Independent Clauses | n. —unusual words about underappreciated music

Your Codename is Milo

February 8, 2004

Alright, I admit it. Every critic wants to find the next big thing. We critics label everything that’s out of the ordinary with large adjectives (such as amazing, incredible, and fantastic) and then say it’s ‘about to break’. If only we ruled the music world. But, as it is with everything, consumers rule. And they usually don’t agree with what the next big thing should be.

That being said, “Your Code Name Is: Milo” may not be the next big thing. I want them to be, but who knows. All commercialism aside, I want this to ‘get discovered’ because it’s some fantastic music.

YCNI:M is a post-hardcore band. No, seriously. This is not your whiny emo-wants-to-be-hardcore post-hardcore. This is true hardcore that got messed up and toned down. You can’t call it emo cause there’s a sense of urgency and power that is missing from real emo.

Their guitars are pushed to the max on every song, but in a different way every time on the four songs. On “All Roads Lead to Fault”, they lay out dissonant chords to make you have a reaction. You’re going to love it or hate it, and that’s the way they wanted it. The vocals here only help that, as they are screamed out in a frenetic, erratic style that is completely awesome. The song ends up feeling extremely urgent and pushing, which leads straight into “Iron Chef”.

Now “Iron Chef” has a completely different feel. It has more of a verse/chorus/verse format, whereas the previous song was more of verse/chorus/verse/verse/verse/halfverse/halfchorus/other thing/other other thing, etc etc. It’s a good song in itself, but it doesn’t have the complexity that “All Roads…” did.

In a return to their frenetic roots, “The Problem” throws in sharp contrast between soft and loud and shows their efficiency with guitar effects, as the guitars have a wailing, siren sound that lends a crazy feel to the song. They also have a great breakdown placed in the middle of this song.

The closer of this EP (Lions, then the Donkeys) is quite possibly the best song here, as it shows the best example of their noodling, ever-twisting guitar lines over a solid bed of distortion. Complicated chaos like this takes a long time to put together, and I’m glad that they took the time to do it.

This EP is a maniacally wonderful album. If you love Radiohead, emo,or hardcore, then you will love this band. This is Radiohead for the emocore generation. Now, if we could just get them onto to the I-Pods of American teenagers.

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Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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