Ithaca They Fear Us Download

In the current wave of vital, enthralling and meaningful UK metal bands, few have stood out quite the way ITHACA has. Their debut full-length The Language Of Injury was a manifesto of chaos and uprising, and in the years since they have remained one of the most entertaining and outspoken voices on the scene, speaking up on issues of toxic patriarchy, diversity and body shaming. Now they harness that anger and energy into They Fear Us, an album about discovering inner power, strength, revenge and retribution for all who have felt marginalised and downtrodden.

"We never wanted to leave it that long!" Azzouz tells Hammer. "The reception to the last album was so much better than we'd ever dreamed it would be, so I worried we'd lose some momentum. But even dropping a teaser for the single, got people saying how excited they were and that got us excited".

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Recorded with Lewis Johns (Rolo Tomassi, Conjurer, Employed To Serve; just about every other exciting British band you've heard of in the last few years), Ithaca describe They Fear Us as the start of a whole new era for the group. Afforded over three times the length of time they spent working on The Language Of Injury, the band decided to make full use of the studio to get experimental. Hammer caught up with Azzouz to talk the new era of Ithaca.

Description "This is the sound of a band empowered. Nothing - not our traumas and losses, not those who have underestimated or undermined us - can stop us. Those who seek to oppose us; your sins will catch up to you. We know who we are. We are united and you will fear us." Ithaca - They Fear Us ---------------- Formed in 2012 out of a mutual love of metallic hardcore but despair at its lack of ambition, Ithaca exist to challenge everything you thought about what a band that makes heavy music should look and sound like. A glitter-covered nailbomb, Ithaca seamlessly blend the brutality of Relapse Records metalcore with blackgaze, 90s industrial metal, 70s prog and even tinges of 80s power pop. Their influences stretch beyond the musical - this album comes with a clear vision and aesthetic: drawing from members' different ancestral heritage, queer/non-conforming identities and iconic figures in avant-garde, new wave and post punk culture. Their upcoming second album 'They Fear Us' is the sound of a band healing from trauma - standing in their own, unapologetic voice. Furious and wildly inventive while also being more coherent and accessible, this album will introduce Ithaca to a wider audience than they've ever had before. To quote the band - 'those who oppose us; your sins will catch up to you. You will fear us'. Ithaca's 2019 lauded debut 'The Language of Injury' was followed by their early 2020 tour with Grammy-nominated indie rock band Big Thief, starting at London's Hammersmith Apollo. Press support from Pitchfork, BBC R1, Metal Hammer, Kerrang!, Rock Sound, Revolver, Decibel, BrooklynVegan, and performances with Bleeding Through, Jamie Lenman, Anaal Nathrakh, The Number Twelve Looks Like You, at Boomtown Fair and ArcTanGent Festival mark Ithaca as one of the most exciting and vital new voices in UK heavy music currently. Ithaca have also appeared on Ed Gamble's Spotify podcast 'Lifers', Sky News and BBC3.

Before Eighteen Visions went on to embrace radio-friendly melodic metalcore, and before guitarist/backing vocalist Brandan Schieppati achieved fame fronting his own band Bleeding Through, 18v were following in the footsteps of '90s bands like Converge, Cave In, Coalesce, and Botch. For their sophomore album and Trustkill debut, Until The Ink Runs Out, they took that sound, made it their own, and influenced a ton of other bands in the process. Instead of veering towards atmosphere and art rock like their predecessors did, 18v were all about the brutality. Breakdowns became a clich by the late 2000s, but Until The Ink Runs Out employed a breakdown-after-breakdown-after-breakdown approach that felt revolutionary (and not cheesy) at the time, while also managing to contain songs that were tuneful but not poppy or glossy. The album ended up forming a bridge between the more hardcore-leaning '90s bands and the machine-gun-chugging 2000s bands, and it remains a record that hardcore kids and Ozzfest attendees can agree on today.

The Dillinger Escape Plan helped invent the utterly chaotic subgenre of mathcore with their 1999 debut LP Calculating Infinity, after which Dimitri Minakakis left the band, leaving them without a vocalist. While they searched for a permanent replacement, they recorded the Irony Is a Dead Scene EP, and vocals on that were handled by none other than Faith No More/Mr. Bungle's Mike Patton, who was understandably attracted to the totally batshit music Dillinger were making. Once they officially recruited new vocalist Greg Puciato, they released their second full-length Miss Machine (on Relapse), and this time around they were even more batshit. I don't even like calling this album "mathcore"; it's too niche, it undersells it. It's like, I don't know, progressive circus acid freakout avant-goth metallic rock -- definitely a little more Bungle-y than before they worked with Mike Patton -- but still somehow very much a metalcore record. As great as Dimitri Minakakis was, Greg Puciato was perfect for this new sound. His scream is as ferocious as you want from metalcore, but the range of his clean-singing voice matched the growing musical range of the band's instrumentalists. Like on their debut, band members Ben Weinman and Chris Pennie co-produced the album with pioneering metalcore producer Steve Evetts (Deadguy, Snapcase, etc), but this time they embraced a warmer, more spacious production style that really gave these ambitious songs room to breathe. It's obviously weird music, but it's not difficult to listen to. Mixed in with all the looniness is a big, bold rock record with hooks that rivaled anyone in melodic metalcore. Miss Machine did it all, and it never went overboard.

The Acacia Strain often got lumped in with deathcore, but they really predated that genre's Myspace-fueled boom (with albums dating back to the early 2000s including a trio of Adam D-produced records), though it's not totally impossible to see why. There's definitely some death metal in Vincent Bennett's growl, and the band frequently relies on slam-friendly breakdowns. More so than any other band on this list, The Acacia Strain often seem like their sole purpose is to make the earth shake when they perform. That said, it does a disservice to The Acacia Strain's creativity to only talk about them in terms of pure brutality. They're masters at subtly weaving an atmospheric side into their music, and the way they approach breakdowns always feels artistic. I know "ignorant" is a compliment when talking about breakdowns, but The Acacia Strain's breakdowns feel the opposite of that. It's not easy to pick one album that best represents them -- and if you're looking for TAS at their most strictly metalcore, you're probably better off with 3750 or The Dead Walk -- but 2010's Wormwood found them fusing together metalcore, death metal, post-sludge metal, and Meshuggah rhythms in a way that felt more seamless and more innovative than anything they'd done previously. It's frequently and deservedly considered an even better record than their earliest material, and it put them on the increasingly creative path that they're still on today -- 2019's It Comes In Waves and 2020's Slow Decay may actually be their most unique albums yet. They've also become elder statesmen of the genre, and -- through the guest appearances on Slow Decay, their choice of tourmates, and the local openers that Vincent hypes -- extremely vocal champions of today's hardcore scene. It's important for veteran bands to keep their ear to the ground the way Vincent has, and it's no surprise that many of today's best bands are eager to tour and collaborate with them. The Acacia Strain helped pave the way for so many of them. 006ab0faaa