Cave In


(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Beyond HypotermiaUntil Your Heart Stops (1999), 6.5/10
Jupiter (2000), 6/10
Tides of Tomorrow (2002), 4/10
Antenna (2003), 5/10
Perfect Pitch Black (2005), 5/10
Steven Brodsky: Octave Museum (2007), 5/10
Planets Of Old (2009), 5/10
White Silence (2011), 5/10
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Formed in 1995 in Massachusetts by guitarist Steve Brodsky, Cave In became the leading edge of "metalcore". The catchy tunes and complex song structures on Beyond HypotermiaUntil Your Heart Stops (Hydra Head, 1999) gave new meaning to the cliche` of noisy, frenzied and chaotic fusion of heavy-metal and hardcore (Converge, Coalesce, Botch). These albums promoted Cave In to the vanguard of the post-hardcore army.

However, the EP Creative Eclipses (1999) introduced a new band, willing to experiment with all aspects of a song format but in a more classical manner. Jupiter (Hydra Head, 2000) sounded like a new version of Rush's progressive metal (Big Rift, In The Stream Of Commerce).

An even more polished and bombastic sound turned Tides of Tomorrow (RCA, 2002) and Antenna (RCA, 2003) into close relatives of Radiohead's digital power-pop.

(Translation by/ Tradotto da Claudio Lancia)

Formati nel 1995 in Massachusetts dal chitarrista Steve Brodsky, i Cave In divennero la colonna portante del "metalcore". Le melodie orecchiabili e le strutture complesse di Beyond HypotermiaUntil Your Heart Stops (Hydra Head, 1999) conferirono un nuovo significato ai cliche` di rumorosità, frenesia e caotica fusione di heavy-metal ed hardcore (Converge, Coalesce, Botch).

Invece lEP Creative Eclipses (1999) ci presentò una nuova band, desiderosa di sperimentare con tutti gli aspetti del formato canzone. Jupiter (Hydra Head, 2000) suona come una versione aggiornata del progressive metal dei Rush (Big Rift, In The Stream Of Commerce).

Un suono più elegante e raffinato è presente in Tides of Tomorrow (RCA, 2002) ed Antenna (RCA, 2003) relativamente vicini al power-pop dei Radiohead.

Perfect Pitch Black (Hydra Head, 2005) is still a compromise between their ambitious Jupiter and mainstream power-pop. While the band tries to return to its metal roots, what is still missing (even from the seven-minute Paranormal and the grunge-y Trepanning) is the energy that had derailed their first two albums.

Boston's Old Man Gloom, featuring Aaron Turner of Isis and Caleb Scofield of Cave In, debuted with the mini-albums Meditations In B (2000), Seminar II - The Holy Rites Of Primitivism Regressionism (2001) and Seminar III - Zozobra (2001). Their first major statement was Christmas (Tortuga, 2004), notably 16-minute three-movement droning folk fantasy Christmas Eve.

Steven Brodsky's Octave Museum (Hydra Head, 2007) was an album of orchestral pop. Steven Brodsky followed it up with Pet Genius (2007), a hodgepodge of rock styles.

Cave In's guitarist Adam McGrath launched his solo project the Clouds with the freaked-out stylistic maelstroms of Legendary Demo (2007) and We Are Above You (Hydra Head, 2008).

Cave In's Planets Of Old (Hydra Head, 2009) was both one of their most accessible works, with relatively catchy songs such as Cayman Tongue, Retina Sees Rewind and Air Escapes, and a return to the heavy sound of their early recordings.

Cave In's EP Anomalies Vol. 1 (Hydra Head) collects unreleased tracks and rarities, mostly covers.

Continuing in their somewhat schizophrenic vein, White Silence (Hydra Head, 2011) invested both in melodic melodramas (the eight-minute Sing My Loves, Summit Fever) and in furious rave-ups (Vicious Circles, Serpents, Centered), excelling in neither but coining a curious hybrid.

(Translation by/ Tradotto da xxx)

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