Posted on September 13, 2012 AT 11:07pm
Noise Rock is a funny animal, it’s rough enough to be considered metallic in a way, but only because there’s usually a preference for heavy distortion, but it seems like that’s where the similarities end. If anything Noise Rock shares more of a similarity to punk with its attitude, but really sticks to what its name implies. It’s rock that plays louder and nastier than it’s more approachable sonic siblings. New Jersey 3 piece band, Fight Amp, short for Fight Amputation, not Fight Amplifier, offer up their new full length LP, Birth Control and for the most part it’s a fairly alright listen. According to singer Jon DeHart, the album follows a loose concept about a main character from adolescence to death traveling through “a bunch of social pressures/end times/abandoned by god stuff in between”. That’s cool, but how does the album SOUND?
It’s definitely good stuff, though it sounds a bit lacking in intensity compared to acts like Unsane or Kowloon Walled City. It’s not an outright deal breaker, but it may be off-putting for listeners accustomed to heavier stuff. What they lack in that overwhelming heaviness, they make up for with attention grabbing rhythms with songs like Creepy Kicks which breaks up it’s groove nicely within the verses. The song Should’ve Worn Black also avoids sounding monotonous with this head nodding rhythm that maintains a constant throughout the song. They do let loose with the punky feel in Shallow Grave and they go for a sludgy feel for the rest of the album until I am The Corpse where it gets to some mid-paced rock that brings the album to a satisfying end. Overall it’s rather consistent and does give off the feeling of a concept after a few listens.
Noise Rock bands live and die by the riff and generally don’t offer up much more than the riff. This holds true with Fight Amp as they consistently hit with riff after riff that doesn’t really disappoint. The guitars sound like Cummins diesel engines and the bass sounds like a suspension bridge cable being plucked by a giant. It all molds together nicely without being too mushy. Jon Dehart’s vocals are a bit buried in the mix, but it ends up feeling like an instrument in it’s own right. However, it sort of takes away from the experience if you are looking to enjoy this album for it’s loose concept unless you’ve got a lyric sheet. Mike Howard’s drumming is tight and fierce, never really slipping at all through the album. The musicianship throughout the album isn’t slouchy by any means. Birth Control is definitely a recommended listen for people who want some rock with a bit more gravel and crunch to it than normal.
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