Mohinder – Everything


I think I’ve been avoiding reviewing this band’s discography for a while, not because I don’t like it, but because it’s hard to really describe Mohinder. These songs were all recorded between 1993 and 1994, and they showcase one of the bands that seem to really have had an impact on the style of emotional and frenzied hardcore. On a 7″, I think, you get just the right amount of Mohinder, a blast of powerful and somewhat chaotic but always tight hardcore. On a discography that’s almost 70 minutes long, I’m a big overwhelmed.
Frantic, crazed screaming, lightning-quick changes from all-out power to silence, distortion, and guitar effects, and bass-heavy grooves abound. Think Assfactor 4, throw in a little Shotmaker, and add a dose of Saetia, perhaps. But that doesn’t really describe this heavy band. I think you just need to listen to the whole thing, straight through, wince every so often, and throw yourself off the walls a while. That’s the best way to appreciate Mohinder.

“To Satisfy” starts off, and things aren’t too crazy yet, restrained by tight drumming and some moody guitar but definitely picking up the pace. Many of these songs seem paced to provide four or five per side of a 7″, like the quick and sudden “Give,” followed by the bass-heavy and all-out brutality of “Inhuman Nature.” “Numb” feels more punk-rock, with fast and furious drumming leading the way. “You don’t know how I feel!” the singer screams out. “Of Sound Mind” starts off bass-heavy and deep but takes off with a metal tinge, and “Number One” shows off everything that’s wonderful about this band – their frantic pace, the stellar guitarwork, screamed but audible vocals shouting about all things deep and cryptic. This is the band’s best song. “Imbalance” is chaotic screaming in under a minute. The sound quality suffers on “Expiration,” which sounds like it was recorded on a tape player, and “Beautiful” sounds like too much sound to be contained, as the blistering drums, bass and guitar start to distort at loud (or soft) volumes. A screamed “Wake up!” starts off “The Mission,” a blistering attack of guitars and drums. “Acceptance” reminds me more of Indian Summer, with vocals more spoken than screamed (although both are here). “One Warrior” again piles on the drums, heavy and pounding and freaking out your speakers, while “Alien” is all-out frantic hardcore, fast and furious.

The album finishes with about 40 minutes of live songs, many (probably all, if this is “Everything”) of the ones included here. Live, the band feels much looser but even more powerful and intense. And I can imagine people in the crowd getting seriously hurt as they try to scream along and leaping off their friends and family. Ah, for the glory days of bands like this.

I like Mohinder for their energy and their blistering vocals that evoke the mid-90’s emo sound, when bands were screaming about feeling as if their hearts were being ripped out and their souls were blackened. And while that emo scene was firmly rooted in hardcore, Mohinder seems to have taken it in a different direction, a crazier and more frantic direction. This band is all about fast and loud and powerful hardcore that still manages to be restrained, just enough for your listening and bloodletting pleasure.