Regardless on the implications of genre definitions, give it up to Shomo for debuting a band that has caused this amount of hype. The kid is 21 years old and has shaped a role for himself in the scene. At age 19 he wrote four songs for the Sick EP and played the drums, bass, guitars and vocals. He also mixed, mastered and produced the entire thing to. Now he is back with a couple other musicians for the debut album Disgusting.
One of the most impressive things littered across the 12 songs is the ability of Shomo to write a hook. 'I Have A Problem' is still such a catchy refrain to sing along with. 'Beaten In Lips' has a pop feel laden across its refrain, which adds to the addicting presence of the pounding music. Yes, most of the songs will feature a sung chorus which is a staple for most metalcore projects these days. His voice is not high pitched, annoying or fake. If there is one thing that is perfect across this record, it is Shomo's voice. His delivery accentuates his personality and you can tell he is giving his entire voice into every part. I was waiting to finally hear the end track because of what he said happened in the vocal booth. 'Sick and Disgusting' showcases an emotional Caleb breaking down into tears and forcing out whatever is left for him to let out.
I agree that the instrumentals can become a bit boring stretched out over the 43 minute time span, but there is a high amount of fun plugged into the heavy walls of distortion. 'Dead' is a highlight for me. The song is simple and just beats a hardcore influence out of every blastbeat and breakdown. Every instrument compliments each other and the walk-down progression at the end is a destructive part. 'Body Bag' has a fantastic bridge where the bass is leading the assault and sparks up the fun. Even when the softer sides take over Shomo's reflective refrains, the music maintains a balance of heavy and melodic. Take the transitions from part to part in 'Me In My Own Head.' The guitar movement behind the vocals is definitely worth noticing and produces its own melody. Being able to hear the bass bellow out in this entire LP is something that excites me. The drums are worth noting but never really take over a song. They keep the beatdowns quick and the follow the guitar parts well.
Is this the best album of the year? No. Disgusting is an album packed full with ways to energize and let everything out. This is meant to be a cathartic release, not just for Shomo, but for the listeners as well. The concept of this record was to get a head on straight, to be oneself and to have fun. Beartooth have lived up to that by releasing 12 songs full of visceral vocals, heavy instrumentation and catchy melodies.
There’s been a lot of build-up leading to the release of Beartooth’s first full-length record,Disgusting. Thanks in part to a trickling, day-by-day promotional campaign, the Caleb Shomo-fronted quintet has gained a ferocious fanbase faster than most bands can tune their instruments, and now seem poised for world domination as they gear up for an extensive run on this summer’s Vans Warped Tour.
Like most, I first became acquainted with the Columbus outfit through their debut EP, Sick, which made landfall back in 2013, and immediately made me want to punch holes in the wall of my crappy, two-bedroom apartment. Showcasing a fluid mix of grinding hardcore riffs and natural, radio-ready refrains, this initial offering instantly separated itself from the pack and cemented Beartooth as one of the most prominent up-and-coming acts in the genre.
Though Disgusting doesn’t quite live up to the expectations set forth by its predecessor, it still has a lot going for it, and while there are several points where this latest effort fails to get off the ground, it is far from a complete miss.
Swift and unyielding, Disgusting kicks off with a full head of steam and doesn’t let up at any point throughout its 42-minute runtime. Taylor Lumley, Oshie Bichar, and Kamron Bradbury exchange blows across the record’s twelve tracks, while drummer Brandon Mullins threatens to pound his kit into dust on multiple occasions. This concrete resolve is most apparent on songs like “Body Bag” and the single “Beaten In Lips,” both of which tear forward with a daunting sense of purpose, supported by chunky riffs, catchy choruses, and face-peeling breakdowns. “Dead,” one of the only two tracks completely void of any clean vocals, is also a rip-roaring good time, and would seem right at home amidst Terror's catalogue if not for Caleb Shomo’s distinctive delivery. Pleasantly pissed off and to the point, it would undoubtedly be the record’s best track if not for the gut-wrenching closer, “Sick and Disgusting,” which finds the frontman spilling his guts in the most sincere manner imaginable.
Still, for every peak, there is also a valley; much of the songwriting on Disgusting follows a notoriously overdone blueprint, which in turn devalues the release as a whole. “In Between” and “Keep Your American Dream” are run of the mill at best, falling to the wayside in spite of their huge hooks, while “The Lines,” “Relapsing,” and other tracks that follow the typical scream-chorus-scream-chorus-breakdown-chorus formula have a tendency of blurring together. However, as Beartooth was never meant to be groundbreaking, but rather the rawest expression of Shomo’s own inner angst (he wrote for literally every instrument on every track), this argument more or less boils down to personal preference. While many of the songs referenced will inevitably appeal to a wide audience, at the end of the day they lack the artistic restraint that made Sick so great.
