Crime in Stereo - '...Is Dead'

After releasing one of the best political hardcore records of 2006 (The Troubled Stateside), Crime in Stereo could’ve rested on its bevy of juicy riffs and shredding vocals for a good long while. Instead, these Long Island duders chose the hard road, concocting a quick follow-up that inverts the band’s formula. Where The Troubled Stateside was a hardcore record that occasionally got melodic, Crime in Stereo is Dead is a melodic record that occasionally gets hardcore. The title is entirely appropriate, as this record is a drastic but rewarding change-up in the CiS canon.

Frontman Kristian Hallbert is easily one of the best screamers in hardcore today, but here his shouts play a supporting role to his singing ability. As it turns out, the guy’s pretty well-rounded. The same goes for guitarists Alex Dunne and Gary Cioni—while they still serve up some fast-as-The-Flash riffs, they also explore more ethereal effects and tones. In short, listening to Stateside and …is Dead is like putting Gorilla Biscuits and Brand New back to back.

But where a band like Brand New can occasionally get a wee bit too self-indulgent in song lengths and structures, Crime in Stereo is still concise, a punk band in spirit. Rhythm section Mike Musilli and Scotty Giffin still bust out some technical hardcore arrangements, and the song lengths all fall around the two-and-a-half to three-and-a-half-minute mark.

Regardless of how you classify the record, though, it’s still mighty fine. Hallbert gets his Jesse Lacey on in tracks like “Third Atlantic” and “Animal Pharm.” Genres bend to and fro, like on the industrial-style breakdown on “Unfortunate Tourists.” Elements like these aren’t just points of deviation; they’re album highlights. At the same time, though, it’s just as great to hear straight hardcore retreads like “Nixon” or the freak out at end of “Vicious Teeth.”

Crime in Stereo is Dead is one of the most thrilling hardcore surprises of 2007. While it may not kick ass perpetually like The Troubled Stateside did, it still gets quite a few shots in, and really, the moods it conjures up are every bit as thrilling as a thorough curb stomping.

This album bends the rules of its genre, pushing forth a new punk aesthetic that jams out without being ridiculous, and sacrifices none of its ferocity in exchange for a bit of grace. Few bands besides Thursday are trying to push forward such a powerful dynamic like Crime in Stereo, but here’s hoping …is Dead changes the way kids think about their music. Like the artwork says, long live Crime in Stereo.