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Toronto's
Fucked Up
revolutionized both the ethos and the aesthetic of hardcore by transforming it
into a studio-based art.
The mini-album Looking for Gold (2004), a stream of untitled songs,
introduced a hardcore's equivalent of Phil Spector's massive "wall of sound":
painstaikingly studio-constructed songs that stretched to twice or three times the usual duration of a punk rigmarole and relied on thick overdubs
(the 17-minute Looking for Gold, replete with a lengthy drum solo and a lengthy whistling solo, was constructed out of 19 guitar tracks)
to capitalize on
Damian Abraham's abrasive roar and the twin-guitar attack led by Mike Haliechuk.
After the transitional (and confused) Hidden World (Jade Tree, 2006),
Chemistry Of Common Life (Matador, 2008) brought that idea to fruition
with a set of engaging songs
(Days of Last,
Crooked Head,
Son the Father,
No Epiphany) and transfigured genre cross-pollinations
(Royal Swan,
Black Albino Bones, Lost of Days).
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