ZEROpumpkins presents: Emo Classics #3, Hot Water Music - Fuel for the Hate Game

ZEROpumpkins · 01.20.2009, 05:20 AM

By the time Hot Water Music came to be, the emo scene of the early 90's had just entered it's second phase, with the release of Sunny Day Real Estate's ground breaking Diary and Jawbreaker's Dear You a year later. These two albums showcased the slower, more musically inclined versions of emo with less obvious punk influences. Hot Water Music, however, blended the fast emocore influence with what that of which the aforementioned bands were trying to achieve, and created a sound characterised by hoarse, nearly incomprehensible vocals with strong, prominent rhythms that dominated their output.

The second (some argue third) album from Hot Water Music demonstrates a different expression of emotion that most fans of emo are used to. Instead of it being channelled through the vocalist's expression and lyrics, Hot Water Music were able to produce music that was emotional in sheer terms of musical expression as a collective. An example of this can be heard straight off the first track, 220 years: The song is introduced with a chugging, syncopated rhythm; all instruments co-operating in perfect timing. Then a riff slips though, the rest of the band complimenting it as it continues. When the vocals come in, the band dies down so you can hear them. Chuck's scratched, strained voice is off-putting to some, but in terms of the sound the band are aiming to achieve, it couldn't work better. When the chorus comes around, Chuck is backed by Chris, both weaving in and out of each other's lines, screaming at the top of their voice, not because they can, but because it is necessary for making the song what it is; it would be lazy to not put the feeling that they do into it. All the while, they do not overpowering each other, or any other band member for that matter.

It is this concept of musicianship that separates them from other emo bands: On it's own, no particular part is able to express even a fraction of what the band achieves when all are combined. Which isn't to say that each member of HWM is not outstanding, the bass player Jason Black is particularly talented, many songs are centred around his agile, jazzy licks and lines.

The album works best on vinyl, split into two halves. Not only is this the way the band intended (the liner notes claim that the CD copy is for professional use only), but it divides the album nicely: nothing is more solid than the first side of the record, I would not change a thing about the order of tracks. The second side is less impressive, but is worth it for North & About and the final track, Drunken Third.

Overall, I would recommend this album for fans of punk music, who are open to the more emotional side of hardcore. At first the album can be a bit inaccessible due to the roughness of the vocalists (yes, both of them), but is ultimately rewarding, as is the rest of their catalogue. Thanks for reading

Sonic Youth 37 · 01.20.2009, 07:43 AM

Another winner.

ZEROpumpkins · 01.20.2009, 08:10 AM

Thanks, I published this review on sputnikmusic.com as well.

Derek · 01.20.2009, 11:13 AM

sputnikmusic.com is the worst site of all time

atsonicpark · 01.20.2009, 01:47 PM

I Must Always Remember
There's No Point To Surrender

Everyneurotic · 01.20.2009, 02:02 PM

never saw the appeal.

atsonicpark · 01.20.2009, 02:05 PM

It's just tough guy gruff guy emo anthems that reminds me of Fugazi if they liked to get drunk all the time. I find HWM a bit underwhelming overall, but this album is really topnotch, especially the bass playing.

uhler · 01.20.2009, 07:08 PM

i used to love this record as well. their singles were the best thing they ever released. i probably saw them more than i saw any other band.

ZEROpumpkins · 01.21.2009, 05:26 AM

I'd place their overall output a notch above similar bands. Apparently they're really good live.

Everyneurotic · 01.22.2009, 11:24 AM

thery were just like social distortion only trying to fit into dischord.

ZEROpumpkins · 01.22.2009, 06:04 PM

No way man, waaaaaay better than SD.

Everyneurotic · 01.22.2009, 10:50 PM

not a scratch on mommy's little monster; the rest of their albums, i can believe you.

ZEROpumpkins · 01.22.2009, 10:55 PM

Fair enough, makes sense.

uhler · 01.23.2009, 03:20 AM

Quote:

Originally Posted by Everyneurotic

thery were just like social distortion only trying to fit into dischord.

i think they are more like avail trying to fit into dischord.

uhler · 01.23.2009, 03:23 AM

Quote:

Originally Posted by ZEROpumpkins

I'd place their overall output a notch above similar bands. Apparently they're really good live.

their live shows were a hundred times better than their recorded material. i'm not sure about now, but 8-10 years ago...so good.

i think they went downhill after they signed to epitaph. not saying because they signed to the label, but they tried to get more radio friendly after they did. i bought the first epitaph record the day it came out and was so disappointed by it.

uhler · 02.20.2009, 03:03 PM

so when's the next "emo classics" thread? have you only heard three "emo" records that you like?

Rob Instigator · 02.20.2009, 03:23 PM

I never enjoyed hotwatermusic's albums. I will give me a second listen

ZEROpumpkins · 03.17.2009, 07:53 PM

Quote:

Originally Posted by uhler

so when's the next "emo classics" thread? have you only heard three "emo" records that you like?

