A band uses an EP in a few different ways. EPs can be simply to spread the word about an unpopular band, giving a quick summary of the band’s sound rather than a full length album (example: just about any band’s debut EP). An EP can also be used simply as a little treat for their fans while the band works on something bigger and better (example: Muse’s Dead Star/In Your World EP). Lastly, a band uses an EP to explore a new sound and experiment with new ideas. Now, I know little about Pg. 99s other releases, other than knowing that they are supposedly fantastic. However, just from the sound of this EP, Pg. 99 explore and experiment with new things and possess many different types of sounds on the EP.
Chris Taylor - Vocals
Blake Midgette - Vocals
Mike Taylor - Guitar
Jonny Ward - Drums
Cory Stevenson - Bass
TL Smoot - Bass
George Crum - Guitar
Brandon Evans - Bass
Johnathan Moore - Guitar
Kevin Longendyke - Bass
Mike Casto - Guitar
Document #7 is, obviously, the 7th release from the epic emo band Pg. 99. However, most releases are split 7” with other contemporaries of the band. At the time, Pg. 99 only had one full length album. Document #7 is plain haunting and epic. Epic guitars, powerful drums, and a deep bass sound all set the stage for the intense, powerful screaming. Clean vocals never make an appearance on the album. However, vocals, for the most part, are only used in climatic moments. At each moment, the band looks 2 minutes ahead, knowing exactly where they want to go and how to build to each moment. The intensity sways up and down, a constant pull of emotions. As far as technicality goes, the music is not all that impressive. The guitar riffs never show much virtuosity, trading many notes for long tones and big, crunchy riffs. The bass plays out when needed and simply serves as the root for the guitar at others. For the most part, in the slower, quieter parts, the bass creates just another melody to create a rush of sound. Once reaching the huge, epic sections, the bass plays down and creates a fantastic undercurrent. However, the drumming controls everything in the music. Buildups, tempo changes, and intensity are all up to the drummer and what he wants to do with the song. Jonny Ward happens to be perfect in that aspect.
However, looking at the track lengths, it just isn’t possible for every song to contain epic buildups. Tracks 2 and 4 hardly surpass a minute. Both of those songs are straight up punk songs, taking the intensity given from the end of the more epic songs and continuing off those ideas. Even this EP flows like a full length album. Del Emundo Lleno de Mucio
is a rage infused song full of staccato riffing for the first 30 seconds before immersing into a full out drum beat and a 3 against 4 guitar riff. The vocals bring all kinds of intensity. The song quickly changes into an absolutely orgasmic jamout in half-time. One last surge of quick riffing closes out the song, giving 4 different feels in just over 1 minute. Love Goes Tisk Tisk Tisk
starts off immediately with intense vocals and blaring drums. The song goes through 3 riffs in the first 20 seconds, an insane amount of feel change. The song just continues for a few seconds over a minute at an insane speed with riffs interchanging within seconds.
However, that’s only 2 and a half minutes of the EP. The real greatness of it comes in the longer songs. Living in the Skeleton of a Happy Memory
is a song full of intense buildups and some of the most dissonant and evil chord progressions on the album. The first half of the song mostly revolves around the main guitar riff introduced in the first minute and variations on it. However, after a fake buildup that segues into a real buildup, all that disappears. A Sonnet to both Ugly and Murderous
falls along the same vein as far as buildups, however, the song is altogether much more epic. The song starts out with much quieter drums and builds throughout to one of the loudest moments on the album. A quarter note guitar riff takes the stage as the main instrumental riff, but throughout, things become more complex. There is over 3 minutes of buildup going along different chord progressions that leads to that long awaited huge moment. The moment does not disappoint, full of huge double bass kicks and a furied rush of sound. Slowly, everything falls out except for sparse guitar to close out the EP.
Obviously, Pg. 99 throws all kinds of ideas into each song, making for something new to discover upon each listen. Every song on here is intense, powerful, and just flat out excellent. Although not quite as spastic as Circle Takes the Square, the band makes a lot of changes throughout, keeping the listener wondering what comes next. Document #7 is certainly a hidden gem in the world of Pg. 99, deep in the annals of their multiple split releases and albums.
Living in the Skeleton of a Happy Memory
Del Emundo Lleno de Mucio
A Sonnet to both Ugly and Murderous