Cave In “Planets of Old EP” Review
After jumping over every hurdle the record industry could possible throw in front of a band during its storied 14 year career, Cave In’s hyperbolic arc may have seemed like a case of undiagnosed schizophrenia to some and a reflection of commanding creativity to others. Cave In is a band with an approach to music like the rock ‘n roll equivalent of a Toby Young memoir title taken literally, and one thing that can’t be argued is that the band has been willing to take risks where others may have stayed in “safer” territories. Since its early genre-defining hardcore-meets-thrash metal albums, to its escapades through space rock and psychedelia, and on to the rocking riff-fests of later years; Cave In has consistently challenged its fans while pushing forward into new, uncharted territories. No two albums have ever sounded alike, and perhaps the most amazing thing of all, the band never really seemed to lose focus. Through it all Cave In always sounded like Cave In.
After nipping at the heals of the underground for over a decade, the band went on hiatus in 2006, and in the meantime—while each of the band’s members has been off working on various other music projects (too many to be recounted here)—we were left to wonder if we would ever hear another album from the band, much less what it would sound like. Thankfully, we didn’t have to wait that long to find out.
Planets of Old is the first release since the band regrouped earlier this year, and it’s an album that shows how Cave In is rejuvinated both in body and mind. With this short release, the band has achieved the impossible and honed in on all of the styles that made it unique. Planets of Old is a strong statement as to why the band came together in the first place, and how it still maintains the forward-thinking edge that has made it such an interesting group to watch over the years. Abstract, progressive song structures are still the name of the game, and Stephen Brodsky’s beautiful cadence is more attractive than ever, but this time around the dudes seem to have suddenly remembered about their early background as thrashers and punks. These are the songs of a band whose members are looking to satisfy no one but themselves, and as luck would have it, everyone comes out a winner in the process.
Old fans will be happy to know that the band has unabashedly reclaimed its viciously heavy hardcore roots, with Caleb Scofield’s gnarly howl now receiving nearly equal tape time as Brodsky’s. However, latter day Cave In fans will still revel in the catchy choruses and dreamy transitions of the songs. And despite treading some familiar ground, the songwriting still feels as fresh as ever.
[uncredited group shot via MySpace]
Right from the start, any questions of whether Cave In can still rock are put to rest. “Cayman Tongue” wastes no time in getting into the nitty-gritty, a monster sludge-meets hardcore epic that could easily be the heaviest song that the band has written in years. Never sounding cliché or tired, the track twists and turns through several mind-bending changes (showcasing everything from Cave In’s mammoth riffing to its penchant for noisy, Sonic Youth-esque meandering) before finally grinding to its ultra-heavy conclusion. “Retina Sees Rewind,” a fast-paced, steam-rolling juggernaut complemented by Brodsky’s melodic crooning, recalls more recent releases from the band, but the acrobatic lead guitar work maintains an unbridled furor that is introduced on the EP’s lengthy opener.
By the time a four count launches off “The Red Trail,” all traces of the band’s sweet-side have vanished as it pummels the listener with a smattering of in-your-face punk rock and frenetic metal-meets-hardcore (I intentionally avoid using the term metalcore to describe it, as it’s free from the stereotypical trappings that made the term such a joke during the 21st century). The song is chaotic, invigorating, and it will leave you asking who these guys are, and what happened to the band that released Antenna half a decade ago?—these are the raging sounds of a Cave In reunited, re-inspired, and firing on all cylinders. Even the most straightforward tune of the bunch, “Air Escapes,” succeeds in marrying the band’s aggressive tendencies with the catchy rock groove of its post-millennium discography. Though not quite as crushing as the songs that precede it, “Air Escapes” is the missing piece to a puzzle that connects the dots between the Cave In of the past 10 years and the Cave In of the future.
Planets of Old is a transitional release, eerily similar in its shock impact as Creative Eclipses, an EP which redefined the band from its hardcore roots to full-on space rock upon its release in 1999. The only difference is that this time around, after 10 years of experience and increasing experimentation, the drastic change feels so much sweeter, and it leaves us guessing as to what we should anticipate with the band’s promised future output. Call it post-hardcore if you want, call it metalcore, call it stoner rock—in a world where bands ranging from Foo Fighters to Killswitch Engage are enjoying attention on modern rock radio, there’s no reason that a band as excellent Cave In shouldn’t be pushed to the front of the line. Even at the heaviest the band has sounded in years, Cave In’s continuously creative output makes it a band deserving of recognition among the biggest names in alternative rock.
Cool, I wasn’t aware Cave In was back together. I haven’t followed very closely to most of the post-Jupiter stuff (I love Jupiter though), but this sounds interesting.