Hardcore/Metal Music

Introductions

2008-12-07T16:42:33Z

I’ve been listening to hardcore and metal music since I was about 13 or 14 years old. I started out with bands such as Killswitch Engage, Poison the Well, and As I Lay Dying, before finding love in hardcore music with Comeback Kid, With Honor, Love is Red, and Win the Fight. My first taste of the scene was at a Poison the Well show at the Quest main room in Minneapolis, Minnesota on February 12, 2004, and that day has since changed my life! I’ve been going to shows, singing along, and dancing ever since, indulging in the local Minnesota scene. I was 15 years old when I helped organized the first Midwest Takeover Fest here in Minnesota as well as two more consecutive fests following the first. Needless to say being a part of this music scene and the community has definitely made an imprint in my life. I’ve made so many friends throughout the years in many different cities and many of the friends I have now, I’ve met through being a part of the community within the hardcore/metal scene. It has definitely molded me into the person I am today, having been introduced to the music at a very impressionable time of my life it has been the only consistent thing that I’ve stuck with through the years. At these shows I could have fun and be myself around people who also went to shows to get away from the chaos of life. The only thing I remember about high school was that during my high school years, I spent the majority of my time going shows! That’s how much music has impacted my life!
The draw, for me, to this music is the honesty behind the music as well as the musical ideas itself. The community aspect of this genre of music also drew me in, making me feel like I was a part of something bigger yet still underground and DIY.
Almost five years in and I’m still listening to the same bands (as well as new ones) growing as they grow, this for sure has never and will never be a trend to me, this music is personal and definitely an important part of my personal identity. That’s why I listen to hardcore and metal.

Suzie Lee

]]> I wanted to show this video clip of a news channel in the Milwaukee area of Wisconsin covering the hardcore/metal Robot Mosh Fest 4 in 2006. They give shows like this a negative connotation, depicting to its viewers only the “dangers�? of these shows and its environment, but disregard what these shows mean to the people attending it and miss the community aspect of its environments.

I was 16 years old when I went to Robot Mosh Fest 4 and had a great time! At no time within the two days did I feel endangered. I was accompanied by friends that drove from Minnesota for the fest, as well as friends I had made in Wisconsin, we all looked out for each other as well as for the strangers whose purpose at the show was the same as ours. Goes to show the media is full of s#!t when it comes to giving the inside story of these events.

Observing and Analyzing a Live Performance

2008-12-08T07:26:29Z

"[I]s it the artist(s) that encourage community or is the community that encourages the artist? I’ve observed the relationship between audience and musicians time and time again although it was not until I accepted this assignment that I put in every painstaking detail into connecting the two. What could be better than to start this analysis with a band that I have admired since the beginning of my identity in the metal/hardcore scene? A band I’ve seen numerous times since the first time I laid eyes and ears on their live performance on July 5, 2005, Wisconsin’s very own Misery Signals."

