NIGHTS LIKE THESE: The Faithless (God City version)

Nights Like These, in case you aren't familiar, was a band from Memphis, Tennessee from roughly 2003 until 2008 or so. I had the pleasure of doing a tour with them in the summer of 2006, right when this album was being released on Victory Records. Well, not this exact album, but these songs. I'll explain later.

Anyhow, they started the band when they were 14/15 and had been playing and continually refining the same set of songs since the inception of the band. When you listen to the tracks you can tell where they could have been written by younger kids due to their overall simplicity yet played with perfection due to constant fine-tuning and re-working. This album is a culmination of a few years of presumably hard work.

As for why I referenced earlier about this not being the EXACT release on Victory Records ... that is because this is an alternate version of the album that was actually released to the public. The band had self-funded this full length offering and had the intentions of self-releasing it until Victory got their hands on it. Victory told them they wanted to release the album but that this recording was too "raw". Keep in mind this was 2006 and being gritty and raw or whatever wasn't quite accepted in "mainstream" hardcore. Converge worship wasn't quite in full effect yet. Oh, the glory days. I digress.

The story goes that Victory sent the band back into the studio to "fix" the old recording by making them completely re-record it. It features the entire album plus two new tracks: "Ghost Town Ritual" and "Eternal Tempest". Oh yeah, and Victory presumably made them change one song name from Eggbeater Abortion to Memento Mori. This album was laid to the wayside never to be officially released. I promised the guys I wouldn't leak it at the time, but I'm thinking 4 years down the road and now that they are essentially disbanded that it would be OK. Either way, this album rules. Not that there is anything wrong with the version that Victory released, but whenever you play the two side by side there is an obvious champion.

To no discredit to the guys in Nights Like These, the first thing I told them after seeing them on the tour we were on together was that they sounded EXACTLY like Premonitions Of War (a huge compliment in my mind). Not a single person in the band had ever heard of them (SAME LABEL!). While I was mildly blown away at their metalcore ignorance it made me like the band even more due to the fact that they weren't blatantly knocking anyone's style off.

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Quick story ...

I am planning a trip to Long Island to see the Disembodied/Monument To Thieves show on October 22nd, so I took a trip to the Facebook event page for the show. There was a small batch of kids who were all demanding that Path To Misery play the show. It was only one comment with 6 "likes", yet I was still shocked at the fact that people who I have never even met (in a city we've never played before) are being supportive of my band. I will ALWAYS be humbled whenever people who are not my friends are into my musical projects. The last thing that any of my bands are about is to please people, so whenever it happens on accident ... I am truly grateful.

Something about this simple gesture made me realize that there really are kids out there who truly believe in what this band is about and does. My friends try to convince me of this from time to time but I always tend to blow them off for some reason or another (because I'm assuming they're only saying it due to being ... well, my friends).

My point is that as much as I am sure to not act like it ... any support that this band has ever gotten is appreciated more than probably any band has ever appreciated support. (Although that may be false considering the immense gratitude I received from Between Earth And Sky for the write-up I gave them). I know that this band has quite a controversial past and continues on in that tradition even when we're not playing shows, however, this is the ENTIRE purpose of the band. Path To Misery was created solely to try and call into question subjects that often-times go unobserved within the hardcore scene. Whether I'm questioning something as serious as the outlook that humanity commonly holds against the rest of the world that it is surrounded by or something as menial as the manner in which people conduct themselves at our shows, I say what I say and do what I do for a reason: to make people think and question themselves. I call myself out more than I do any of you ... so just take it like a man and keep moshing.

At the end of the day, I just want you all to know that I love you all.

Speaking of anonymous "fan support" that makes me feel warm inside ... here is a video someone filmed of us from the last show we played opening for Earth Crisis and First Blood in Altoona back in April.

BETWEEN EARTH AND SKY: New Songs

I figured since I'm not going to be going through the process of ripping and uploading any music until I get some reciprocated love from my readers that I would take the time to promote what is my absolute favorite new hardcore band of the past several years: Between Earth And Sky.

While the band is most notorious for featuring Greg Bennick from Trial on vocals, let me elaborate on the past projects of the other members. Two other members have also spent time in Trial. The bassist of Between Earth And Sky, EJ, as well as the drummer, Alexi Rodriguez, are no strangers to Trial. In fact, said drummer has also spent time in Catharsis. To top all of this off, the two guitarists of the project have partaken in By A Thread and Strain amongst a few others. If that isn't an impressive enough resume I don't know what would be.

