Having turned 36 last year, I find it increasingly difficult to maintain the claim that I’m ‘down with the kids’. Even the use of such a phrase is, many would say, evidence that I’m clearly not. But then, I’m not even sure if it’s desirable to be down with the kids; not just on account of my age, but because frankly, the music the kids are listening to is such utter bilge. The debut release from In Place Of Hope is a perfect illustration. For starters, that the current strain of metal persists in its popularity is something I find particularly baffling. In Place of Hope cite all the usual influences plucked from the current crop (Killswitch Engage, Bring Me the Horizon, Trivium, Alexisisonfire)
The trouble with nearly all of these so-called ‘post-hardcore / metalcore’ acts is that while bragging about the immense power of their riffery, they seem to think that incorporating a melodic element that tempers the aggression is something that a) sets them apart from their peers b) is a good thing. Sure, it might prove that they’re multi-talented and competent musicians, but if I’m in the mood for something hard and heavy and rage-filled, I don’t want my rage to be interrupted by some sweet poppiness. I mean, who really listens to metal and wants to think ‘what nice sensitive guys they are!’?
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So when IPOH burst out of the traps, all guns blazing in a flurry of bruising blastbeat percussion and supermetallic guitars set to stun on ‘Lifelines’, the guttural howl of the vocals hitting the listener in the chest, it all sounds promising enough – until the clean vocals come in over the top and it all goes stadium rock.
The vocal contrast reaches almost comedic levels on ‘Bridges’ as I find myself reminded of the classic use female backing vocals reworked into a metal context, and just when closer ‘Dark Roads & White Knuckles’ threatens to show that they do have the balls to keep it full throttle for an entire song, they come on all Linkin Park again. The result is more tamecore than metalcore.
In Place Of Hope Online
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