]]>
Having gone to what feels like hundreds of shows, I’ve had my fair share of experiencing the social life of the local Minneapolis scene of metal and hardcore music. Since I was about 13 years old I’ve found myself being pushed and shoved by moshers in the pit, although it was not until I was about 15 did I being to participate in what some call “fight dancing�? or “hardcore dancing�? and it was then that I became a part of the actual community of this scene. This dancing doesn’t happen because it is “the thing to do at shows�? but because the music has so much energy and/or my favorite band is town and the energy of the people around me encourages it. This is how a sense of community grows. But is it the artist(s) that encourage community or is the community that encourages the artist? I’ve observed the relationship between audience and musicians time and time again although it was not until I accepted this assignment that I put in every painstaking detail into connecting the two. What could be better than to start this analysis with a band that I have admired since the beginning of my identity in the metal/hardcore scene? A band I’ve seen numerous times since the first time I laid eyes and ears on their live performance on July 5, 2005, Wisconsin’s very own Misery Signals.
Misery Signals is known for their distinctive style of heavy distorted breakdowns mixed with beautiful, intricate, melodious and creative instrumentation, rapid drumming that rarely settles in any aspect, and deep, heavy, guttural vocals. The combination of all of their elements is what draws attention to this band. Loud and soft, fast and slow, no two songs ever sound the same, thus is why they have an ever growing fan base, because their sound appeals not just to metal heads and not just the hardcore kids but both of the sub-cultures and everything in between.
Having just finished the Thrash and Burn tour, in Seattle Washington on September 3rd (Thrash and Burn), Misery Signals was one show away from home, probably just stopping by to make enough money for gas to get them back to Milwaukee/Racine, Wisconsin. Saturday September 6th, twelve dollars down and one hand stamp later, I found myself inside St. Paul’s narrow but spacious standing-room-only metal venue Station 4, amongst about 50 other people, as the show begins with four local opening acts.
Starting off the show was local hardcore band High Hopes, their positive community values and fast paced, fun, and energetic music was a great way to begin the night, as singer Nick Weller has been a very positive and prominent member of the local music scene for years. I didn’t pay so much attention to the next two bands because 1) I was getting food during the second band, and 2) the third band, A Blessed Tragedy, is really not my thing with their cliché and predictable generic-core music accompanied by a talentless almost painful-to-listen to singer with his groggy attempt at screaming and his ever so awkward stage presence, like hanging awkwardly onto the pillar located on the front of the stage. It was so terrible that anyone would notice the emptying of the room as the band's set lagged on longer. Last up of the opening acts was one of the rising local bands, Your Memorial, displaying their colorful guitar work with strategic solos, thick screaming vocals, and catchy rhythmic drumming. By the end of Your Memorial, the crowd had slowly filtered in raising the attendance to about 250, though still not much for a band of Misery Signal’s magnitude and a venue with a 400-500 capacity, this intimate show lacked no energy.
Waiting for the band to appear on stage the anticipation in audience grows as all of the lights are turned off except for the amber glow from the adjacent room seeping through the open door and window from the 21+ drinking area. If it wasn’t apparent before, there is no escaping the fact now that this room has very poor ventilation. With only two large fans both at the back end of the long room, I’m sweating bullets as I’m sure is the same with everyone else, it’s humid but not unbearable. The music begins before the stage lights turn on although it’s not the music everyone was expecting. What we hear in the darkness is the familiar instrumental sound of the top-40 hip-hop song “Soulja boy�?. A little baffled about the unexpected music, but none the less entertained as chuckles and giggles echo the venue, the anticipation grows even stronger, made obvious by the pacing of a few of the audience members in the space where the pit usually forms, while others stare intently at the stage.
Misery Signals makes their presence known by cutting through the hip hop song with loud crashes of the drum cymbals, and rapid rolls of double bass pedals on the kick drum, and the drone of the buzzing guitars, while simultaneously the stage lights flash on, making it known that is it; this is what we’ve all been waiting for. Standing on top of a four-foot stage, with the drummer set up on another one foot platform, the aura and energy of this band finds its way into the rapid beating hearts of their fans, as signature stage lights from behind the band illuminate the musicians. The singer, Karl, announces them along the lines of, “What’s up Minnesota! We are Misery Signals! Let’s have some fun!�?(Intro) and then immediately follow the short introduction into a song.

[Misery Signal's "Soulja Boy" intro. Bakersfield, CA, Thrash and Burn Tour 2008]

As Karl jumps and paces on stage, and the guitarists bang their head to the music, the crowd needs no time to warm up to this band. Movement within the audience begins right away as a circle is formed in the middle of the audience to embrace and encourage hardcore dancing. In this pit fans swing their arms about diagonally from side to side, or front to back with hands made into fists. They move their feet in sync with their arms or kick it as high into the air as they can while spinning their body around, often called a “spin kick�?. It may sound like chaotic movement but there is a sort of structure and general idea of how to do each act. Even if every move is common among the dancers, every person has their own flare and style to the dancing they perform. Though body parts are flying everywhere, from fists, to feet, to entire bodies, there are unwritten rules of maintaining space. If everyone who wanted to dance all danced at the same time, there simply would not be enough room to accommodate for comfortable and harmless fun.

[Dead to Fall- Bastard Set of Dreams. Depiction of what hardcore dancing looks like (also see AFI's video for Leaving song part 2 for more footage on hardcore dancing)]

The band encourages movement (but not violence) among the audience, because it is a sign that the crowd likes what they’re hearing, and it feeds energy back to the band. So the flow of energy between band and audience goes both ways, one without the other would result with a really boring show where either the band or the audience might feel unappreciated. This audience definitely appreciated Misery Signals and vice-versa. The band’s movement on stage made it clear that they enjoyed what they were doing, and between songs Karl continuously thanked the audience for their presence. As for the part of the audience, not only were there a handful of the people dancing, but even if they weren’t dancing, they were tapping their toes, bobbing their heads, and even jumping up onto the stage to share the microphone with Karl. The greatest sense of connection and community between artist and audience is when they share the microphone because there is a sense of equality.

