Past The Point Of Words - Metalcore, Post-Hardcore - Belleville, CAN
A quick look at the “About Me” section of Belleville, Ontario’s Past the Point of Words would indicate that the modern metalcore outfit is, ironically, not at a loss for words at all—the page being littered with inspiring quotes and a concrete visible ethos for all to read.
The band takes an interesting approach to introducing themselves, here, by choosing the path of least resistance, or better yet, the path of least obscurity. We immediately know who they are, what they live for, and why we just can’t seem to stop listening to them.
Past the Point of Words plays an updated version of the popular early-2000s “Fuse-core”, much in the vein of “Discovering the Waterfront”-era Silverstein, which teeters precariously on a catchy, melodic cliff, but is always ready to fall into a pit of unmitigated, distorted fury. Opening track “Wake” on their 2014 six-track EP, “Past the Point of Words”, begins with a classic clean guitar intro, flirting with the heart-on-the-sleeve sound of the stringed minor seventh before willingly launching itself into the breakdown abyss, with the aptly-named drummer Jared Leadbeater’s double bass confidently holding nothing back.
Jared Farrow and Brandon Beausoleil’s vocals sit at an intriguing crossroad here: both their yells and cleans manage to conjure their own distinct identity, which, while impressive, make them very difficult lyricists to pin down. Their venerable showcasing of fragility is quickly found in many of record’s choruses, as they lament their ceaseless nightmares in “Wake” or let their hearts spill out all over the microphone in “The Beginning”, but late-album headbangers “David” and “Goliath” hold nothing back in aggressive intensity.
Diversity is never a bad thing, though, and while unattended wavering lyrical emotion and ferocity would certainly throw off some listeners, PtPoW always manages to balance their aural scale. In “David”, which may be the most blistering track on the album, to make up for the lack of smooth melody in the vocals, guitarists Philip Andrews and Michael Domingo step up to the plate and unleash their most memorable leads on the entire album—a proverbial ying to Farrow’s yang.
PtPoW finds success time and time again on their self-titled debut, precisely because of this: each member is a perfect counterpart to the other, consistent aces in the hole whenever necessary. These are musicians who know each other very well and have experienced so many different things, both good and bad, together. It’s no surprise that these close-knit friends are releasing a debut full of tight, approachable metalcore, unhindered by egos and pretension. Life isn’t a contest, and it’s done PtPoW good to attach more meaning to the moments of growth, instead of those of inflated successes.
Listen Here:
http://pastthepointofwords.bandcamp.com/album/past-the-point-of-words
Support On Facebook:
https://www.facebook.com/pastthepointofwordsband
By: Max Puhala
The band takes an interesting approach to introducing themselves, here, by choosing the path of least resistance, or better yet, the path of least obscurity. We immediately know who they are, what they live for, and why we just can’t seem to stop listening to them.
Past the Point of Words plays an updated version of the popular early-2000s “Fuse-core”, much in the vein of “Discovering the Waterfront”-era Silverstein, which teeters precariously on a catchy, melodic cliff, but is always ready to fall into a pit of unmitigated, distorted fury. Opening track “Wake” on their 2014 six-track EP, “Past the Point of Words”, begins with a classic clean guitar intro, flirting with the heart-on-the-sleeve sound of the stringed minor seventh before willingly launching itself into the breakdown abyss, with the aptly-named drummer Jared Leadbeater’s double bass confidently holding nothing back.
Jared Farrow and Brandon Beausoleil’s vocals sit at an intriguing crossroad here: both their yells and cleans manage to conjure their own distinct identity, which, while impressive, make them very difficult lyricists to pin down. Their venerable showcasing of fragility is quickly found in many of record’s choruses, as they lament their ceaseless nightmares in “Wake” or let their hearts spill out all over the microphone in “The Beginning”, but late-album headbangers “David” and “Goliath” hold nothing back in aggressive intensity.
Diversity is never a bad thing, though, and while unattended wavering lyrical emotion and ferocity would certainly throw off some listeners, PtPoW always manages to balance their aural scale. In “David”, which may be the most blistering track on the album, to make up for the lack of smooth melody in the vocals, guitarists Philip Andrews and Michael Domingo step up to the plate and unleash their most memorable leads on the entire album—a proverbial ying to Farrow’s yang.
PtPoW finds success time and time again on their self-titled debut, precisely because of this: each member is a perfect counterpart to the other, consistent aces in the hole whenever necessary. These are musicians who know each other very well and have experienced so many different things, both good and bad, together. It’s no surprise that these close-knit friends are releasing a debut full of tight, approachable metalcore, unhindered by egos and pretension. Life isn’t a contest, and it’s done PtPoW good to attach more meaning to the moments of growth, instead of those of inflated successes.
Listen Here:
http://pastthepointofwords.bandcamp.com/album/past-the-point-of-words
Support On Facebook:
https://www.facebook.com/pastthepointofwordsband
By: Max Puhala