Nonetheless, Disgusting is still worth your time. While it may not be the most innovative release of the year, it is without a doubt the crown jewel of Shomo’s career, and an impressive debut effort
One of the most impressive things littered across the 12 songs is the ability of Shomo to write a hook. 'I Have A Problem' is still such a catchy refrain to sing along with. 'Beaten In Lips' has a pop feel laden across its refrain, which adds to the addicting presence of the pounding music. Yes, most of the songs will feature a sung chorus which is a staple for most metalcore projects these days. His voice is not high pitched, annoying or fake. If there is one thing that is perfect across this record, it is Shomo's voice. His delivery accentuates his personality and you can tell he is giving his entire voice into every part. I was waiting to finally hear the end track because of what he said happened in the vocal booth. 'Sick and Disgusting' showcases an emotional Caleb breaking down into tears and forcing out whatever is left for him to let out.
I agree that the instrumentals can become a bit boring stretched out over the 43 minute time span, but there is a high amount of fun plugged into the heavy walls of distortion. 'Dead' is a highlight for me. The song is simple and just beats a hardcore influence out of every blastbeat and breakdown. Every instrument compliments each other and the walk-down progression at the end is a destructive part. 'Body Bag' has a fantastic bridge where the bass is leading the assault and sparks up the fun. Even when the softer sides take over Shomo's reflective refrains, the music maintains a balance of heavy and melodic. Take the transitions from part to part in 'Me In My Own Head.' The guitar movement behind the vocals is definitely worth noticing and produces its own melody. Being able to hear the bass bellow out in this entire LP is something that excites me. The drums are worth noting but never really take over a song. They keep the beatdowns quick and the follow the guitar parts well.
Is this the best album of the year? No. Disgusting is an album packed full with ways to energize and let everything out. This is meant to be a cathartic release, not just for Shomo, but for the listeners as well. The concept of this record was to get a head on straight, to be oneself and to have fun. Beartooth have lived up to that by releasing 12 songs full of visceral vocals, heavy instrumentation and catchy melodies.
There’s been a lot of build-up leading to the release of Beartooth’s first full-length record,Disgusting. Thanks in part to a trickling, day-by-day promotional campaign, the Caleb Shomo-fronted quintet has gained a ferocious fanbase faster than most bands can tune their instruments, and now seem poised for world domination as they gear up for an extensive run on this summer’s Vans Warped Tour.
Like most, I first became acquainted with the Columbus outfit through their debut EP, Sick, which made landfall back in 2013, and immediately made me want to punch holes in the wall of my crappy, two-bedroom apartment. Showcasing a fluid mix of grinding hardcore riffs and natural, radio-ready refrains, this initial offering instantly separated itself from the pack and cemented Beartooth as one of the most prominent up-and-coming acts in the genre.
Though Disgusting doesn’t quite live up to the expectations set forth by its predecessor, it still has a lot going for it, and while there are several points where this latest effort fails to get off the ground, it is far from a complete miss.
Swift and unyielding, Disgusting kicks off with a full head of steam and doesn’t let up at any point throughout its 42-minute runtime. Taylor Lumley, Oshie Bichar, and Kamron Bradbury exchange blows across the record’s twelve tracks, while drummer Brandon Mullins threatens to pound his kit into dust on multiple occasions. This concrete resolve is most apparent on songs like “Body Bag” and the single “Beaten In Lips,” both of which tear forward with a daunting sense of purpose, supported by chunky riffs, catchy choruses, and face-peeling breakdowns. “Dead,” one of the only two tracks completely void of any clean vocals, is also a rip-roaring good time, and would seem right at home amidst Terror's catalogue if not for Caleb Shomo’s distinctive delivery. Pleasantly pissed off and to the point, it would undoubtedly be the record’s best track if not for the gut-wrenching closer, “Sick and Disgusting,” which finds the frontman spilling his guts in the most sincere manner imaginable.
Still, for every peak, there is also a valley; much of the songwriting on Disgusting follows a notoriously overdone blueprint, which in turn devalues the release as a whole. “In Between” and “Keep Your American Dream” are run of the mill at best, falling to the wayside in spite of their huge hooks, while “The Lines,” “Relapsing,” and other tracks that follow the typical scream-chorus-scream-chorus-breakdown-chorus formula have a tendency of blurring together. However, as Beartooth was never meant to be groundbreaking, but rather the rawest expression of Shomo’s own inner angst (he wrote for literally every instrument on every track), this argument more or less boils down to personal preference. While many of the songs referenced will inevitably appeal to a wide audience, at the end of the day they lack the artistic restraint that made Sick so great.
Nonetheless, Disgusting is still worth your time. While it may not be the most innovative release of the year, it is without a doubt the crown jewel of Shomo’s career, and an impressive debut effort