[Karl of Misery Signals sharing the mic with Australian audience during "The Failsafe" off of Mirrors (2006)]

Time to time someone may jump towards the stage during their favorite part or a catchy line, and other times Karl will stick the microphone in someone’s face he sees singing along to their songs. The empowerment here is that the fans are dedicated enough to know every lyric to all of their songs, and for the audience, to gain the microphone is almost a trophy for there are others reaching toward it as well. And this happens for almost every song throughout their entire set. Unless there is a break between songs, the movement ceases to end while Misery Signals is on stage.
The band finishes their set, thanks the audience, and departs from the stage. Although that is not enough for the fans and the crowd unanimously chants “one more song!�? It takes a minute of chanting but the band reappears and agrees to give the fans one more taste. This time the crowd is almost twice as rowdy because this last song is what is commonly known as the “last chance�?. The last song, the last breakdown, is the “last chance�? of the night for the audience to be as wild as they can, to let loose and step out of their bodies to release their energy onto the dance floor, and it is always the “last chance�? that evokes the biggest response, because it’s now or never to express oneself.
Bury Your Dead

[Bury Your Dead playing "Magnolia". Notice: Last chance at time 2:23, pile ons at the end of the video, and mic sharing throughout the performance]

Once the encore is over, many people head to the merchandise table to pick up the last pieces of merch the band has left from their large tour, while others filter outside to embrace fresh air.
As a part of the audience, we are all here together for the same reason, to listen and experience the live energy of Misery Signals, the sense of community rises in knowing our commonality. Though everyone at this show, and shows like this one, come from different backgrounds, knowing the sense of community i.e. sharing the pit, helping up a fallen person, breaking up fights, etc. is what builds a bond between complete strangers. When someone else has a different sense of community values it is then that people collide. Musicians are not the gods of the community, they are simply just the glue that bring people together and pack them into a room. Musicians themselves are as much a part of the community as their fans and without the intercommunity values between fans and musicians there would be no sense of identity for anyone. Music identifies us, and together our scene identifies the musicians. Misery Signals embodies the sense of community by interacting with their audience, encouraging people to dance, and being energetic in their performance. The fans in return do not let their efforts go unrewarded because they were applauded, praised for an encore, and sold out of most of their merchandise by the end of the night. Money-wise, it didn’t matter how many people showed up to this show, because Misery Signals requires having a guarantee when being booked, but spirit-wise, the response from the crowd as a whole could be just as rewarding has having enough money to make it home; it’s the community that makes being in a traveling band worth it, and is also what makes a band worth seeing.

Finding the CORE

2008-12-08T07:44:58Z

In this paper we explore the dynamics of how metalcore music comes together through the roots of both hardcore and metal music, as well as the different bands that explore both (but not exclusively influenced by) metal and hardcore. Specifically pointing out local St. Paul hardcore band Husker Du and their association with the 1980's punk/hardcore scene of Minnesota, and Pompano Beach, Florida's Shai Hulud with their connection to the early stages of the recently coined "metalcore" music. Here we will explore what it's like to be apart of an underground music scene and what will become of it in the future.

