Converge - Petitioning the Empty Sky//When Forever Comes Crashing

Converge
Petitioning the Empty Sky//When Forever Comes Crashing
Equal Vision Records
Grade: A-//A

People are often suspect when labels release reissues of records that one could easily attain; that is, often records are reissued because no one can find them to buy and that makes total sense. But when it comes to Converge and the package that is put forth on these two classic records it is well-received. It is hard to believe that someone into hardcore would not be familiar with Converge and these two records. If not, then this is the short version. Converge helped lead the ascension of metalcore bands – along with Botch, Cave In and Dillinger – that melded varying genres into one chaotic, extreme and awesome maelstrom of music. This reckless abandon was translated into Converge’s live show, where if you were near the front during a stageless show you were likely to become injured – and mostly likely from vocalist Jacob Bannon. These reissues were remastered by guitarist Kurt Ballou at his GodCity Studios and feature brilliant artwork, enhanced by a cardboard sleeve, by Aaron Turner.

The opening salvo for Converge and this newer approach was Petitioning the Empty Sky, which was initially released on Ferret Records in 1996 and then re-released on EVR the next year (so this is actually the third issuance). The lineup for this recording included Ballou, Bannon, Aaron Dalbec on guitar, Damon Bellorado on drums and Jeff Feinburg on bass. The opening seven-minute number “The Saddest Day” throws down the gauntlet and Converge picks it up and fucking runs with it. Topped with piercing guitars a la Snapcase and nodes to Slayer, “The Saddest Day” contains nearly an inconceivable stretch of intertwining sections that it could take you the better part of a day to map them out. Other tracks like “Forsaken” (this CD has a live video for the song), the quietly building “Farewell Note to This City” (which echoes Stephen Brodsky’s material), “Shingles” and “Color Me Blood Red” rip your ears off and makes you question what hardcore should be. This reissue includes three live recordings of “For You,” “Antithesis” and “Homesong” from a radio show in 1995. While slightly muddy, it is still impressive how tight they were at that time. The final addition to the reissue is an alternate version of “Love As Arson” from When Forever Comes Crashing.

Quickly on the heels of signing with EVR, Converge unleashed probably their best record When Forever Comes Crashing in 1998. This is a record I’m probably too familiar with as I played the shit out of it on my radio show in college. Now comprised of Ballou, Bannon, Bellorado, bits of Dalbec and Stephen Brodsky (Cave In) on bass, Converge focused their energies to hardhitting, shorter numbers that looked to rock your balls off, never let off on the intensity; and yet offered several mellowed calming tracks inbetween. While Petitioning the Empty Sky offered the warning blow, When Forever Comes Crashing assured that Converge would help shape and reshape hardcore. Containing tremendous songwriting and a clearly delineated sound between, which is rare, Converge blasts you such hot rods as “My Unsaid Everything,” “The High Cost of Playing God,” the truly amazing “Conduit,” “When Forever Comes Crashing” (where again you have a live video of) and “Letterbomb.” This reissue includes a short unreleased demo version of “Bitter and Then Some.”

These two records along with the wealth of releases from similar-minded bands helped create one of the most exciting times in hardcore during the late 90s, when anything was possible and people were less concerned with image and more with innovative music. While these are two separate releases, it is nearly impossible to have only one or the other; and EVR makes it that way with a continuing bio between the two booklets. If you have the means then you should pick these two up yesterday. In the ‘where are they now category,’ Converge continues to decimate listeners with their two Epitaph releases Jane Doe and You Fail Me. In addition, Ballou and Bannon are producing records and running labels (e.g., Deathwish) out of their Salem, MA headquarters.