When a man in a suit approaches you in a dream and tells you that you will fail if he (the man) isn’t two parts viper, then I guess that’s a sign, right? That’s what Josh Scogin, vocalist and guitarist for improv-noise bastards ’68 thinks – either that, or he needs to seriously cut down on the Twin Peaks marathons.
The alumni that make up Atlanta’s Holy+Gold burst forth from the metalcore bubble, with members of Norma Jean, The Glass Ocean and professional crowd-surfers, The Chariot in tow. It’s a surprise then, to hear that Holy+Gold carry very little over musically from these projects, save for teasing moments of snarling hardcore fury and some fractured distortion.
There’s a moment on In Humor and Sadness, the début album by ’68; where you can hear an amp finally giving up the ghost and power down. It just snuffs right out near the end of 04. R, cutting out in a pop-of scrawling, mangled feedback, whilst vocalist and guitarist Josh Scogin manages to strangle one last cry from it during its death rattle.
Taking their name from a ’68 Camaro that Scogin’s father once owned, ’68, are a somewhat departure from The Chariot’s math-rock, spasmodic shape-throwing contortions. Don’t think though for one minute that ’68 are at the opposite end of the spectrum – the raw, jagged bruised scrape is ever present, yet in a more stripped down, ramshackle form.