]]> Finding the CORE in Metalcore.
The merging of hardcore and metal music was a concept coined in the mid 90’s as “metalcore�? which consisted of music that incorporated ideal concepts from both genres and creating a more progressive sound. What made the music hardcore was the attitude, sometimes the lyrics and a particular message, a certain image (for example, you know a band is metal and not hardcore if they all have long hair, face paint, and wear a lot of leather), and vocal style of grainy yelling or shouting often accompanied with “gang vocals�?. The metal influences in metalcore music derive commonly from the use of the double bass pedal, a more guttural, deep, and throaty vocal style, structure of songs, and more emphasis on guitar instrumentation, melodies, licks, and riffs.
Music is so dynamic in this day and age that it is hard to distinguish the metal and hardcore influences in many bands. The heavy bass line, which can be traced back to the power trio groups like The Who, is a strong characteristic of hardcore music. Any good hardcore band usually has a strong and thick sounding bass this can be heard through the music of Daggermouth, Verse, and With Honor. Guitar solos, licks, and riffs are commonly a metal trait in music coming from bands like Led Zepplin, Black Sabboth and Pantera. Intricate guitar work and melodies can be found in the modern music of one of the most progressive bands of this generation North Carolina’s Between the Buried and Me, along with Misery Signals, and polyrhythmic masters of Bulb and Periphery. One of the most important and criticized aspects of the heavy music scene is in the drum work. Metalcore incorporates metal’s double-bass technique and blends it with hardcore style (notable bands for their drum work are Veil of Maya, August Burns Red, and Minneapolis’ very own With Dead Hands Rising) for example the “breakdown�? music pattern is very common in metalcore music and has become a standard to many bands. Breakdowns usually consists of a sluggish guitar tone, commonly with palm muted chords, little to no vocals, and very slow percussive movements, an accurate example can be found in minute 1:24 of The Acacia Strain’s song “Woah! Shut It Down�? off of their sophomore album The Dead Walk. Vocals in the genre, however, can range quite dramatically, from wide ranged vocals (ex. Veil of Maya), to deep guttural mono-ranged vocals (ex. Still Remains), to higher pitched, less guttural screams such as Haste the Day, and then there is the more hardcore influenced vocal style found with such bands like Every Time I Die. Of course vocal styles range from those and everything in between, even singing is common in metalcore music, and even if it’s a male dominated genre, notable female vocalists have staked their claim to heavy music such as Candice Kucsulain of Detroit’s Walls of Jericho and Laura Nichols of San Francisco’s Light This City.
It was only a matter of time before hardcore and metal merged to create the giant spawn that exists today. Both genres emerged with popularity in the 80’s (predominately along the New York and California coast scenes) as music for kids who just didn’t really fit in to society’s norm, and both were seen as rebellious and dangerous groups, made up predominately of young white males (Purcell, 99-100 and Azerrad, 172). Those who grew up within the midst and hype of the two genres and connecting with the messages that both metal and hardcore had to offer, would later come to tie to two together and not only find that both genres could be found on one bill at a show, but that they could also be merged and create a more progressive movement in music. People were beginning to get sick of the cliché repetitive structure of a certain sound, and of hardcore music in the early 1980’s Bob Mould of St. Paul hardcore band Husker Du had this to say about the hardcore scene (not in association with metalcore but of hardcore music in general at the time):
"What I remember hardcore as being is, like, any band that just got up there and is real aggressive instead of ‘We have to sound a certain way and this is, like, the formula for it,’…And the new bands are just locked in[to] the formula. Afraid to do anything else because they think it’s such a pure form. Which is just a bunch of shit. It’s just a bunch of rules, that’s why we don’t play along with that game anymore (Azerrad 169)."
Obviously Mould wasn’t alone with his thoughts on how music should be made as far as following a guideline on how to make what kind of music. Thus leads us to the birth of a new genre.
One pioneering band of the metalcore genre would have to be Shai Hulud with members hailing from Pompano Beach, Florida (later relocating to Poughkeepsie, New York) Shai Hulud is one of the most respected, influential, and admired bands to this day (Shai Hulud) as an original metalcore band. Drawing their influences from metal notables such as Metallica and Testament as well as hardcore bands Chain of Strength and NOFX, Shai Hulud had much to choose from to help mold them into the international powerhouse that they are in today’s metalcore scene (Shai Hulud). The release of their 1997 CD “A Profound Hatred of Man�? immediately put Shai Hulud on the map as ground breakers of the metalcore genre, and they are still breaking boundaries musically to this day with their recently released and highly acclaimed 2008 record “Misanthropy Pure�? (Shai Hulud). Though they themselves were inspired by other metalcore like bands such as Deadguy, Earth Crisis, and Coalesce, much credit is given to Shai Hulud for their musical progressiveness (Rosenberg). Prior bands to Shai hulud that paved way for metalcore progression are Hatebreed, Converge, and Strife to name a few. Following the success of Shai Hulud came more recent bands such as Poison the Well, Killswitch Engage, and Misery Signals.