Oh, I'm lazy. Expect one soon

01.20.2009, 05:20 AM	#1
ZEROpumpkins invito al cielo Join Date: Jun 2006 Location: Sydney Posts: 6,157	By the time Hot Water Music came to be, the emo scene of the early 90's had just entered it's second phase, with the release of Sunny Day Real Estate's ground breaking Diary and Jawbreaker's Dear You a year later. These two albums showcased the slower, more musically inclined versions of emo with less obvious punk influences. Hot Water Music, however, blended the fast emocore influence with what that of which the aforementioned bands were trying to achieve, and created a sound characterised by hoarse, nearly incomprehensible vocals with strong, prominent rhythms that dominated their output. The second (some argue third) album from Hot Water Music demonstrates a different expression of emotion that most fans of emo are used to. Instead of it being channelled through the vocalist's expression and lyrics, Hot Water Music were able to produce music that was emotional in sheer terms of musical expression as a collective. An example of this can be heard straight off the first track, 220 years: The song is introduced with a chugging, syncopated rhythm; all instruments co-operating in perfect timing. Then a riff slips though, the rest of the band complimenting it as it continues. When the vocals come in, the band dies down so you can hear them. Chuck's scratched, strained voice is off-putting to some, but in terms of the sound the band are aiming to achieve, it couldn't work better. When the chorus comes around, Chuck is backed by Chris, both weaving in and out of each other's lines, screaming at the top of their voice, not because they can, but because it is necessary for making the song what it is; it would be lazy to not put the feeling that they do into it. All the while, they do not overpowering each other, or any other band member for that matter. It is this concept of musicianship that separates them from other emo bands: On it's own, no particular part is able to express even a fraction of what the band achieves when all are combined. Which isn't to say that each member of HWM is not outstanding, the bass player Jason Black is particularly talented, many songs are centred around his agile, jazzy licks and lines. The album works best on vinyl, split into two halves. Not only is this the way the band intended (the liner notes claim that the CD copy is for professional use only), but it divides the album nicely: nothing is more solid than the first side of the record, I would not change a thing about the order of tracks. The second side is less impressive, but is worth it for North & About and the final track, Drunken Third. Overall, I would recommend this album for fans of punk music, who are open to the more emotional side of hardcore. At first the album can be a bit inaccessible due to the roughness of the vocalists (yes, both of them), but is ultimately rewarding, as is the rest of their catalogue. Thanks for reading __________________
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01.20.2009, 07:43 AM	#2
Sonic Youth 37 invito al cielo Join Date: Mar 2006 Location: if there is a bright spot in the universe, the farthest point from it Posts: 9,443	Another winner. __________________ "One: Where's the fife? and Two: Gimme the fife."
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01.20.2009, 08:10 AM	#3
ZEROpumpkins invito al cielo Join Date: Jun 2006 Location: Sydney Posts: 6,157	Thanks, I published this review on sputnikmusic.com as well. __________________
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01.20.2009, 11:13 AM	#4
Derek invito al cielo Join Date: Jan 2007 Posts: 8,095	sputnikmusic.com is the worst site of all time
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01.20.2009, 01:47 PM	#5
atsonicpark invito al cielo Join Date: Apr 2006 Posts: 28,843	I Must Always Remember There's No Point To Surrender __________________
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01.20.2009, 02:02 PM	#6
Everyneurotic invito al cielo Join Date: Mar 2006 Location: Mexico Posts: 15,713	never saw the appeal. __________________ Richard Clayderman found alive and still bland! Repo Man has all night! Photographic evidence of Monosodic's existance! New Kiddieriot shit after all! Never too late to share fave rex from the year before! David Keenan is a douchebag! Ron Asheton missed!
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01.20.2009, 02:05 PM	#7
atsonicpark invito al cielo Join Date: Apr 2006 Posts: 28,843	It's just tough guy gruff guy emo anthems that reminds me of Fugazi if they liked to get drunk all the time. I find HWM a bit underwhelming overall, but this album is really topnotch, especially the bass playing. __________________
	\|QUOTE AND REPLY\|

01.20.2009, 07:08 PM	#8
uhler invito al cielo Join Date: Nov 2007 Location: Brooklyn Posts: 3,615	i used to love this record as well. their singles were the best thing they ever released. i probably saw them more than i saw any other band.
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01.21.2009, 05:26 AM	#9
ZEROpumpkins invito al cielo Join Date: Jun 2006 Location: Sydney Posts: 6,157	I'd place their overall output a notch above similar bands. Apparently they're really good live. __________________
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01.22.2009, 11:24 AM	#10
Everyneurotic invito al cielo Join Date: Mar 2006 Location: Mexico Posts: 15,713	thery were just like social distortion only trying to fit into dischord. __________________ Richard Clayderman found alive and still bland! Repo Man has all night! Photographic evidence of Monosodic's existance! New Kiddieriot shit after all! Never too late to share fave rex from the year before! David Keenan is a douchebag! Ron Asheton missed!
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01.22.2009, 06:04 PM	#11
ZEROpumpkins invito al cielo Join Date: Jun 2006 Location: Sydney Posts: 6,157	No way man, waaaaaay better than SD. __________________
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01.22.2009, 10:50 PM	#12
Everyneurotic invito al cielo Join Date: Mar 2006 Location: Mexico Posts: 15,713	not a scratch on mommy's little monster; the rest of their albums, i can believe you. __________________ Richard Clayderman found alive and still bland! Repo Man has all night! Photographic evidence of Monosodic's existance! New Kiddieriot shit after all! Never too late to share fave rex from the year before! David Keenan is a douchebag! Ron Asheton missed!
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01.22.2009, 10:55 PM	#13
ZEROpumpkins invito al cielo Join Date: Jun 2006 Location: Sydney Posts: 6,157	Fair enough, makes sense. __________________
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02.20.2009, 03:03 PM	#16
uhler invito al cielo Join Date: Nov 2007 Location: Brooklyn Posts: 3,615	so when's the next "emo classics" thread? have you only heard three "emo" records that you like?
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02.20.2009, 03:23 PM	#17
Rob Instigator invito al cielo Join Date: Mar 2006 Location: In the land of the Instigator Posts: 27,930	I never enjoyed hotwatermusic's albums. I will give me a second listen __________________ RXTT's Intellectual Journey - my new blog where I talk about all the books I read.
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