Head Wound City

    Head Wound City


    Before the Locust was getting all serious on Mike Patton’s Ipecac imprint and the Blood Brothers got all arty on Jimmy Kimmel Live, both bands released some of hardcore’s most valuable records. As their careers unfolded, however, their forays into experimentation cost them some of the primal grit that graced their early records. Not to detract from the quality of their recent releases, but it’s safe to say that with age, the groups lost some of the bloodthirsty abandon that flooded their initial recordings.


    Head Wound City, the maniacal brainchild of the Locust‘s Justin Pearson and Gabe Serpian, the Blood Brothers‘ Jordan Blilie and Cody Votolato, and Yeah Yeah Yeahs‘ Nick Zinner, is a boost of adrenaline to post-hardcore’s comatose torso. At seven songs in less than ten minutes, the Yeah Yeah Locust Brothers recklessly achieve perfection through their demolition of sound.


    Written and recorded in eight days at the beginning of 2005, the songs pulse with shattering intensity. From the screeching feedback of “Radical Friends” to the monstrous double-kick of “Michael J. Fox,” the members of Head Wound City attack their record with the passion of a band on its first legs. Riffs pile upon riffs as bass-and-drum interplay directs the songs through passages of thrash, noise and somewhere in between, all the while anchored by Blilie’s signature yelp.


    In its chaotic craftsmanship, the debut from Head Wound City is a remarkable achievement. Saturating each second with bounds of innovation, the group has ignited a genre that many thought was long exhausted. Though it’s doubtful they could translate this same energy into a full-length format, Head Wound City is a side-project that deserves further exploration.


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