Open Veins

Reviews

Open Veins Dead Inside LP

On Dead Inside, OPEN VEINS channels a distinctly metallic strain of hardcore that favors suffocation over flow. The riffs land in full-speed, collapsing patterns—less about momentum and more about pressure—while the low-end churn gives everything a nauseating density. The band does accelerate in almost each track, but it’s in short, panicked sprints that only heightens the sense of entrapment before dropping back into breakdowns that feel engineered for maximum structural damage (excepting their LP intro “Scorched Earth”), The vocal performance is all serrated edges, riding the mix like a threat rather than a guide. There’s a calculated bleakness running through the entire LP that resists easy release. Dead Inside doesn’t posture despair; it manufactures it in real time.

En Dead Inside, OPEN VEINS canalizan una veta marcadamente metálica del hardcore que privilegia la asfixia por sobre la velocidad. Los riffs caen en patrones lentos y derrumbados —menos sobre el impulso y más sobre la presión—mientras el bajo le da a todo una densidad nauseabunda. Cuando la banda acelera, lo hace en sprints cortos y paranoicos que sólo intensifican la sensación de encierro antes de volver a breakdowns diseñados para daño estructural máximo. La performance vocal es puro filo dentado, montándose sobre la mezcla como una amenaza más que como una guía. Hay una negrura calculada que recorre todo el LP y resiste cualquier liberación fácil.

Open Veins Open Veins LP

I have recently read that, and I quote, “unforgettable 2000s fashion trends are making a comeback,’’ which got me excited instantly, not just because it would remind me of a time when I still had all my hair, but also because ’00s DIY hardcore punk was really formative for me and I could not wait to see current pop stars rocking BEHIND ENEMY LINES or KONTROVERS shirts and talking about vivisection between songs. Of course, I was wrong, as I usually am about such things, and what people generally mean with the ’00s has more to do with BRITNEY SPEARS and thongs, but OPEN VEINS did somehow alleviate this harsh disillusion. Now, this is an album that takes me back. Not that it is a reissue, it is a brand new recording, but OPEN VEINS sounds just like a US crust band from the ’00s (it does have former members of PONTIUS PILATE or DOOMSDAY HOUR) with their female-fronted, hard-hitting epic political crust punk attack with some crunchy metallic parts thrown in. In terms of songwriting, you find transitions and a diversity of structures reminiscent of that decade, and even the direct production—free from our epoch’s overbearing reliance on effects-based tricks and textures—would not sound out of place on a Profane Existence or Skuld Releases compilation. I am reminded of US bands like PROVOKED, SCORNED, and APPALACHIAN TERROR UNIT, or European ones like DETRITUS or PCP. You can tell that the band’s music is sincere even if some songs do not work perfectly to my ears. The vocalist’s hoarse, intensely angry style is impressive, and you can tell she is pissed-off—which we all should be—and it is without a doubt one of OPEN VEINS’ strongest points. This first album for the band was released on Chain Reaction, a label run by CLUSTERFUX punks.