Keep in mind when I say this that Trial and Catharsis are obviously two of my favorite bands of all time ... Between Earth And Sky is every bit as poignant as the projects in which have preceded them. The lyrics are obviously top notch considering the pen in which they're flowing from. According to their band bio, a strong influence amongst the project (and presumably lyrics) come from "the writings of Ernest Becker and Samuel Beckett". Furthermore, the band describes their music as "delv(ing) deeply into irony by attempting to use powerful, fast, yet melodic hardcore songs with insightful lyrics in a vain attempt to unravel their anxiety about the inevitability of their demise." I'm using quote a lot because I can't describe things better than Greg Bennick can.

That being said, the band has two songs posted online. One track, on their MySpace page, is a shorter track which gives only a small glimpse into the full potential of the band. The song, Of Roots And Wings, however, that is featured on their BandCamp page is a true indication as to what the band is capable of. Obviously featuring strong similarities to Trial and Catharsis, the band also takes a more melodic approach, often times even bordering on an improved take on what Refused was going for on their final full length.

At the end of the day I feel like I'm not doing this band justice through my descriptions. Go to the links and allow the music and lyrics to speak for themselves. They have an EP coming out sometime in the near future on Hell Fish Records in the US and Refuse Records in Europe. Keep your eyes and ears open and be sure to support this most sincere of projects.

ONE 4 ONE: Seven Year Cicada

As many of my faithful readers know, I'm quite the fan of discography posts. In this case, however, we are going to focus on a specific album from the band One 4 One. Primarily playing between the years 1994 and 2000, One 4 One established themselves as one of New Jersey's most reputable hardcore bands. Playing their first show (with Bulldoze) six days after forming, the band released their first demo in the summer of 1994, followed shortly after by the I Won't Lose 7" in 1995 on RPP Productions out of Belgium. Rick Ta Life at Back Ta Basics Records would release their debut full length entitled In Search Of in 1996 followed with an EP out on Time Served Records in 1998. The album we will be speaking of today, however, is the Seven Year Cicada which was released on Triple Crown Records in 1999.

While I'm definitely into all of the material released by this band, this final full length is the only album which I feel is worth posting to this blog for the sake of it's originality. For whatever reason, the band publicly disses their own work on this album, going as far as saying that they are considering mass hypnosis in order to cover up the remnants of this album. After a bit of CD layout research I managed to put together the fact that the entire line-up had moved on by the time of the release of this disc. Only the vocalist remained for this final recording and I'm sure some sort of strange feelings are tied in with this disc.

All of that being said ... this album is nearly perfect. While I will admit that the intro to the album is a bit dramatic and possibly overdone, the fact is entirely irrelevant as soon as the first track kicks in. The title track, Seven Year Cicada, literally is one of the most powerful songs I've ever heard put to tape. The opening riff is beyond words, in my opinion, and I fail to find anything worthy of comparing it to. The only thing I can possibly say is that it has a strong Arkangel feel to it while completely blowing away the previously mentioned band. Keep in mind this is coming from one of Arkangel's biggest fans of all time (yeah, I even kinda like Hope You Die By Overdose).

One 4 One seamlessly transitions into the next track which somehow manages to sound like a cross between Walls Of Jericho's debut LP combined with Every Time I Die's Burial Plot Bidding War EP. Don't ask how or why this comes to mind or is even remotely possible ... but these guys somehow managed to pull it off a few years before either of the bands I just compared them to did it. Dare I even say that Keith Buckley from ETID got his entire vocal stylings from this CD ... who knows? Crazier things have happened in the world of hardcore.

The album layout actually fucks up at this point (a true staple of this era in CD layouts) and starts giving out wrong song titles. Whatever you want to call track 4 (it's actually called Fire Walk With Me) ... it is every bit as punishing as anything Converge wrote in the 90s. Bringing to mind certain tracks from the When Forever Comes Crashing album ... this track somehow manages to knock-off Slayer in a completely 90s metalcore sounding way. This is the kind of music that I live for.

While the album was never released on vinyl, the songs that WOULD serve as the B-side are still great songs but are placed where they are for a reason. While the track What Went Wrong is one of my personal favorites, it is an older compilation track that was simply spiced up a bit for this full length. The band jumps right back into their own uniqueness however with the track When The Walls Were Closing In that opens up with a bit of an homage to the NJHC scene that produced them via an opening rap bit that would make even Ant Money proud. Tomorrow's Dawn (track 7) opens up with the infamous "When there's no more room in hell..." line from Dawn Of The Dead ... that is all that needs to be said about this track.

There's literally not enough I could say about this album to sum up my feelings on it. I'm completely dumb-founded every time I listen to it in the sense that this formerly bland NJHC group somehow managed to pull together these songs which would essentially serve as precursors to what would be the styles in which many of the biggest names in hardcore and metal today would eventually get their starts from.

Once again ... the opening riff to this album (and the entire song structure) ... holy fuck.

I'll let you know if I ever get a hold of these guys and ask what the hell they have against this album. I would also kill to know what all of the musicians who were brought in for this album went on to do musically after the dissolution of One 4 One.

