Murder In The Red Barn was a band formed in the late nineties by the members of prominent post-hardcore acts such as Tintoretto, Credentials, The Paper Chase, Hero Of A Thousand Fights, etc. They published several recordings in the early noughties, such as their debut full-length Get In Before The Rain in 2001, and a self-titled EP in 2003, and then the band went on hiatus until 2019 when they released a split release with Guns Blazing. Today, I will discuss the 10″ version of their self-titled EP, released by the Dipterid Records. Soundwise, the band went beyond mere post-hardcore boundaries by embracing many different but complementary music genres. Each song carries many styles, so you’ll unquestionably stumble upon all vital elements borrowed from math rock, post-rock, noise rock, emo, indie, and many more. All these additional sonic ingredients allowed them to create five incredible compositions that sound fresh and unique even today, 21 years after the initial release.
The band continuously levitates between calmness and aggression, melody and chaos, simplicity and technicality. They delivered hypnotic, addictive, irresistible numbers where magnificent ideas collided with impressive musicianship. With the initial notes and beats of “I Can’t Believe What I Just Saw,” you’ll notice how repetitious and hypnotic riffs gradually build a tension that keeps your listening apparatus engaged from scratch to finish. The guitars play a significant role in this sonic equation, as these semi-distorted sonic maneuvers serve as a perfect backdrop for commanding shouts. Also, it’s good to mention that the vividly hearable basslines and excellent drumming patterns dictate groove, tempo, heaviness, depth, and clarity while keeping this fine piece of sonic artistry in line. “Seventy-Six” is coming up next. It’s an adequate showcase of their musicianship, as this number brings more progressive, intricate, engaging instrumentations. The band handles groove, dynamics, and aggression with such precission and finesse, but there are also much calmer, soothing, relaxing, nearly ethereal moments where the melodies, harmonies, and almost clean chord progressions shine.
“Cutthroats” arrives with remarkable emo-core instrumentations, where the interplay between guitars, massive low-ends, and robustly rhythmic sequences provide a perfect soundscape for vocal dualities. It’s one of those songs where the lead and back vocalists support each other by building the tension through semi-clean harmonies, shouts, and screams. Once again, repetitious melodies, riffs, and basslines are on full display, proving Murder In The Red Barn are one of those bands who know how to assemble engaging orchestrations that will withhold the listener’s attention from beginning to end. “If Only You Listened” is another standout on this material. Every band member plays a significant role in shaping a profoundly complex ambiance based upon catchy math-rock instrumentations, backed up by a heavy rhythm section that resembles all those good nineties post-hardcore sonic maneuvers. Like in their previous composition, Murder In The Red Barn gradually builds the ambiance, but it seems like this particular track is even more intricate than others. The guitars burst with engaging, progressive, complex melodies, harmonies, and riffs, and the perfect pairing between rhythm and leads showcases why this band is one of those late nineties hidden post-hardcore gems.
“Last Stop” arrives as an adequate closure of such a perfect EP release. For some reason, it resembles the previous track, but it carries a much calmer atmosphere achieved with semi-distorted arpeggiated chord progressions, cacophonic accentuations, and marvelous drumming patterns. In the meantime, the lead vocalist keeps your listening apparatus engaged with perfectly articulated shouts. Of course, there are aggressive moments where all the instrumentations become much heavier and more powerful. The song ends with a repetitious melody that stays with you long after this marvelous EP finishes. You should put this excellent reissue on your radar as soon as possible if you’re into intricate post-hardcore, math rock, and noise rock sound, garnered with subtle touches of emo, indie, and post-rock. Murder In The Red Barn were way ahead of their time with all these vocal, sonic, and rhythmic maneuvers, and are undoubtedly one of the best late nineties/early noughties post-hardcore bands. You can grab this masterpiece on a 10″ red/black swirl vinyl, housed in a high-quality sleeve decorated with original artwork. Head to Dipterid Records for more information about ordering.
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