Post by thesoundmonitor on Feb 1, 2004 7:27:21 GMT -5
THEORY OF RUIN
Frontline Poster Child EP
(Escape Artist) EA23.0
Featuring incredibly deceptive minimal artwork, Theory of Ruin’s latest foray onto disc is one that’ll wake you with a jolt and commence a death roll before you’re even aware your sleep has been interrupted.
Featuring the legendary Alex Newport (Fudge Tunnel, Nailbomb) this trio recalls Killjoy-era Shihad, and should come with a suitable warning of ‘This Baby Bites’.
Theory of Ruin’s success is contained within each Killing Joke-ish industrial rhythm, each vocal line spat forth with venom and vigour and guitars that, while playing second fiddle to the bass, would no doubt take a beating in a live setting.
‘Hijo de un Guaro’ slams the listener into submission with repetitive rhythms compliments of pummeling bass and hard-arse snare snaps, with the vocalist writhing torturously. Meanwhile ‘Let’s Get depressed’ opens with sparse harmonics while the bass beats down like a sledgehammer, before launching into their trademarked discordant dysrhythmia.
The five track disc closes with the endearingly titled ‘That’s Why I Drink Too’: a slow tune that builds with dramatic intensity, proving the band’s willingness to fool with convention while not misplacing any of the ferocity.
By Warren Wheeler
www.theoryofruin.net
www.escapeartistrecords.com
Frontline Poster Child EP
(Escape Artist) EA23.0
Featuring incredibly deceptive minimal artwork, Theory of Ruin’s latest foray onto disc is one that’ll wake you with a jolt and commence a death roll before you’re even aware your sleep has been interrupted.
Featuring the legendary Alex Newport (Fudge Tunnel, Nailbomb) this trio recalls Killjoy-era Shihad, and should come with a suitable warning of ‘This Baby Bites’.
Theory of Ruin’s success is contained within each Killing Joke-ish industrial rhythm, each vocal line spat forth with venom and vigour and guitars that, while playing second fiddle to the bass, would no doubt take a beating in a live setting.
‘Hijo de un Guaro’ slams the listener into submission with repetitive rhythms compliments of pummeling bass and hard-arse snare snaps, with the vocalist writhing torturously. Meanwhile ‘Let’s Get depressed’ opens with sparse harmonics while the bass beats down like a sledgehammer, before launching into their trademarked discordant dysrhythmia.
The five track disc closes with the endearingly titled ‘That’s Why I Drink Too’: a slow tune that builds with dramatic intensity, proving the band’s willingness to fool with convention while not misplacing any of the ferocity.
By Warren Wheeler
www.theoryofruin.net
www.escapeartistrecords.com