Metalcore as it is today has created its own community and values. Instead of “run[ing] around in circles at the back of the room out of sheer ecstasy, bouncing up and down or slamming around the room like errant subatomic particles,�? (Azerrad 176) or push moshing, hair whips, and serious head-banging, the atmosphere of a metalcore show can be seen as a little less chaotic but equally as energetic. Participants in the metalcore tradition usually “fight dance�? commonly known as “hardcore dance�? or generalized as mosh. The title “fight dance�? is self explanatory as the dancers often look as though they are fighting some invisible force, when really they’re just releasing some energy and enjoying the band. Generally to be a recognized (and usually respected) person within the community one is usually a member of an original and admired band and/or an avid (respectable) mosher. Moshers who noticeably cause trouble in the pit are usually not on good terms with the majority of the crowd thus are ostracized. Although the ostracism also occurs when a new fan attempts moshing with little to no avail at the fluidity that the regulars have noticeably mastered. Whereas for metal and hardcore, anyone can take part in push moshing or slam dancing, for there is no particular art to it as there is in hardcore dancing. Moshing is a very vital characteristic to the metalcore community because it is one of the main sources of audience energy feedback for the bands that are playing (Weigel). Therefore the more people a band can get to move around, dancing, during a performance is a measurement of audience exception.
Just like for any other genre of music, musicians in this scene often practice their songs leading up to the date of the show, and run through their set list and check their gear before setting up the stage. The difference is in the way metalcore musicians interact with their audience. Involving the audience in at least one point of the performance is usually the norm. Many singers point their microphones into the faces of fans singing along, or fans invite themselves to the microphone by jumping on stage to grab and share the microphone. Some bands encourage stage dives, and often tell the audience to “pick up�? their feet, meaning to get moving around, and sometimes musicians find themselves on the floor with their audience during a performance instead of standing on a stage, making any show a little bit more intimate. All of these musician tendencies are observed visually and sometimes orally, but never were/are there written rules on stage etiquette for any underground band.
What makes a particular band stand out in this genre is the same as in any other genre: the ability to prove one’s musicianship by playing original music that is coherent, flows well, and demonstrates a certain level of intricacy or difficulty. Not any one can become a favored metalcore band over night, it takes a lot of talent and DIY work to become a recognized force in the scene and as Azerrad put it, “…DIY wasn’t an ethical decision or even a point of pride. It was necessary�? (170). Many working musicians try to book as many shows as possible to get their name out there, tour as far as they can to reach the ears of music hungry kids across as many states as they can pass through in order to gain some stable ground of recognition. Although sometimes it is not always true that the hardest working and most talented bands will always get what they deserve.
As is true in both metal and hardcore scenes alike, it might not always be the talent that gets a band to where they want to be anymore. With today’s ease of access to information via the dot coms (myspace, facebook, purevolume, etc.) the music “image�? is a prominent factor in a new and emerging generation of music. Music moves in cycles and even if some people try to deny it, music also moves in trends. Dan Godar, avid concert goer and scene veteran of twelve years comments, “[Shows were] like the social gathering grounds that brought us all together. [Now] it turned from a social gathering to more of a fashion show…the scene got turned into something so vile, that none of us were having fun anymore.�? Not only do scene morals and images change but also peoples’ taste in music, priorities, and life realizations as Mould puts it, ““You grow up, you change your perspective... You’re not always eighteen years old, drunk, with a Mohawk, driving around screaming and hollering about anarchy, - you don’t do that all your life�? (Azerrad 184). And just like how it happened with the emergence of metalcore, the social changes within this scene will once again spawn a genre of music that will continue to spread the musical inspiration of one genre to another. Metalcore was a large step in the progression and integration of heavy music and there are years and generations of genres yet unknown, to be born, and bear with it influences of this scene.

