WARNING: Incoming rant from our resident feminist, Teemo Main.
All opinions are his, and whether or not the rest of IPHYB shares them is completely irrelevant.
EP: “Time Flies”
Band: King Hit The Queen
Location: Toowoomba, Australia
Date of Release: 05-02-2015
Reviewer: Teemo Main
For Fans Of: The Ghost Inside, Stick To Your Guns, Hopeless
Since when did we all become so fucking desensitised to domestic violence that it was OKAY TO MAKE JOKES AND NAME YOUR BAND THINGS RELATED TO IT?!
WHAT THE ACTUAL FUCK IS WRONG WITH YOU BAND? THIS ISN’T FUCKING FUNNY.
PEOPLE FUCKING DIE BECAUSE THEIR PARTNERS KING HIT THEM AND YOU NAME YOUR BAND THAT?
PEOPLE DIE FROM THIS SHIT AND YOU MIDDLE CLASS SUBURBAN WHITE BOYS USE IT AS A FUCKING BAND NAME?
THEIR FACEBOOK GENRE INCLUDES PUNK/HARDCORE – BOTH OF THESE GENRES WERE BUILT ON THE ROOTS OF EQUALITY AND FEMINIST IDEALS. THIS IS NOT THE FUCKING PLACE FOR DOMESTIC VIOLENCE “JOKES”.
This EP left me incredibly conflicted. ‘Leith Crescent’ is one of the better structured songs I’ve heard in a LONG time and the music suits the lyrics. I really REALLY like this song. ‘Time Flies’ is also excellent in terms of structure and sound, and this is where I’m conflicted. The first three songs of the EP bled into each other – huge breakdowns, massive amounts of pit riffs and violence. I enjoy senseless musical violence, but the second half of the EP spoke to me lyrically. It spoke to me structurally. I can’t help but feel this band could have written two separate EPs and done an incredible job. But instead, the lack of cohesion between the front and back halves of the EPs kills it for me a little. Within this band, there are two separate and powerful bands that each fight for attention.
Musically, every instrument has moments of genius and its own downfalls. The front half is dominated by breakdowns and powerful riffs, while the last two songs dominated by melody and breathing room. Really, the contrast is huge. Bassically, the bass doesn’t exist. Like, I can’t hear it even with my bass boosted a metric fucktonne.
Lyrically and vocally, the duality of the entire EP comes to life. The vocals suit both styles. Lyrically, the first three songs don’t mesh together, there’s a lot of thought provoking lyricism, and some of the blunt nature of it really doesn’t sit well and mesh with the rest. Introspective, emotive well written and thought out lyrics shouldn’t be thrown over crushing breakdowns like this. It just doesn’t sit right.
Production wise, I feel like the sound the band were going for has been completely ignored by whoever engineered, mixed and mastered this. For something that could have been as warm and inviting as a warm fire, in instead feels like a petrol-fuelled chemical blaze. Completely artificial and painful to bear near instead of warm and comforting.
It’s just too digital; too chuggy, there’s no breathing room for the guitars to sing. The vocals sound crushed and dry. I really really don’t agree with the production choices the band made here. The huge breakdowns wouldn’t be the same without this production style, but is that such a bad thing?
Every band can do breakdowns but I haven’t encountered emotion and feeling like this in a band for a long time and I feel this should have been accentuated.
As a whole, I’m incredibly indecisive on whether I enjoy this or not. The high points of it are excellent, but the low points drift way too far into generic music that strives to appeal to a large amount of people, rather than being good music for good music’s sake.
The whole EP left me with the sense that the band is being pulled apart by these two different sounds they’re going for. There’s an alright, nothing special chuggy breakdown band that possesses decent riff potential. It’s alright but it isn’t awful or special.
And there’s an emotive band, playing well thought out and structured melodic/post hardcore using their voices and guitar phrasing to paint pictures.
The duality is a strength, and a weakness.
Overall IPHYB Rating: 6/10
Personal Enjoyment: First 3 songs, 5/10. Last 2 songs 8/10
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