Before Colorado post-hardcore greats Fear Before the March of Flames called it quits in 2010, they released one last self-titled album, under the shortened name, Fear Before. Even more so than 2006’s career-altering The Always Open Mouth, Fear Before shifted the band’s sound away from their heavier roots in a more experimental art rock direction. It’s a totally unique gem of the 2000s post-hardcore era, and we’re thrilled to be partnering with them on a new exclusive vinyl repress of the album!
It’s a brown/black split variant, limited to just 200 copies, and available exclusively in our stores. Order yours now while they last. That’s a mock-up above.
The album was released in 2008 via Equal Vision, and it features guest appearances from Portugal. The Man’s Zach Carothers, Heavy Heavy Low Low’s Robert Smith, The Fall of Troy’s Thomas Erak, I Am The Ocean’s Dreu Damian, and Vaux’s Quentin Smith. Casey Bates (who has also worked with Portugal. The Man, Heavy Heavy Low Low, The Number Twelve Looks Like You, and others) produced and engineered.
Watch the video for “Fear Before Doesn’t Listen To People Who Don’t Like Them” below and pick up our new variant here.
For more on Fear Before, find them featured in 25 chaotic hardcore, mathcore & sasscore albums from the 2000s that are seminal today and 15 albums that shaped progressive post-hardcore in the 2000s.
25 Chaotic Hardcore, Mathcore & Sasscore Albums from the 2000s That Are Seminal Today
Black Cat #13 – I Blast Off! (2000)
The Sawtooth Grin – Cuddlemonster (2001)
Racebannon – In the Grips of the Light (2002)
The Blood Brothers – March On Electric Children (2002)
Orchid – Orchid (aka “Gatefold”) (2002)
Since By Man – We Sing the Body Electric (2003)
"We sing the body electric/Sickness says hold on/Would you like to dance, dance, dance?"
That's how Since By Man open "A Kid Who Tells on Another Kid is a Dead Kid" (probably an Over the Edge reference but not a Nation of Ulysses cover), with Sam Macon raising his voice to a harsh shriek on "dance, dance, dance" and totally embodying flamboyant hardcore in the process. That line also gives this Milwaukee band's Revelation-released debut LP its title, and -- for a subgenre that prides itself on shamelessly verbose poetry -- it makes sense that a band would name their album after a Whitman poem. Throughout We Sing the Body Electric, Since By Man deliver a shapeshifting soundscape that bounces between melodic math riffs, clean-sung hooks, and bludgeoning metalcore, sounding like a cross between The Blood Brothers, Botch, and Poison The Well (who Since By Man guitarist Brad Clifford later joined). It's often a fast, frenzied, constantly-in-motion record, but it sets itself apart from dime-a-dozen mathcore with a few atmospheric, slow-burning songs that veer closer to Jupiter-era Cave In. I don't know if this particular album is a big influence on the current punk scene or not, but it sure sounds like it could be; it combines a lot of different sounds that have been coming to prominence in recent years. Some parts of this album sound like early 2000s post-hardcore in a nutshell, but other times it feels genuinely ahead of its time.