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Venerable
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Venerable in Franklin, TN
Current price: $16.99
Barnes and Noble
Venerable in Franklin, TN
Current price: $16.99
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Size: OS
KEN Mode
(the first word in their name is actually an acronym for "Kill Everyone Now") are a Canadian noise rock band very much in the vein of
Keelhaul
,
Anodyne
Playing Enemy
, and other acts on their former label,
Escape Artist
. Their songs have a deep, rumbling bass sound, brought out on this, their fourth album and first in three years, by producer
Kurt Ballou
of
Converge
; the guitars are jagged, combining hardcore-ish riffing with dissonant screeches and bursts of noise; the drumming is tribal and punk at once; and the vocals are a hoarse, panicky bark reminiscent of
's
Jake Bannon
and several hundred other short-haired, tattooed dudes in arty post-hardcore bands. But while they may not be doing anything particularly original, and may indeed serve older listeners as a nostalgic reminder of the days when bands like
Botch
and
Coalesce
bestrode the earth, they are very good at what they do, and manage to put a fresh spin on a fairly minimalist (and therefore, one might incorrectly assume, inherently limited) style. So those who miss the floor-punching, bulging-throat-veins style of angular yet stompy post-hardcore that was everywhere between 1998 and 2003 will find this album to be very much their cup of hot black coffee. ~ Phil Freeman
(the first word in their name is actually an acronym for "Kill Everyone Now") are a Canadian noise rock band very much in the vein of
Keelhaul
,
Anodyne
Playing Enemy
, and other acts on their former label,
Escape Artist
. Their songs have a deep, rumbling bass sound, brought out on this, their fourth album and first in three years, by producer
Kurt Ballou
of
Converge
; the guitars are jagged, combining hardcore-ish riffing with dissonant screeches and bursts of noise; the drumming is tribal and punk at once; and the vocals are a hoarse, panicky bark reminiscent of
's
Jake Bannon
and several hundred other short-haired, tattooed dudes in arty post-hardcore bands. But while they may not be doing anything particularly original, and may indeed serve older listeners as a nostalgic reminder of the days when bands like
Botch
and
Coalesce
bestrode the earth, they are very good at what they do, and manage to put a fresh spin on a fairly minimalist (and therefore, one might incorrectly assume, inherently limited) style. So those who miss the floor-punching, bulging-throat-veins style of angular yet stompy post-hardcore that was everywhere between 1998 and 2003 will find this album to be very much their cup of hot black coffee. ~ Phil Freeman
KEN Mode
(the first word in their name is actually an acronym for "Kill Everyone Now") are a Canadian noise rock band very much in the vein of
Keelhaul
,
Anodyne
Playing Enemy
, and other acts on their former label,
Escape Artist
. Their songs have a deep, rumbling bass sound, brought out on this, their fourth album and first in three years, by producer
Kurt Ballou
of
Converge
; the guitars are jagged, combining hardcore-ish riffing with dissonant screeches and bursts of noise; the drumming is tribal and punk at once; and the vocals are a hoarse, panicky bark reminiscent of
's
Jake Bannon
and several hundred other short-haired, tattooed dudes in arty post-hardcore bands. But while they may not be doing anything particularly original, and may indeed serve older listeners as a nostalgic reminder of the days when bands like
Botch
and
Coalesce
bestrode the earth, they are very good at what they do, and manage to put a fresh spin on a fairly minimalist (and therefore, one might incorrectly assume, inherently limited) style. So those who miss the floor-punching, bulging-throat-veins style of angular yet stompy post-hardcore that was everywhere between 1998 and 2003 will find this album to be very much their cup of hot black coffee. ~ Phil Freeman
(the first word in their name is actually an acronym for "Kill Everyone Now") are a Canadian noise rock band very much in the vein of
Keelhaul
,
Anodyne
Playing Enemy
, and other acts on their former label,
Escape Artist
. Their songs have a deep, rumbling bass sound, brought out on this, their fourth album and first in three years, by producer
Kurt Ballou
of
Converge
; the guitars are jagged, combining hardcore-ish riffing with dissonant screeches and bursts of noise; the drumming is tribal and punk at once; and the vocals are a hoarse, panicky bark reminiscent of
's
Jake Bannon
and several hundred other short-haired, tattooed dudes in arty post-hardcore bands. But while they may not be doing anything particularly original, and may indeed serve older listeners as a nostalgic reminder of the days when bands like
Botch
and
Coalesce
bestrode the earth, they are very good at what they do, and manage to put a fresh spin on a fairly minimalist (and therefore, one might incorrectly assume, inherently limited) style. So those who miss the floor-punching, bulging-throat-veins style of angular yet stompy post-hardcore that was everywhere between 1998 and 2003 will find this album to be very much their cup of hot black coffee. ~ Phil Freeman
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