Bloated Kat Records – 26 November 2021
Their mission statement should read “Making melodic hardcore music that melts faces in the mosh pit!”
(Disclaimer – Teenage Bigfoot features TGEFM’s own Tiffa Vigilante on bass and vocals. She submitted the new album for review in the understanding that it would get an honest shake, and Jerred agreed to review it under the same terms. It just happens to turn out it is really good, and a lot of us like it)
I can’t find enough good things to say about this trio from Philly and their latest release, Weapons Against Darkness, is an explosive example of just how powerful and aggressive they can be. They’re heavy hitters, they’re coming out swinging, and they’re aiming for the fences while embracing the speed and technicality of skate punk and the anger and intensity of melodic hardcore in a style all their own.
Welcome to the show. This is is skate punk and they’re dropping right in. They don’t wast any time with pleasantries, launching themselves head first into “The Stream” and it’s indicative of the blinding speed, ferocity, and technical ingenuity that defines their sound and it’s found on nearly every inch of their very first full length. The bar has been set and it’s a high one.
I’m a massive fan of MxPx and I can hear similarities scattered all over the record. Songs like “Nothing New Year” is the first of many. Throw in a hint of The Bombpops and lyrics about how you can make a list of resolutions but inevitably slip back into old ways and bad habits and you can start to see where they’re coming from. Even with the best of intentions, the more things change the more they stay the same. “I Can’t See” continues this trajectory and you get a taste of just how tight the rhythm section is as they ebb and flow in and out of the pocket, providing the perfect foundation for some intricate, staccato style soloing before building back to the chorus.
“Destiny Road, Tennessee” starts edging closer to the melodic side of the hardcore spectrum. Is that guitar solo really a guest appearance by Eric Melvin? No, but something tells me he may have been an influence. It also showcases the grittier side of singer Tiffany Tavela‘s vocal range and she has a solid set of lungs. “The Bad One” has more of a horror punk vibe and I begin to imagine a scene from a slasher flick where the fornicating teenagers are attempting escape the serial killer. The only thing missing is the screeching strings and eerie organ music in the background.
“Vertigo” delivers another guitar searing solo implanted with surgical precision accompanied by a slightly softer vocal delivery (if there is such a thing). There’s a little more soul but the texture of her voice gets more abrasive as the song creeps closer to it’s conclusion. Everything also seems to speed up towards the end, adding to the confusing and chaotic nature of things until fading out into nothing just before a drum roll ushers everything into “Toilin’ Trouble.” It’s not the first time they seem to have been inspired by Strung Out but the 2nd single has strong “Virginia Madison” vibes.
They may be fast and loud in every facet of their songwriting but, if you think they can’t get heavier, you’re sadly mistaken. “The CIA Killed Bill Hicks” sounds sorta like Stacy Dee singing A Wilhelm Scream songs. I’m also detecting a heavy dose of Not On Tour with a return to a slightly dirtier vocal approach while sneaking in some octave leads in between scales. So much guitar, so little time. Wait, that’s not heavy enough for you? Here, hold their beer. “PGB/No Touch” has elements of Thrash not unlike Svetlanas and addresses the issues faced by so many women, uninvited advances and unwanted touching, with a song structure that serves as what might just be the soundtrack to the fear and uneasiness many face in an ugly, patriarchal society. “Why can’t I walk home alone?”
“It’s a Dog Eared Ghost World” is a slight detour with muted guitar riffs and a bit of a bounce that reminds me more of Ramona or even a little like Lipstick Homicide, but only slightly deviating from the similar sounds discovered across the spectrum of the record. This one skews more classic pop punk but still has some of the same elements of darkness and raging riffs found in its siblings, flowing seamlessly into “No Office in the Wild” and it’s a fitting finale to a fantastic listening experience that would easily make The Flatliners proud.
The layers of guitar work are outstanding, to say the very least, and the smoking solos and fast paced power chords are juxtaposed alongside poignant wordplay with a passionate vocal delivery, badass bass fills, and a percussive backbone that pushes the band along at breakneck speeds. If you’re not using these songs in your training regimen for the 2022 Air Guitar World Championships you’re making a massive mistake. Still not sold? Fuck around and find out…
Jerred Lazar is a make believe musician and wannabe writer attempting to survive in Washington DC
