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The
Hollowpoints: The Black Spot
Power-punk is not my thing. But that probably has less to do with the genre itself than with what its become. After so many years of watered-down candy punk from bands like Blink 182 and Sum 41, Id pretty much lost faith in its possibilities, especially when presented in trio format. But the truth is, most power-punk that finds its way to the radio is better described as pop-punk. So perhaps its because The Hollowpoints keep the emphasis on the punk side of the equation that they manage not to suck. Lets get clear on one thing first: not all the songs on The Black Spot were created equal. There are a few tracks here that could have been the product of either of the number bands named above: they rely on the hyperactive-speed, sleek sheen, corny guitar lines, and snotty but, yes, hollow vocals youve come to expect from bands playing this sort of music. Luckily there are more good songs on this 14-track outing than bad, with plenty kicking ass the way power-punk was meant to kick ass. The Sickness is a good example of the weaker entries on The Black Spot. Although I salute its politically-informed lyrical content, the lead singer isnt plumbing any emotional depths as he shouts and pseudo-snarls, and his delivery is often the key element separating the wheat from the chaff when it comes to this band. Its worth noting that The Hollowpoints are from Seattle, because the strongest numbers on their full-length debut find Matty, the lead singer, ripping away with an intensity and rawness that nearly matches Kurt Cobains. But while capable of reaching spectacular peaks, Matty doesnt always go for it, instead falling back on a more radio-friendly unit-shifter style. Not surprisingly, when hes not on top of his game, the band usually isnt either, losing the cunning dynamics they somehow slip into a lot of their tornado-paced songs. On the flip side, Ropes End is a good example of The Hollowpoints getting it right. Not only does Matty truly let loose, the songwriting is more developed here, with the wall-of-distorted-guitar being broken down a bit, breathing room left for the bass and drums and some subtler guitar riffs. As this tune clearly illustrates, the band is at its best when taking its cues from older role models like Social Distortion and the Pogues: the music keeps your head banging, but doesnt leave you feeling empty when it ends. Also worth special mention is Charcoal Tears, a true scorcher. Its forward-motion velocity is perfectly in line with the lyrical content and vocal delivery. Matty screams his heart out, and the band matches him pound-for-pound. In the end, its when the band takes chances that it has its greatest success. Youll find violin and mandolin on a couple of the tracks on The Black Spot, and the texture each instrument brings to the table is a welcome addition to The Hollowpoints general sound. And when the songs are given space to shift and develop, something powerful and urgent comes out of the murk. This is definitely promising power-punk, and with time and maturity, The Hollowpoints may help return the genre to its former glory.
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