You Can Be My Wave

The mission statement of The HIRS Collective is crystal clear: we exist, we are powerful, we have value, and we refuse to be erased. There's true beauty in hearing over thirty-five musicians - trans, queer, black, women, any combination thereof, as well as their allies - deliver that message in such a loud, radically abrasive, and unapologetic fashion. If We're Still Here were to teach the world anything, it is that anyone who opposes or infringes upon the fundamental human rights of a given marginalized population, there we will be, a perpetual thorn in the side, a never ending ear-splitting headache. This is no exaggeration either, as the seventeen tracks collected here are some of the most scathing hardcore, grindcore, and powerviolence I've heard in recent memory.

Before I even put this record on, I was incredibly excited just reading all the contributors. We have the inclusion of some bonafide legends such as Justin Pearson (The Locust), frenetic Japanese punkers Melt-Banana, Geoff Rickly of influential post-hardcore band Thursday, and feminist icon Shirley Manson. They are joined by a handful of modern day heroes that I have a tremendous amount of respect for: Damien Abraham (Fucked Up), Anthony Green (Circa Survive), Frankie Iero (My Chemical Romance), Full of Hell, Soul Glo, and Marissa Paternoster (Screaming Females) just to name a few. As bad as things are right now for members of the marginalized communities I mentioned, my heart is softened seeing all these amazing and talented names lend their voices in support of our hurting communities.

As for the actual contents of the record, it kicks a whole bunch of ass and shows no mercy. The opening track is a testament to our endurance backed by blistering blast beats and startling cuts. After the dust has settled, Shirley Manson rises as she repeats the mantra of "we're still here" from her position of looming dominance. Sweet Like Candy doesn't let up on the intensity at all as it explores the negative physical self-image that many of us deal with; whether those intrusive thoughts come from within or are a result of perceptions held by the status quo. I've never heard Mahi Shama of NØ Man before, but she absolutely rips. So much aggression and frustration pours out onto the track and I think she has a great tone to her scream. Melt-Banana's inclusion on XOXOXOXOXOX certainly results in another highlight. Guitars chaotically rev up over more insane blast beats and Yasuko Onuki's vocals are as ear-piercing as ever. I love the background vocals in the second chorus as well as the dissonant freakout the song rides out on scored by Ichiro Agata's signature ring-modded guitar noise.

We're Still Here has a few tricks up its sleeve, for example, the whiplash inducing Judgement Night. The song's first half features some of the most ferocious and cacophonous powerviolence the album has to offer, thanks in part to the squawking saxophone contributed by Jessica Joy Mills (who also rips on Sweet Like Candy by the way). The song unexpectedly transitions into a rap-metal second half that actually goes over really well. I love the implication of lines like "we in the streets and out the closet," our ranks are increasing as we collectively become more secure in our identities, strongly advocating without fear and in spite of intimidating forces. Our community is stronger than ever. You Are Not Alone is another curveball, opening with some gentle ambient instrumentation and a rather unsettling spoken word piece; a poignant yet also partially cryptic set of lines concerning our representation in media that concludes (I would guess) with a commentary on our often troubled portrayal. The song then shifts into a fairly doomy and hellish passage complete with what I can only describe as death cries.

Generally speaking, this album is incredibly consistent; delivering one tumultuous and energy packed song after the next. However, in my opinion, the album does falter towards the end a little, mostly due to some poorly incorporated vocal guests. Geoff Rickly's belting vocal contribution on So, Anyway... feels terribly off key. Records like these could really use the occasional strong melody to bring a touch of light, something tangible to hold on to, and this feels like a missed opportunity. I feel similarly about Anthony Green's contribution on the following track. Green has a killer voice and is immensely talented and yet he continues to put himself in the most awkward of situations that don't really do his skills as a vocalist any justice. Sadly, I also think Marissa Paternoster didn't really feel at home on the doomy Unicorn Tapestry Woven in Fire, although, what I find to be even worse is how Damian Abraham, a vocalist with a booming, gruff holler, struggles to have any presence on the track. I wish he had more of an opportunity to snag the spotlight instead of being relegated to the background.

With that being said, this is still a very strong record that rarely lets up or wastes its time. The performances are stellar, especially the drumming which I would be remiss to not acknowledge. The record also has this air of importance surrounding it. The gravity of having all these talented and respected musicians coming together - bridging community gaps, of one mind with a common goal - to create such a powerful and cohesive experience feels quite immense. The messaging is also tremendously important. Being a part of a marginalized community can feel like we are lost in isolation sometimes and We're Still Here communicates that you are not alone, there are others who live similar experiences, and that you are deserving of love, respect, and an authentic human experience.