Laura Romaniello / Art Director

Coraline Seksinsky

WKNH Music Director

Space Camp is an experimental hardcore band from Massachusetts  and Connecticut, and oh do they rip.

Their latest release, “INEVITABLE DEMISE,” put out Nov. 30 of this year, is a quick and brutal affair.

The opening notes to the record are devastatingly low and distorted. The song rockets into doomy hardcore goodness, the drums and keys providing epic thrust.

The song builds to a bursting noisey climax, at which point the horns run an epic line which builds up and up and twists melodical until the songs conclusionary feedback drones. The next song “Righteous Dollar Bill,” doesn’t contain the lumbering doom elements.

It is far more thrashy, though no less agile in its structure.

I find the velocity and force with which song parts and elements will switch to be one of the more brutal things about the record.

Each song contains its own flavour and a unique sense of production. Of note is that Space Camp does not use guitars, and so their palette contains instruments which might not be so common to the realm of heavier music and allows them to work certain frequencies in different ways.

On the track “Theft Under $1000,” a sharp acoustic piano sound forms the bedrock of the song. For me, “Theft Under $1000” was a record highlight.

The sloshed hi-hat rhythm pushed by the piano contrasts nicely with the charging beats and grinding distortion of the rest of the record.

The clean yet truly stabbing piano riffs are a pleasant change up from all of the synths and distortion, all the while not dialing down the intensity in anyway.

The lyrical themes of the record are as varied as the sonic palette.

They range from fairly overt statements to discussions on politics and gender, mirroring in many ways the phrase “the personal is political.”

For instance, when they end the song “Damn Right I support It” by gang vocals chanting “We are proud to not be boys” after having just sang the line “boys with nothing to be proud of.”

A statement of trans empowerment and identity, while also being a joke on the racist organization The Proud Boys. Other lyrics feel more enigmatically personal.

One example of this is: “I want it/ Does she know I want it/ that infantilization”. Though, the personal is political and perhaps I just am not seeing something.

This release is a real quick one, with all songs clocking in under three minutes.

If you like really aggressive and weird music, give this record a listen. It is a twisting road through a high mountain pass and there is no guard rail. It’s only speed and danger, baby.

Coraline Seksinsky can be contacted at wknhmusic@gmail.com