Born From Pain

“In Love with the End” (Metal Blade)

Compare to: Sworn Enemy, Full Blown Chaos, On Broken Wings

With only three full albums and an EP under its belt, it seems odd for Connecticut hardcore mainstay Hatebreed to have already inspired a tribute band. But with “In Love with the End,” Netherlands-based quintet Born From Pain proves its aspirations don’t extend much further than being a carbon copy of New England’s heaviest export.

From the chugging guitar riffs to the lyrical tough guy-isms, if you didn’t know any better you’d swear tracks like “Rise or Die,” “The New Hate” and “Raging Heart” were long lost Hatebreed outtakes. Although many bands have borrowed from Hatebreed singer Jamey Jasta and company’s template of barked vocals and skull-crushing breakdowns during the past several years, few are as tiresome, unimaginative and downright boring. The members of Born From Pain make no attempt whatsoever to inject any of their own character into the proceedings, leaving listeners with nothing but a cheap imitation.

All in all, “In Love with the End” is a perfect example of the rampant lack of originality plaguing the heavy music scene, and the members of Born From Pain should be ashamed of their blatant plagiarism. If there’s justice, the members of Hatebreed will eventually run into Born From Pain in a dark alley and administer a well-deserved beatdown. If not, Born From Pain should be stripped of its recording privileges and relegated to playing Hatebreed covers down at the local Holiday Inn.

— Joshua Haun

BarlowGirl

“BarlowGirl”

(Fervent Records)

Compare to: Disciple, Out of Eden, Plus One

There is no reason for clever metaphors or creative sentences when reviewing BarlowGirl. To be blunt, this is the music that could break the spirit of any music fan anywhere.

Simply put, BarlowGirl is a Christian pop-rock trio from Elgin, Ill., that has managed to create a record so bad that, by comparison, Avril Lavigne’s faux teen angst is pure genius. The album’s liner notes claim the girls are sisters, even though they don’t look like it — truth is that it’s not worth looking into.

The music on the album shifts from easily digested and regurgitated Weezer tunes to sappy piano-driven worship ballads.

Musically, there is nothing on the album that comes close to being considered sincere or original. The uninspired noise the girls pass off as music is the type that will eventually be the death of rock ‘n’ roll.

Lyrically, the band follows in its own bland footsteps. Every song is rife with praise and thanks to Jesus — every song. Sure, Jesus might provide inspiration for the tidal wave of Christian bands on the market, but the band seems to be using Jesus as a scapegoat to avoid actually writing lyrics. The girls’ uninspired Jesus worship is so unheartfelt that even Jesus would roll his eyes at the over-the-top religious influence.

There is one positive note for the album, however — if Christians want to know what Jesus felt like on the cross, all they have to do is listen to BarlowGirl.

—Dante Sacomani

Hidden in Plain View

“LifeinDreaming”

(Drive Thru)

Compare to: Taking Back Sunday, Thrice, The Lost Prophets

Brace yourself — Hidden in Plain View hits hard with its first full-length album, “Life in Dreaming.” The album does a fairly clich‚ job of fitting the Drive Thru Records signature mold of edgy emo rock, but for fans of the genre, this album is gold.

Hidden in Plain View takes everything good about the beloved genre and pushes its boundaries to create something new and very refreshing. “Life in Dreaming” sounds extraordinarily polished for a debut album, and the band seems to have already found a distinctive sound, which is a feat that normally takes a band multiple releases to conquer.

The band’s lyrics are typical emo, but are presented using a perfect blend of gentle, split harmonies and climactic screaming.

Many of the songs dwell on the heavier end of the spectrum, while tracks like “The Point” and “The Innocent Ones” offer slower, more melodic breathers between heavy sets.ÿ

Nearly every song encompasses the entire dynamic spectrum, with instrumental dropouts and builds that will make you want to rock out in your car, carefree of receiving funny looks from the soccer mom in the minivan next to you.

The song order on this album is impeccable. It is a rare treat when an album allows you to hit play, sit back and enjoy solid music until it stops — and this is one thing “Life in Dreaming” does very well.

This is definitely a disc to own for emo kids and fans of edgy rock.

— Dan McClanahan

Rou‚

“Upward Heroic Motive” (Exit Stencil Recordings)

Compare to: Blood Brothers, Helen of Troy, Beep Beep

At first listen, “Upward Heroic Motive,” the latest from Cleveland-based Rou‚, sounds like an indie-rock band — or at least a hardcore indie-rock band. Whiny electric guitars open the first track, setting the listener up for Justin Coulter’s lackadaisical vocals, which last for about 20 seconds before all hell breaks lose.

On “All About Time,” Coulter moves back and forth between hardcore screaming and sloppy vocals while frantic guitar solos fill the spaces between.

Rou‚ doesn’t seem to clean up its act on the next track — or on the rest of the album, for that matter.

Instead, the album plays out with the same formula driving each track. Moments of intense shouting are followed by a cool-down period with stringy guitars and a driving drum beat.

Rou‚ takes it down a notch on the eight-minute track “Speaking of Hair” and the moody “Bender Season,” as Coulter refrains from any harsh screams and instead lets the guitars do the talking.

Fanatical screaming? Check. Frenzied guitars? Check. Lyrics that are almost impossible to decipher because of the lead singer’s lack of pronunciation? Check. If this kind of music appeals to you, indulge.

Anyone else, beware. It may scare some unsuspecting listeners.

— Katie Piepel