Eyes & Nines

Formed in 2005, California's Trash Talk are a classic American style hardcore band. Having toured extensively through the US, Europe and Japan, the band has garnered a cult following, critical praise, the opportunity to work with producing legend Steve Albini, and more attention from the mainstream media than any of their contemporaries (including a live-to-air session on BBC 1, and a tip of the hat from Rolling Stone).

2010 brings us 'Eyes & Nines', the third full-length studio album and Trash Talk's greatest recorded material to date. Produced by Joby J Ford of the Bronx, the album kicks off with the rollicking "Vultures" a mid-tempo musical tribute to the genre-defining bands of yesteryear, which just happens to feature Bad Religion's Greg Ginn playing lead guitar. The intensity is stepped up notch by notch until third track and first single, "Explode" bursts forth from the speakers to slap you across the face, bringing with it influences of power-violence and crust that foreshadow the rest of the album. Not to mention the epic sing-a-long breakdown. "Hash Wednesdays" acts a sludgy interlude for the listener to catch their breath before the second half of the album plays out in a grand crescendo of intensity. This is hardcore that manages to keep its musicality despite its heaviness and tempo.

Drummer Sam Bosson is chaotic, fast and clever, showing great form from start to finish, while vocalist Lee Spielman delivers apocalyptic and anarchic subject matter in a gravelly scream with enough subtle melody to keep it interesting. All the while, Spielman employs a unique lyrical rhythm and rhyming pattern to bring a style all of his own.

Trash Talk are not talked up by their record label to be the next big thing. You probably won't see the music video on television. In 30 years, it won't be in every record store. But Trash Talk have managed to create what other hardcore and punk bands can only dream of; a sound that is more than the sum of its parts, and 'Eyes & Nines' represents, if nothing else, that sometimes a genre ripe with stale clichés still has a few surprises up its sleeve. This might be the best album you'll never hear.