Review Summary: Almost perfect split that showcases two young incredibly promising bands.
SeeYouSpaceCowboy and secondgradeknifefight are both DIY bands that haven't been around for very long (2016 and 2017, respectively) but are already crafting incredibly enjoyable and cathartic music that combines several genres such as grindcore, screamo and powerviolence and this split is a superb example of how they could (and do) all work together.
All aspects of secondgradeknifefight's (the work of only one person, known only as Jonah) performance combine to create a sound that's blistering, intense and yet consistently engaging. The production for the instruments is raw and heavy, but yet clean enough to make out the subtleties of the twists and turns these songs whiplash through. They are perfectly matched with mostly screeching vocals at ear-piercing levels and low growls to supplement them. The only disappointment here is the inclusion of samples in the intros of "don't tell me you like the police..." and "my heart is broken..." that serve to unnecessarily break the pace and go on for slightly too long (over 10 seconds in songs that are only 58 seconds). A staple of the genre, perhaps, but not used to great effect, unlike the "shut the f
uck up" sample near the end of "who what when where why..." and the unnerving moaning in the latter half of "glass vampires..." that sits somewhere between pornographic and painful. The latter track is easily the album's standout track, with a slow, dreary emo-tinged intro that transitions perfectly into the usual breakneck intensity of their sound before retreating to a position somewhere between both.
SeeYouSpaceCowboy, who describe their sound as "DIY sasscore" have a larger following than SGKF and even from their first song, it's not hard to see why. The whole band is as tight as SGKF, but even within these four, short songs, there's an incredible amount of variety. The "grind" sections are broken up with a breakdown or two here and there and brooding, cleaner interludes where the whole band, but especially Connie's vocals really shine. Connie's vocals go through many styles, including growls, high-pitched shouts and most intriguely, clean semi-spoken word vocals that mostly sound like she's mocking you with every word she uses. The willingness of the band to incorporate all these different elements is admirable, but their mastery of it is nothing short of stunning. Every song on here uses them to great effect and spit in the face of formula, with no song feeling lesser to the others and never overstaying their welcome.
This was a spectular introduction to both bands, and I'm now excitedly waiting to see what they'll do next while I trawl through their older material. Both sides are very much worth a listen if you're even vaguely interested in this type of music, and especially if you find a lot of bands in the scene very typical.
