The late ’70s were an odd time in Britain. The convulsion that was punk had fitfully gasped its last, but even in its death throes punk was giving birth to myriad new movements. Few survived long, at least in their original forms, evolving over time into new genres that barely resembled their infant selves. Post-punk was the catch-all term for many of them, and encompassed a variety of amorphous subgenres starting with “street punk,” which swiftly evolved into hardcore, then Oi!, and in later years speedcore, metalcore, skacore, melodic punk, and more. It also included the still un-named gloom merchants eventually tagged goths, but in its infancy included bone-sporting punks, spiky-haired future new wavers with atmospheres and attitude, and artier types who themselves spilled across the musical spectrum from proto-industrial to the new romantics. The Lovekill may think their influences are more modern, but in reality their debut album These Moments Are Momentum is a stunning homage to the U.K. scene circa 1978-1979. “Ride on Miner,” with its assaultive guitar drone and chord changes à la the Banshees, “Sleepover”‘s hardcore attack and shouted vocals, the title track’s aggressive power and discordant melody, the minor chord melody and rousing guitar solos of “Nothing Yet”, and the pusillanimous “Land Time” all echo an earlier time. However, as retro as many of the album’s elements are, they’re reflected through a more modern prism, as subgenres are submerged into one, headier melodies bubble up and tempos quicken, all suggesting the band’s influences are at least once removed from the original creators. Melodic hardcore is Lovekill’s fulcrum, but by amalgamating artcore and gothcore within, Moments ticks away into contemporary times and climes. The lyrics are equally nuanced, encapsulating both the vivid imagery of goth and the intelligence of art-punk, but delivered with hardcore power. A blast from the past remade for the future. – Jo-Ann Greene
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