Send "Cave In " Ringtones to your Cell 
| Pitchfork |
 I doubt Kurt Warner is a Cave In fan (maybe he's more of an Underoath guy), but he should at least appreciate the similarities between their career arcs: While spending most of 2009 fending off retirement rumors, fans of each could look back on a decade-plus defined by quiet dependability and a mid-career identity crisis. Cave In burst out of Boston's metalcore scene by shading their heaving, chop-heavy sound with enough prog and indie influences to make them safe for Radiohead fans. And they still do. But in 2003, they were briefly on major-label RCA and competing with Foo Fighters and AFI for airtime on MTV2. It's about as anachronistic as Warner in a New York Giants jersey, and about as fondly remembered.2005's Perfect Pitch Black followed, with little else other than talk of Cave In's indefinite hiatus. When they did return last year with the Planets of Old 12" it seemed more of an assurance that they're still around than proof of their artistic vitality. It's less of an EP, damn near single-length, and each of its four tracks is nicely compartmentalized if not terribly diverse. And now it's being released on CD, along with a live DVD of a performance last year at Boston's Great Scott. Opener "Cayman Tongue", by a large measure the slowest Planets track, finds Stephen Brodsky and Adam McGrath careening around a time signature damn near impossible to keep track of, yet a dominating low-end provides a visceral punch. Halfway through its six-plus minutes, they submerge into a miasma of feedback punctuated by full-band interruptions. It's initially startling, but they sort of overplay their hand-- this section of "Cayman Tongue" is longer than any of the tracks that follow and the ultra-modern production smooths out most of its dynamic edge....full text |
| Sputnikmusic |
| The last time that anyone had heard from Cave In, it appeared that they were primed for a comeback of epic proportions. After abandoning their post as one of the upper echelon of Boston based 1990's metalcore bands to head in a more rock oriented direction in the beginning years of the decade, 2005's Perfect Pitch Black saw Cave In partially returning to the heavier sound which they were known for. That same year they released a limited run cassingle (do people still listen to tapes???) that expanded on Cave In's amalgamation of their older heavier sound and their alt rock leanings. Now some 4 years and numerous side projects later, Cave In are back with a new EP that manages to be heavier, spacier, and just as kick ass as anything they've ever done. Planets of Old begins with the juggernaut "Cayman's Tongue". Its opening riff is a towering wall of murky sludge and twisted, ethereal guitar atmospherics that makes tracks like the much beloved "Big Riff", off of 2001's Jupiter, seem puny in comparison. It is dirty, gritty, and mean. At the two minute mark Steve Brodsky relinquishes vocal duties to bassist and Zozobra collaborationist Caleb Scofield, who's demonic bark crushes like a run away freight train, further making "Cayman's Tongue" the heaviest, most balls to the wall recording ever to be released under the Cave In name. "Retina Sees Rewind" hearkens to Perfect Pitch Black on steroids with its groovy, Thin Lizzy-ish leads and Brodsky's soaring vocals. As the EP continues Cave In treat us to something that hasn't been heard in years, a technical speed-fuck of a metalcore song, i.e. "The Redtrail", that has you wondering, "when the hell did this turn into Jane Doe?". No joke, its frenzied punk infused drums, technical fretboard wankery, and high pitched throat shredding screams are metalcore mana. Planets of Old ends with the catchiest song on the EP, "Air Escapes". Brodsky's vocal hooks drive the song through a landscape of groovy rock. Unfortunately, while it would easily be a top track on Perfect Pitch Black, it lacks the steam to hold up to the rest of Planets of Old....full text |
| Culturebully |
| After jumping over every hurdle the record industry could possible throw in front of a band during its storied 14 year career, Cave In’s hyperbolic arc may have seemed like a case of undiagnosed schizophrenia to some and a reflection of commanding creativity to others. Cave In is a band with an approach to music like the rock ‘n roll equivalent of a Toby Young memoir title taken literally, and one thing that can’t be argued is that the band has been willing to take risks where others may have stayed in “safer” territories. Since its early genre-defining hardcore-meets-thrash metal albums, to its escapades through space rock and psychedelia, and on to the rocking riff-fests of later years; Cave In has consistently challenged its fans while pushing forward into new, uncharted territories. No two albums have ever sounded alike, and perhaps the most amazing thing of all, the band never really seemed to lose focus. Through it all Cave In always sounded like Cave In. After nipping at the heals of the underground for over a decade, the band went on hiatus in 2006, and in the meantime—while each of the band’s members has been off working on various other music projects (too many to be recounted here)—we were left to wonder if we would ever hear another album from the band, much less what it would sound like. Thankfully, we didn’t have to wait that long to find out. Planets of Old is the first release since the band regrouped earlier this year, and it’s an album that shows how Cave In is rejuvinated both in body and mind. With this short release, the band has achieved the impossible and honed in on all of the styles that made it unique. Planets of Old is a strong statement as to why the band came together in the first place, and how it still maintains the forward-thinking edge that has made it such an interesting group to watch over the years. Abstract, progressive song structures are still the name of the game, and Stephen Brodsky’s beautiful cadence is more attractive than ever, but this time around the dudes seem to have suddenly remembered about their early background as thrashers and punks. These are the songs of a band whose members are looking to satisfy no one but themselves, and as luck would have it, everyone comes out a winner in the process....full text |
Cave In lyrics
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