• Duck Duck Goose
• Off Yourself

Review Summary: Finally, a '-core' album that lives up to it's own name. Duck Duck Goose’s (DDG) Noise, Noise, and More Noise is, in some ways, more straightforward than you might expect, given their notoriously loopy math-infused style of post hardcore. For one, while the album title is seemingly nonsensical and extraneous, it actually says a lot about the nature of the band: they’re a bunch of noisy guys, making some noisy tunes. Don’t, however, mistake “noisy” for “bad,” as DDG will take you on a bouncy, chaotic ride you may just enjoy. Sketch drawing software free.

Duck Duck Goose

Barstow, CA based math-core quintet Duck Duck Goose’s two-year old promise of a full-length follow-up to their EP Noise, Noise and More Noisehas finally come to. Duck Duck Goose Noise Noise And More Noise Rarlab Duck Duck Goose Noise Noise And More Noise Rare Manage your page to keep your users updated View some of our.

Starting from the very beginning of “Brother John’s Revenge,” and ending at the last second of “Sgt. Slaughter,” DDG create an intense sound, packed to the brim with punchy drums, visceral screams (or something like screams) and, the most important aspect of this album, blaring and just straight-up loud guitars. The drums, while lacking the usual flare for the flam-rolls and speedy double bass which has become a staple in most math-core albums, are still a strong base for the album. Reaching their high points in the oddly-timed introduction to “Boy Oh Boy, I Ain’t No Wiz Kid,” and the well-placed rolls in “Stow After the Bar,” they remain interesting, but never really reach out and grab your attention, as they are almost always accompanied with some form of bizarre guitar affect or shrill vocals with strange lyrics.

In this manner, the drums function as an enormous canvas for the whole album, letting the guitar and bass work upon them as they wish, while the vocals ice the cake. Speaking of vocals, they’re one of the most unique things about the band.

Constantly blending a high scream with a half-whine half-sing and a little bit of talking, they take just a little bit of getting used to. Reaching a brilliant low on the groovy “Red, I Don’t Have Time for This” and ear-splitting highs on “Wiz Kid,” Noise’s various screams and shouts are anything but monotonous.

Review Summary.And More Noise Barstow, CA based math-core quintet Duck Duck Goose’s two-year old promise of a full-length follow-up to their EP Noise, Noise and More Noisehas finally come to fruition. Despite several minor advancements, Off Yourself proves to be exactly what they promised, and what one would expect from the spastic five-piece. The first thing I noticed about about Off Yourself is its several references to Noise. From the soft, acoustic opening track “Documenting Disappointment,” (reminiscent of the acoustic ballad at the end of Noise’s “The Wonderful Wizard of LSD”) through the chaotically timed (and played) intro section to “Hellevator,” to the actual inclusion of past lyrics in “Cosmic Kidd Nappers,” Noise’s influences are hard to ignore.

Opening the danceable track, “Dirt Freaks,” the lyrics “Don’t you ever say I’m bad on my feet!” rear their ugly head; a reference to “Red, I Don’t Have Time For This” perhaps' Lyrical similarities aside, progression is abundant on Off Yourself. Both guitarists depend less on pedal boards and cool noises to make inventive bridges, utilizing more physical finesse to manipulate the guitars into making whatever sound they need them to. The bass has also taken an enormous leap from the days of Noise. Where it has previously taken a backseat to just about everything, leaving the bassist’s talent to be almost completely ignored, currently it has jumped up and is part of an auditory struggle for your attention. The introduction to 'Dirt Freaks' proves as a perfect example: the bass is mixed almost equally with the guitar, and not only is it rare amongst many other “-core” bands, it is well played and sounds phenomenal. Duck Duck Goose’s penchant for the breakdown has not been forgotten amongst the prevalent musical progression. Both “Cosmic Kidd Nappers” and “Firetrucks on Fire” feature breakdowns amongst the heaviest of those they’ve ever written, with daunting and nonsensical lyrics to match (“I was the sun/ burned out!/ Cash out”).

Overall though, the effect-laden heavier sections have taken a slight back seat to more inventive sections with varying vocals, which brings me to the only glaring misstep this album encounters. Duck Duck Goose are some weird guys, and they make no attempts to hide it. The least welcome addition to Off Yourself turns out to be the bizarre almost whispered clean vocals spread sparsely across the album. While they appear rarely, whenever they show up, they seriously injure, if not kill the chaotic mood set by the shrill screaming.

Wile this may very well be the point, the eerie clean vocals drain every drop of momentum from a previously rip-roaring whirlwind of a song. The only exception being the introduction to I Came, Come, in which the soft vocals set a deceptively calm mood for an otherwise batshit insane song. Off Yourself is chaotic, spastic, intense and nonsensical; every bit the sequel to Noise the band promised it would be. However, not only is it a more-than-fitting sequel, it is a stellar stand alone album, displaying musical progression and ingenuity. And in spite of the bone-chilling(ly bad) whispered vocals which make questionable appearances throughout the album, Off Yourself emerges as an intact, and remarkably strong mathcore album.

Off Yourself

Now, if only there was some sense that could be made of that rap at the end of “Pollution People.”.