Musical Analysis- Anchor by Misery Singals

2008-12-08T08:58:14Z

Here we will explore the progressive structural style of metalcore band Misery Signals through their song Anchor from their second released full length LP "MIRRORS" (Ferret Records 2006).

]]> ANCHOR by MISERY SIGNALS
For the general public, metal and hardcore music are hard to accept as meaningful, progressive, and creative musical works of art. Although to its avid listeners and those who take the time to dissect the musical components, metal and hardcore musicians are some of the most talented in their fields and their music are some of the most innovative and dynamic music out there. To experience a taste of what metal/hardcore music has to offer we will explore the elements of the song Anchor by Misery Signals, one of the more prominent bands in the metal/hardcore music scene within the last five years. Anchor is a song that characterizes not only both hardcore and metal music, but also showcases talents in song writing, musicianship, and progressive ideas. The musical elements presented by Misery Signals can change the mind of many people who deny the talents within the hardcore and metal genres.
The first thing that turns people away from heavy music would be the guttural, screaming vocals that force themselves so violently upon the listener. In fact vocals of this caliber are percussive elements to the music itself, though that does not exclude it from also being a musical hook. The vocals of hardcore and metal music are more focused on rhythmic patterns than they are on melodies and the common person’s idea of aesthetic, although to its regular listeners the vocals themselves do become an unconventional allure.
The melodies of the song, and of the style of this band, are carried through the guitars and their intricate weavings of melodious hooks and thick palm muted power chords. It is within the guitars that the song flows and follows to its destination, and is also where the mood of the music can be found whether it is hopeful and uplifting or thick and crushing tones. In this five piece band, the musicianship here is key, because although the guitars carry the melody of the song, the rest of the band can be heard with equal importance.
Although the song is not in your standard verse/chorus form, in the world of progressive music, this song is not completely something different, although it does yield a very unconventional song structure. The figure below maps out the structure of the song, in time and sections. Where 1 is a sort of verse in the song in that it is a reoccurring idea, although 1 is also divided into four different parts A1, A2, A3, and A4. A’s 1, 2, 3, and 4 occur together and always in the same order, although they are all different short riffs they complete a single idea, thus completing the idea of structural part 1 of the song. Each short riff is a small piece of a larger, longer and more elaborate part of the song; they are mostly variations of the chords used for the breakdown. Riff A1 introduces and eases the listener into the song as just melodic guitars, unaccompanied by drums and vocals.
Three seconds into the song and the riff changes from riff A1 to A2, which now comes in with both drums and vocals to the mix. A1 is more melodic, single note, guitar driven riff, A2 is a simple chords idea, A3 consists of chords and bended notes, and riff A4 is chords played in a choppier rhythmic pattern. The time signature for part 1 goes as 4/4 for parts A1 and A2 with a short 2/4 between and then uses 3/4 time for parts A3 and A4, ending part one as a whole on 2/4.
Part 2 of the song is a short foreshadow of the climatic point to come. This breakdown foreshadow is portrayed by the chords played during the breakdown but only once through. Immediately after the pre-breakdown, comes a short melodic guitar riff (also to be elaborated upon later on in the song) although it is contradicted by the sound of the drums, with a build up, hitting only the tom drums and occasionally hitting the china cymbal.
The song then goes back from the melodic hopefulness to the actual breakdown now, beginning abruptly with choppy, distorted, chords played by one guitar along with the clear and prominent sound of the double bass at a very fast tempo where it gives the feeling of rush, they play this twice through.

The breakdown riff runs through twice more, although this time around there are two guitars and they are not as choppy as they are now sluggish. Where the first two times the chords were played they would have palm muted them, last two times the notes would not be muted but let stand as they were played. The rhythm here is very slow, and in fact the slowest the rhythmic part in the song. Taking back all of the heaviness dropped on the listener from part 2, again with a short melodic riff, the listener is lead back to riffs A’s 1-4
Now two minutes into the song, we find ourselves in the midst of a vocal build up. Strategically using the voice as a rhythmic instrument where the stresses in the words “This attempt has failed�? fall in place on every beat, which can also be followed by the drums while the guitars here are played in short, and quick passages. The main focus at this point is in the slow emotionally drawn out vocals and drums in a slow 4/4 signature.
This vocal build up leads listeners to a bliss of melodic guitar intricacies. Every little melodic guitar riff the band has given listeners a taste of earlier in the song all comes together now, weaved, elaborated, and repeated into the last part and outro of the song.
Throughout the song the mood and emotions one might get from the music is a constant rollercoaster of ups and downs. Melody and harmony, dissonance, fast and slow, heavy and light, this song brings forth each emotion so suddenly that listeners may not be expecting what would come next. That is a part of their excellence as song writers to keep their listeners guessing on what part goes where and when it might appear.
This song and Misery Signal’s writing style introduce a short musical idea and then immediately change the flow of the music once the listener gets comfortable with what they hear. They weave musical ideas in and out of the song in short parts (for example part 1 with A’s 1-4) although always bring back those musical ideas in a strong, complete, and structured idea. The song layers parts and change in tempo and rhythm and does what most pop songs do not and that is changes in time signature. Even the rhythmic pattern of the way the vocal is placed is very precise and works around the other instruments. Therefore when someone rules out the talent behind hardcore and metal music solely because of the tone of the guitars, or the type of vocal style associated with the genre, a second listen would surely change their mind, with a song like Misery Signal’s Anchor. The song carries all emotional elements that many CDs try to hold and do it in a mere 3:38 minutes. The ideas presented in the song Anchor are not solely associated with Misery Signals but many talented artists and writers within the hardcore and metal scene find it a staple to think outside of verse/chorus form. As unique as the people who write it, this style of music is surely one of a kind, and only the best of the best can produce the music so flawlessly.

[Misery Signals playing "Anchor" live]