San Francisco's Tigon play a hard-edged form of rock, avoiding the cliches of hardcore through intelligent use of dissonance and channeled power, with a Fugazi-like vocal approach over super-heavy riffing and sound.
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Label: New Atlantis
Catalog ID: NA-LP-001
Squidco Product Code: 16783
Packaging: Vinyl LP
Engineered by Scott Evans.
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The Great Machine
Tortoise Goes to Burning Man
sample the album:
"Tigon's Infinite Teeth is like journeying inside of an abysmal, murky cavern forgotten by time. Inside you are confronted with seemingly prehistoric creatures that have never been documented in any scientific exploration before your own. You are faced with the danger of new organisms and the cavern's various natural traps. But further inside the danger subsides and you stumble across an ancient water spring that glistens in the luminescent glow of the mineral formations that are spread across the roof of the cavern. You eventually find your way out and leave there with a sense of pride knowing that you discovered something no one else has. The gist is, San Francisco's Tigon have crafted something pretty alien to the world of post-hardcore and the like. Just like the fictitious cavern, Tigon's music can be dangerously violent as well as blissfully gorgeous. In a time where there is an influx of similar sounding heavy bands, it is always nice to find one that stands out from the pack. Tigon is one of those bands.
Infinite Teeth begins with the dissonant and melodic "The Archivist" which tears through the listener with colossal, jarring chord structures. This sludgy, almost Neurosis like track is characterized by its noisy personality and back breaking heaviness. The vocals that accompany this track and the album itself range from barked yells, low growls and the sung lyric. The main vocalists demanding yelps sound a bit like Jacob Bannon's (Converge) melodic yell technique; which something to marvel at. I was annoyed with these barking vocals at first but they slowly grew on me like a cancer. "The Archivist" also introduces the listener to the album's raw and robust production. Unfortunately sometimes the guitars can get lost in the rumble of the bass and drums. But the music itself is fantastic.
The album progresses on to "The Great Machine". This track begins with a serpentine bass riff that cycle through different modulations while bright, melodic guitar riffs look over the bass's shoulder. "The Great Machine", despite its melodic properties, is really brought to life with seemingly conflicted hardcore yells that usually should not fit this kind of song but oddly do. "Whale Maker" opens up with a violent, rumbling bass line accompanied by disjunctive, mechanical like guitar licks that sound as if a huge centipede is slithering across the neck. The track goes between these rolling verses and huge, crushing choruses that feature hellacious sludgy down pours. The track eventually ends in a flurry of noisy hardcore chaos that drives a metaphorical drill into the ear cavity of the listener. "Infinite Grin" is a melodic and slightly disjunctive track that cycle through similar harmonic chord patterns while the vocalists softly sing a repetitive lyric underneath the sound. "Tortoise Goes to Burning Man" is a very odd and quirky track. Throughout its duration the guitars attack one another with conflicting, inharmonious riffs that dance around each other only to entwine in a dizzying dissonance. The track is not exceptionally heavy but it does provide a lot of guitar showmanship that can be marveled at.
The album's title track morphs between post-rock melodiousness and noisy, catastrophic heaviness. "Infinite Teeth" with sincere, melodic guitar work that soon explodes Unsane esque raucous chugs. The track will absolutely rip the throat from you with its metaphorical teeth. The fact that this band has been labeled "post-hardcore" is somewhat an insult to me at this point in this album. This music is its own animal, but I digress. Intense drumming signals the beginning of "Plague Apparatus". The track is a heavy, groove laden hardcore jam that spirals through different phrases and eventually collapses upon the earth with apocalyptic destructive force. The Godzilla sized, eight minute "Prophetess" is up next. For four of its eight minutes, "Prophetess" stomps upon the fictional city in your ears and reduces it to rubble. Earth shattering chord after chord after chord, dripping with grime, slam down upon the listener with the weight of ten suns. After four minutes the chaos subsides and Tigon reduces its strength in order to lull the listener into a tension building, melodious section that echoes across your mind. But this only gives off a false sense of security as the band comes back in full forth for the track's final moments with gargantuan chords. The album ends with the haunting sounding "Descender", which rotates through groups of dissonant and melancholic chord progressions. "Descender" is the album's darkest sounding track and brings the album to a deadly close.
Tigon has a sound all of their own as this album clearly points out. The noisy, cacophonous riffs that could level entire nations but also have the capacity to unleash cascades of relaxing atmosphere upon the one listening. Sometimes the production can leave a little to be desired and the vocals can be a little hard to get used to. I also thought that some of the more "complex" moments ended up being a little messy rather than adding character to the song. But overall I thought this album was pretty damn good. I highly recommend Infinite Teeth."-Lane Oliver, American Aftermath
Get additional information at American Aftermath
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