While Denver, Colorado remains one of the most underrated, underreported on and under the radar regional music scenes in the US, that’s in no way a guarantee that everything coming from the Mile High City is worthwhile, or even, for that matter, good. Therefore, when a PR sheet touts ARSON CHARGE as being made up of “former members of…”, this didn’t send me to Bandcamp or the socials plumbing the depths of the interweb so I could seem more “hip” or “in the know”. Because, when you get right down to it, a band stands on its own merit, no matter what’s come before, or falls on its own arse despite the talent it may contain within its membership. Having a stand-up comedian in your ranks isn’t a selling point either since, unless you have the natural ability of a Billy Milano or Tesco Vee to crack wise during a show, most of us aren’t listening to heavy music to come away laughing.

‘The Feeding Grounds’ wants us to leave us in anticipation, and it did in my case, as – with most intro tracks – it filled me with excitement that it’d be over soon. Nonsensical synth that had absolutely fuckall to do with a band being touted as a “five-piece behemoth” blip-blooped its way into ‘For The Damned’, and already I’m bothered by the tinny production and processed vox interspersed with attempts at a clean delivery, coming off like Dollar Tree FEAR FACTORY more than anything else. ‘Cleanup On Aisle 10’ is pure filler, ripoff Remission-era MASTODON, but dumbed down to shortbus level and, while ‘A New Throne’ does perk the ears at first, skillful guitar patterns and electro-rhythms actually meshing well together, I fear it’s a fluke. The clean vocals here and elsewhere, when employed, lack any sense of personality, almost FILTER-like, not reaching for anything graspable.

The punk flirtation of ‘There Was No Dog’ adds nothing to the mix here, more space filled with ideas in what seems to be (at almost the halfway point) a very “throw everything against the wall and see what sticks” approach. You can hear that someone must appreciate classic hardcore, as slivers of the genre’s formative years can be found, but that’s more a passing nod than anything the band seems willing to double down on, influence-wise. A by-the-numbers ‘The Aftermath’ stumbles into the interesting title of ‘The Lark, The Wolf, And The Rabbit’, which does continue the teasing of hardcore elements, but whoever’s screeching in the higher register is annoying in the extreme.

‘Bloodstains’ makes a valiant attempt at reclaiming lost ground, but I’m not sure if it’s just me having a soft spot for PRO-PAIN’s Foul Taste Of Freedom or because crossover is actually a style that seems to suit ARSON CHARGE and I’d like to hear them exploring. Against all odds, the title track is plaintive, aching, a true heart-on-the-sleeve moment in the first half, before exploding in nothing less than an emotional purge, catharsis in musical form. Fellas, I say this in hopes you’ll take this for the constructive criticism it’s meant to be. Dig deep into what worked well for the final two tracks on this first outing and come back with something better next round. Put your best tools to work, and focus on getting the most from them instead of trying to complete some checklist.
Review By: Lord Randall

ARSON CHARGE
A Dying Light
Anxious & Angry