overly dexterous finger-picking will somehow accomplish something. "Formative Destruction" is another well-crafted tune, that never goes overboard with singing-sympathy. It sticks to the program. The whole record pretty much sticks to the goddamned program.
Listening to how Social Suicide have matured on this record reminds me of the first time seeing Silver in 2004, at a Turbojugend fest in Hamburg, actually. A performance forever marbleized in my brain. There's some Nordic purity and clarity in angsty boys hovering over every note that makes them unique and beautiful. Their execution is like they've studied their idols long enough to figure out what makes a real band. This ain't in the alternative or old school hardcore category. You might not necessarily see them edging up or crusting away. It's a modern rendition of an overmodernized scene. It's got that translucent production vibe, monster rock riffs at racer speed. Hardcore single of the year? Listen to Track 2, "Fatal Forms of Infinity" and tell me otherwise.
Tagged: social suicide, tommy akerholdt
