FITA Records

Jun 25 2012 ∞
Sweet little review of Carrion Spring’s LP that’s in the new issue of A Short Fanzine About Rocking. You can buy it here and also from us once our copies have arrived! CARRION SPRING – ‘A Short History of Decay’ (Fist in the Air) LUKE MCGUIRE This is a repress of Portland, OR’s (are they characters from Portlandia? I hope so) Carrion Spring, and consists of 15 tracks of intense screamo cut across 40 discordant minutes. I can’t pretend to be anything of an expert in this genre, as it’s never really appealed to me directly, but on first listen I can appreciate the subtleties of Carrion Spring’s own brand of loud/quiet juxtapositioning. If you are a fan of the UK’s Crocus you will find something to enjoy here, or indeed (perhaps not directly comparable) Touché Amoré fans will be able to find elements of both the music and overall aesthetic that appeal to them. Musically I find this record most interesting when it steps back from the scream template and becomes more eerie/introspective, and indeed it is the instrumentals of ‘Selah I – VI’ that appeal to me most. Regardless, this is an effective take on screamo/emo/whatever the hell label you want to give it, and one that fans of the genre would do well to pick up.

Sweet little review of Carrion Spring’s LP that’s in the new issue of A Short Fanzine About Rocking. You can buy it here and also from us once our copies have arrived!

CARRION SPRING – ‘A Short History of Decay’ (Fist in the Air) LUKE MCGUIRE
This is a repress of Portland, OR’s (are they characters from Portlandia? I hope so) Carrion Spring, and consists of 15 tracks of intense screamo cut across 40 discordant minutes. I can’t pretend to be anything of an expert in this genre, as it’s never really appealed to me directly, but on first listen I can appreciate the subtleties of Carrion Spring’s own brand of loud/quiet juxtapositioning. If you are a fan of the UK’s Crocus you will find something to enjoy here, or indeed (perhaps not directly comparable) Touché Amoré fans will be able to find elements of both the music and overall aesthetic that appeal to them. Musically I find this record most interesting when it steps back from the scream template and becomes more eerie/introspective, and indeed it is the instrumentals of ‘Selah I – VI’ that appeal to me most. Regardless, this is an effective take on screamo/emo/whatever the hell label you want to give it, and one that fans of the genre would do well to pick up.

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