’68-In Humor and Sadness

'68-In humor and sadness

’68 are a side project from Josh Scogin, former lead singer of The Chariot. Scogin has also worked previously with Norma Jean, showing off why he has such a talent for incorporating segments of noise rock with post-hardcore and metal. While it is hard to tell whether ’68 is a one-shot side project for Scogin and drummer Michael McClellan, this is a grand debut for the band. Scogin brings his typically insane singing style, mixing in some clean shouts along with incomprehensible insanity, while  McClellan is steady on the drums from beginning to end, making even the most dissonant song have a sense of rhythm. Scogin handles the guitars as well, which match the revolving door of emotions with tempo changes at increasing rates throughout the record.

There are many positives to discuss from In Humor and Sadness. While attacking the listener with sudden tempo changes and noise rock interludes, the post-hardcore element gives each song a discernable rhythm even at the weirdest moments. The two genres are not really perfectly compatible, but ’68 do a good job to create great tracks out of such stark contrasts. The closer, “Track 10 .” is the best example of a darker toned track on the album: The whole second half builds into a dark and heavy finale, with this track ending as maniacal and angry as the band can get. There are brutal guitar riffs that constantly change tempo on a dime, with drums that match at every slight change. The preceding song, “Track 9 t” perfectly sets up said transition. This is the slowest and least noisy track on the album, ratcheting the tension until the closer can no longer take it. There is a distinct pallet of sounds, including piano that comes in at the perfect time. Mostly, the ninth track shows that Scogin and company have some finesse and maturity to slowly build an album to a satisfying finale.

There are a few smaller issues with the album though. The meshing of post-hardcore and noise rock is too clashing at times, especially in the production. Noise rock is a genre made to sound as if the songs are falling apart at the seams, which does not come through very often in the track listing. I’m assuming this has to do with the duo’s previous work under the post-hardcore banner, but it does throw out some minor balance problems. While this may be a bit of an odd complaint, the song titles for the album feel annoying at times. Instead of naming each individual song, ’68 decide to spell out a phrase by using one letter or punctuation throughout. It ends up spelling “regret not.” which goes along with theme, but feels more like a novelty than interesting anecdote.

’68 have come forth with a genre bending album that is worth be lauded for distinct creativity. Meshing together post-hardcore with noise rock is a herculean task, but the results are pretty great for the most part. There are crunchy guitars, powerful drums, unpredictable tempo changes, and a surprising level of rhythm that give the album something new for noise rock in general. ’68 are a genre monolith worth looking forward to in the near future.


Track Listing
1. Track 1 R
2. Track 2 e
3. Track 3 g
4. Track 4 r
5. Track 5 e
6. Track 6 t
7. Track 7 n
8. Track 8 o
9. Track 9 t
10. Track 10 .

’68 Links



About krthll1 (82 Articles)
I am a huge media fan in general. Video games, music, and movies tend to be the ticket to my happiness. As far as music goes, I like to listen to music that can convey any sense of tangible emotional impact, whether it be dark, depressive, or happy. Favorite artists include Deafheaven, Nine Inch Nails, Metallica, Kendrick Lamar, and Alice In Chains. I would like to thank everyone on the site for this opportunity and hope my output is worthy of the publishing.

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