Lower Forty-Eight Skin Failure
Monotreme Records 2003
By Russell Garwood
Lower Forty-Eight play a mixture of rock and screamo. Their European debut, and sophomore US full-length is Skin Failure, a heartfelt collection of songs. Other influences include very subtle metal leanings, and the merest hint of post-rock through the occasional appearance of violins and effective use of dynamic change. Jagged time changes bring to mind math rock. The guitars can hold considerable melody, generally using only lightly distorted tones, yet the riffs are often so loosely structured (a series of unconnected notes) that they feel far heavier. Huge jumps, odd, angular timing and frequent disharmonies, that seemingly obeying no established musical rules, make the songs eel heavier than they probably are.
Tight drums are a necessity for such music, and luckily the percussion on this album is of a high standard. Dodgy signatures, rapid changes and large dynamic range prove no problem, while the bass is also tight. This leaves the vocals, which switch between a half-shouted singing voice, so typical of emo hardcore, and a more traditional hardcore shout.
Above this all, strongly socio-political lyrics show anti-capitalist leanings, as well as having a dig at the Bush government. The production is of a high standard, making for a solid release. It has, perhaps, limited appeal in the metal world, but fans of emo-hardcore, hardcore and similar such styles are likely to appreciate Lower Forty-Eights efforts.
Official Lower Forty-Eight website
Official Monotreme Records website
Monotreme Records 2003
By Russell Garwood
Lower Forty-Eight play a mixture of rock and screamo. Their European debut, and sophomore US full-length is Skin Failure, a heartfelt collection of songs. Other influences include very subtle metal leanings, and the merest hint of post-rock through the occasional appearance of violins and effective use of dynamic change. Jagged time changes bring to mind math rock. The guitars can hold considerable melody, generally using only lightly distorted tones, yet the riffs are often so loosely structured (a series of unconnected notes) that they feel far heavier. Huge jumps, odd, angular timing and frequent disharmonies, that seemingly obeying no established musical rules, make the songs eel heavier than they probably are.
Tight drums are a necessity for such music, and luckily the percussion on this album is of a high standard. Dodgy signatures, rapid changes and large dynamic range prove no problem, while the bass is also tight. This leaves the vocals, which switch between a half-shouted singing voice, so typical of emo hardcore, and a more traditional hardcore shout.
Above this all, strongly socio-political lyrics show anti-capitalist leanings, as well as having a dig at the Bush government. The production is of a high standard, making for a solid release. It has, perhaps, limited appeal in the metal world, but fans of emo-hardcore, hardcore and similar such styles are likely to appreciate Lower Forty-Eights efforts.
Official Lower Forty-Eight website
Official Monotreme Records website
