Yellow Vinyl w/Limited Stamp Sealed Plastic Slip Cover.

Official Release Date LEAP DAY FEB. 29TH 2024.

A pulsating and angular post hardcore punk ruction, REPLICATOR provides
eight highly effective doses of undulating darkly melodic medicament to soothe the uneasy mind. Alleviate your tension with higher levels of tension, a salted guitar gauze stuffed in the ear wound. Place on turntable and spin three times daily, Doctor's orders.




Chimes Of Bayonets have a few EPs out already, but this is their first LP. I can’t speak to those earlier releases, but this is some pretty great stuff: taut, dynamic post-hardcore that speaks to 90s heroes like Hoover and Kepone, as well as the excellent if largely unremarked likes of Sicbay, Check Engine, Halo Perfecto and Stop It!! who pursued the style into the early 2000s. Big, chunky riffs clunk and groove, giving way to nimbler, more fluid parts that occasionally incorporate piano and saxophone. Every once in a while a particularly wiggly moment gives off a slight Party Of Helicopters vibe, while the singer’s strained but not unappealing honk recalls a very precise midway point between Fugazi’s ‘Long Division’ and ‘Heroes’ by Kerosene 454. All of these things are, if you ask me, definite points in their favour – check out tracks like ‘Channel Marker’ and ‘Cracked Igniter’ and see if you agree.

Chimes Of Bayonets arrive with their first full length after a couple of 7”s. The trio have been playing together, some in other bands with each other, for many years and that familiar playing style is represented in full here with a sort of rough and tumble math rock that if you’re old and obscure like me you’ll hear hints of stuff as wide-ranging (yet very cool) as Forstella Ford, Atombombpocketknife, and Kerosene 454. Oh yeah, and it also comes in this fancy package with a screened clear slipcase thing so it looks extra cool.

Ithaca, N.Y. trio that drags a plowshare through that early ’90s post-punk sound to good effect. What bands come to mind here, you might ask? I’m glad you spoke up! Holy Rollers, Bluetip, and even a dash of Severin pops into my head. The guitars weave, the bass throbs, and the drums pound. “Cracked Igniter” wails for over five minutes, and that’s one of many highlights. By the time the band asks, “Who Wants to Die for Art?” I’m right there with them. But maybe just a few bruises to start.

Take Circus Lupus, Volcano Suns, Slint, and Shellac and toss them into a blender and you get Chimes Of Bayonets. The sound is big and chunky with drums that pummel in a measured manner instead of raining down hell on your head. The guitar meanders and soars while the bass lurches and pushes. At times the whole package settles into a pensive moment and then snaps back into building and climbing over massive structures of sound. They really come alive on songs like “Channel Marker” and “The Fallout of Grammer.” It’s here they really lean into their songs and hit harder than on the others. Also, that piano on “The Fallout of Grammer” is a nice touch. All this is housed in a cover with spot gloss, a plastic printed slip cover, and pressed on white vinyl. Also, I need to acknowledge the clever usage of the band name to designate the A and B sides of this album.

The packaging for Replicator is artsy and probably a pain to put together, as the standard LP jacket is surrounded by a screened plastic sleeve, sealed in traditional ’90s emo fashion with an actual postage stamp. It hearkens to a time when putting out your record was more or less the dominant form of communication available towards the rest of the hardcore scene, so you gave it your all, the opposite of today’s hermetic design (you’d be surprised at how many albums come through here with absolutely zero words on the covers or sleeves, knowing fully well they’ll only ever be purchased on Bandcamp). Anyway, good for Chimes Of Bayonets for caring about what they’re doing, though the music they’re offering up here doesn’t elevate the twisty, stop-start form of ’90s post-hardcore emo so much as simply keeping it going. That’s not to say it’s bad – had Chimes Of Bayonets earned a spot on an Ebullition or Revelation compilation in 1996, I’d have heartily enjoyed it – but nothing particularly new or noteworthy is being brought with the form, even if some of the jagged rock riffs recall The Party Of Helicopters (one of my personal faves). Like most styles of rock music, often the singer can carry (or sink) the group, and the vocals here are just kind of there, an appropriate post-Fugazi shout-sing that neither offends nor grabs the ear. Seems like they’re a dedicated group, clearly passionate about their band, so maybe that passion is already translating to their live performance, or will result in more interesting sonic territory on their next recording.