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JIHAD: Old Testament

Jihad was from Kalamazoo, Michigan. They were around from 1994-1997 and released quite a few legendary 7"s alongside a monumental split LP. The music is hard to describe in any word other than "intense". There weren't really any bands playing this style prior to Jihad and there most certainly hasn't been any bands since Jihad to play anything remotely similar. Unless, of course, you count the bands that the members went on to form after the dissolution of Jihad. Even in the cases of Quixote and Sealucky, the bands took on a lighter indie rock direction and failed to incorporate the intensity found on Jihad's recordings.

The band released a discography CD of sorts in 1996 called Old Testament on the bassist's label, Makoto Records. It included the God's Forsaken People 7", the split 7" with In Ourselves, the split 12" with Ottawa, most of their comp tracks and a live recording of their set from Cleveland Fest 1995 (which fucking rules).

The Old Testament compilation CD was released simultaneously alongside a 7" of new material entitled "New Testament". This would prove to be the final recording before the band dissolved in 1997 right before they were scheduled to play the infamous Pittsburgh Fest of the same year which featured performances from Four Hundred Years, Puritan, Braid, Quixote, Judas Iscariot, and the infamous Rent America set with the worm temper tantrum.

As stated previously, the "discography" disc only included MOST of their compilation tracks. The one track it didn't include for whatever reason or another was the Longbow Project compilation 12" put out on Longbow Records (a close acquaintance of Makoto Records). I took the initiative to include a vinyl rip of this track as a special Path To Misery Blog bonus track to the Old Testament discography CD. I also chose to include scans of the God's Forsaken People 7" layout because it's just that cool. You can download all of this HERE.

Here is some live footage provided by the legendary YouTube poster "threepennie" ...

Man, this blog rules

I don't know what it is about this blog ... perhaps it's the intelligence and maturity that shines through the broken English ... but it just rules. There's no Mp3s here ... just some alternative insight on some old hardcore folktales.

Blogging A Dead Horse

LARIAT & AT WAR WITH SHADOWS: Discographies

I'm here to post up what I think is a discography for two amazing upstate NY metalcore bands. Lariat and At War With Shadows. While both bands have quite a similar style, AWWS leaned a bit more towards what was then a "modern sound" with Lariat taking more influence from their mid-90s predecessors. Both bands respectively released an EP as well as a split together in the early 2000s. I'm not too sure if either band ever released a demo, but I know that these are the only official releases from each band.

At War With Shadows was from Troy, NY. Seeing the release of their debut EP on Hater Of God Records, the band offered four tracks of rather ingenuous metalcore that can only be compared to the concept of From Autumn To Ashes being really, really good and axing their clean vocal parts. Regardless, At War With Shadows brings us considerably moshy metalcore with its fair share of melody and that touch of early 2000s metalcore that no one can quite describe. It was metalcore played by kids who were raised on progressive musicianship as played by bands like Aftershock, Blood Has Been Shed, Barrit and the likes.

I recently read two descriptions of Lariat and I honestly can't decide which one sums up the band more properly. The author of the Just Another Bombtrack blog described the band as Unbroken meets His Hero Is Gone meets Deadguy whereas a paper insert that just fell out of the EP from their label describes it as a mixture of Catharis, Burn It Down, and Acme. Regardless of which description fits better, I think you can imagine how good this band is.

Lariat featured ex-members of Tripface, Blood Has Been Shed and Monster X and members would later go on to form Burning Bridges and probably some of the better Albany bands happening today. While the music was as brutal and intense as anything else you've ever heard, the lyrical content of the band was the true attraction that I had to the band. "We are not immortal, this is not forever, if you knew you were dying tomorrow, how would you live today?" are the words I hear repeated in my head when I think back to their Hell Fest 2001 performance.

In a similar fashion to my If Hope Dies & Beyond Fall post I made several months back, I had the pleasure of seeing both of these bands perform at the best show of all time (aka Hell Fest 2001). It was also at this fest that I picked up all of these releases. As stated on several other blogs, the performances by these two bands were two of the more memorable sets of the weekend from such early day slots.

I say this in pretty much every other post I made but its a true shame that the metalcore genre has turned to such shit in the past decade. The musical and artistic possibilities of impassioned kids who grew up in the hardcore scene but then decided to expand their musical horizons through the practice of metal music were seemingly endless at the time and I'm quite saddened to see those possibilities thrown away at the prospect of whatever it is the bands of today are being driven by.

When I say Path To Misery is a mosh metalcore band, I have bands like the ones mentioned in this post in mind. If for some reason you're not understanding this concept yet ... watch this video of Lariat.



If anyone has any info or Mp3s of these bands' potential demos ... please get in touch.

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