Year : 2011
Genre : Groove Thrash Metalcore
Label : GoodDamn Records
Origin : Germany
Rating : 6.0 / 10
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Though confusing it may sound, - pun just might be intended - German group Hokum thrashes emo metalcore with a groove. The record, though presenting the results of this experiment with such intense of a stare fixed on its own body that it very well could destruct a statue in a staredown contest, finds itself in a more and more difficult position to bring you elements worth scrutinizing as the spin approaches its middle grounds, having shown everything by that point that it is capable to show. Having shown everything it aspires to show.
Based on initial impressions you could form by watching the group's earlier - and great - work, one must suspect that the this time around extremely slimy metalcore component of this outing is incorporated into this otherwise gritty fabric to appeal to a wider audience, one fond at feeding on romantic angst, bitterness-comfort and routine-disillusionment, but the emo screaming and song structures demand a steep price now. They arrive and afflict, and tend to smuggle a bad taste in the mouth of the follow up full-paua groove that attempts to kick nearby asses nice and proper. With an introductory ado, this here record sounds to be tainted with over-emoted elements seeking to bow down to shortcuts not necessarily worth bowing down to. Read on to find more about the operational field of this relatively compromised, but doubtlessly decently presented delivery.
Hokum takes a Philip Anselmo mimicry, puts a pepperoni rocket in his ass, ignites the thing, and makes the host scream on top of well thought out and solidly presented grooves, riffs and whatnot. Grooves and riffs that, unfortunately, sound to have little connection with each other, a flaw that sounds to haunt this record persistently. The Creation of Pain indeed is worthy of its name, as you are forced to attempt to put a cautious foot on the musical fabric that does not sound to have any more agenda than to address its own urge to exhibit constant fluctuation. Your awareness is subjected to persistent bribery throughout this effort, as the band shoots doubtlessly well constructed, but, at heart, random musical stuff after random musical stuff at you, yet exceptionally strong riffs or grooves are nowhere to be found. They are not invited. All is administered so it is suitable to scream lines on top of, yet the one particular feeling the tracks are excelling masterfully at invoking, is that of a quiet state of secretive, bored confusion : one that makes you wonder what should you do with the well presented, but directionless masses of grooves and riffs that have no other evident function than to connect two emo sequences, while the exact, "verbatim", copied Philip Anselmo melodic lines are echoing in your head. Because you just have heard them being stolen. Again. Note-to-note, bend-to-bend theft, dude.
Groove gets traded for a riff, a riff gets squashed by a groove, then a slimy pile of emo metalcore snot-covered ball of contagious radioactive urine - which is not good for your health at all, mind you - bitchslaps you silly and you are forced to reset your awareness before reaching the point of no return. The instrumental elements easily are the best aspects of this spin, as the record produces a wide, weighty sound, and the riffs and grooves have the noticeable will to try and render life, but they do not know each other, and, as such, they remain riffs and grooves with autonomous, respective charisma and dignity, seeking partners, but they never quite seem to find one, on this spin. Hokum gives you musical idea on top of musical idea, and the common denominator of these is NOT a well structured conception to connect those, but Philip Anselmo's mimicry, addressing his favorite frustrations to date. Not a bad album. Worse : mediocre.
Rating : 6.0 / 10
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