{"id":99895,"date":"2020-02-13T09:00:25","date_gmt":"2020-02-13T15:00:25","guid":{"rendered":"https:\/\/toiletovhell.com\/?p=99895"},"modified":"2020-02-14T06:47:30","modified_gmt":"2020-02-14T12:47:30","slug":"giver-sculpture-of-violence-review-reflections","status":"publish","type":"post","link":"https:\/\/toiletovhell.com\/giver-sculpture-of-violence-review-reflections\/","title":{"rendered":"Giver – Sculpture of Violence: Review & Reflections"},"content":{"rendered":"
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Let’s see what Giver<\/strong> gives me (no, not what you think).<\/p>\n

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Germany’s Giver plays post-hardcore. Quintessential post-hardcore, perhaps. I’m not huge on the genre and certainly not knowledgeable, but here’s what I understand the term to mean: while retaining several elements of its genetic predecessor\u2014most notably gang shouts and breakdowns\u2014post-hardcore adds an emotional layer or two. Instead of focusing on brutal chugs, the guitars are much more about melody and frequently wander into higher registers, creating brighter, shimmering sounds that often evoke melancholy or despair. The vocals follow along in this direction while remaining rooted in anger, thus enhancing the standard belligerent barking. In short, it’s hardcore that dares to not sound tough all the time. That’s my definition, and that is exactly what Giver does. When I put on Sculpture of Violence<\/em>, I get precisely what I expect from a post-hardcore record.<\/p>\n