Review Summary: Death will change your life.
Just when you thought Retox couldn't get more pissed off, they drop one the angriest records of 2015. Their third release cements their status in the modern hardcore scene as a consistent, tight, smart, and frankly badass group of San Diego punks. However, most of the appeal attached to Retox is that they are ***ing pissed dude. Justin Pearson has always been pretty mad at injustice in America, and his lyrics reflect that. But it is not just lyrical fury that adds fuel to the fire.
The music being played is pretty ferocious. These guys have not let up for a second on literally any song in their career. They are all fast and hardcore and short. If you have seen Retox live you can see the anger through their playing. You can't write songs like these and play them tour after tour and not be pissed. It would be impossible to be all ho hum and bang these numbers out each night.
The record brings that strong emotion with it throughout its short duration. It would be unfair to not point out just how well-thought out this record actually is, though. Michael Crain is really throwing out some wild guitar lines. His wizard-like axe-slaying is very peculiar but effective. I can't think of someone that plays guitar like this. It's some parts Slayer, a little Dead Kennedys, a dash of Metallica, and a whole bunch of sheer originality.
The ending riff of "Now We Know Who's The Prick" brings the loveliest scowl to my face each and every time. I want to headbang until my goddamn brain falls out of my skull. It's a shame that the riff is less than 15-seconds. And that's one of the only small complaints I have with this record: it is so precise and tight and to the point that I wish it was a lot longer.
Such is a typical complaint when it comes to Justin Pearson's various projects, or hardcore in general. However, there are many people that like the brevity of hardcore. I am in the camp as well, but when this band really gets rolling they always pump the breaks. No part sticks out too long (or in my mind long enough!) and gets the job done in a pretty efficient matter. I am not sure if all the trimmed fat equals less or more replay value.
Still, this record is full to the brim with heart-stopping aggression. Brian Evans has altered his style and branched out from 2013's YPLL. He is more content with weird fills. and off-beat blasts than the onslaught of noise that was YPLL. He took an already fantastic take on modern hardcore and made it even better.
The other side of the rhythm section is newcomer Keith Hendriske. The new bass tone here suits Retox much better as it is much dirtier and lean-sounding than the fat deep thumping that former bass player Thor Dickey employed. His twangy distorted style is very effective in the chorus of "Let's Not Keep In Touch." He complements the guitar a lot better than his predecessor as well.
If are pissed off and just want to freak out for 20 minutes, this record is probably right up your ally. It's is another consistent release for their catalogue lives right up to their reputation. Chalk up another one for the angry, intelligent punk in you.
