The third studio release from D.C.-based Nothingface, "Violence," is living proof that this group is more deserving of running the frontline for this genre of music than most of their competitors. There is no denying, however, the guilty pleasure of knowing how powerful this secret weapon, buried beneath the other contenders, actually is. They are stronger players, better writers and communicators than players on their landscape and they are aware, because they have realized there is no need to compete in a league of obviously inferior opponents.
In 1996, "Pacifier" put Nothingface in the public eye, but with low production-quality and an unclear established role in the nu-metal scene. In 1998, "An Audio Guide to Every Day Atrocity" darkened the setting that accompanied their music as a whole with lower tones, better sound-quality, and intense riffs from which they derived their originality. Matt Holt's professional-grade ability to sway between top-notch metal howling and sweet soulful singing was an added bonus to the already impenetrable musical background, that manages to tie the knot on their signature sound.
With the coming of 2000's "Violence" there was no telling what Nothingface would produce. Will it be good? Will it be bad? The last album was great so what does that say? When examining a band at this not-so-high level of public-exposure, it is nearly impossible to determine where they will go next. Fortunately, "Violence" is somewhat of the definitive classic from Nothingface, as it redelivers every great aspect of AAGTEA with top-notch production and a newfound veteran sense of the style. There are interesting song-structures throughout the album, rarely following a verse-chorus-verse form, and throwing in more bridges and riffs that play once than anything else. The opener, "Make Your Own Bones" for example has more of a Beginning-Middle-End structure than a traditional setup. The pattern is intriguing to follow, and makes the song a fresh listen every time.
The harder cuts ("Same Solution" "Can't Wait for Violence" "Piss and Vinegar" "American Love") all have something that makes them a standout cut, whether it be an unexpectedly soft bridge, sugary-sweet chorus, an addictive main-riff, or unstoppable brutality. The "Slower" tracks ("For All The Sin" "Bleeder" "Dead Like Me" "Filthy") only slow down so much, and the end result is still usually heavy, or at least well-executed with Holt's untouched chorus-singing (Dead Like Me is probably the softest song, but features some of Holt's best singing recorded).
There are a vast number of break-downs and escalations within "Violence" that are the most inviting aspects of the album, and will eventually be the cause of any listeners' submission to the band. "Everlasting Godstopper" plays on pummeling yet catchy riffs provided by Tom Maxwell, and unwinds into a slow-jam of dissonant guitar picking and the muffled echo of Holt's lyrics as it fades out; a truly memorable moment from the album. "Blue Skin" is even more exemplary of Maxwell's guitar-prowess, demonstrating his wit with an ever-listenable climbing main riff that quickly invokes energy in exponential amounts with a suspenseful twist.
"Violence" is an abundance of swinging between the best of the heaviest and the best of the passionate, as it teeters on inventive rock-hard metal melodies and an original atmosphere of soft but enraged antics. Topping this while remaining entirely true to its practices seems a rather difficult task, but Nothingface manages to fill our plate with another fresh dish on 2003's "Skeletons."
