Review by Kate Preston
First and foremost, to forgo the Mars Volta comparisons will be an exercise in self-control. It comes as no surprise, though, that this group has shared a producer with the likes of their aforementioned predecessors and At the Drive-In. That point being made (and while firmly biting my tongue) we’ll move onward.
Self-described as “robotic post hardcore,” the guys in Brazil have a lot of explaining to do. No cold, mechanical soundscapes, no beastly death-screams, no repetitive clockwork predictability; then what is it all about? A Hostage and the Meaning of Life offers layers upon layers of bouncy riffage, an almost fluid crash of percussion, rolling and driving bass, a healthy dose of crisp piano interludes, and a wide range of lush tones that contribute to the dramatic wall of sound that defines this debut album.
One day calm broke the silence, Jonathon Newby chants in "IO," eloquently summing up the characteristic sound of Hostage—sonic and haunting grooves that still maintain a mellow and lulling sense of tranquility. "IO" itself stands out as being the most bouncy and accessible track—poppy punk with more to offer.
Perhaps the most dynamic song on the disc, "Fall Into," kicks off with a steady drum beat and is overtaken with an ominous piano-laden verse. Accented with the atmospheric droning of violin bows to guitars, descending to rawness unmatched by any of the other tracks, it provides a break from redundancy and showcases Brazil’s collective height of emotion. Fast-paced "Metropol" features a standout sax solo which progresses to a jazzy piano/bass/sax breakdown that weaves in and out of onslaught by way of frantic guitars. Through the chaos, Brazil presents something novel and captivating enough to pull off what very well should have gone disastrously wrong.
Sadly, something never sat right with me. Upon hearing the opening lyrics on first listen, I could hardly stomach Newby’s seemingly borrowed (and worn paper-thin) whine. You know, the whine. The album as a whole grew on me, and my discomfort grew less noticeable so the vocal performance isn’t an absolute deal breaker. Though a solid debut effort, I think the vocals could likely pigeonhole them as a generic attempt at the immensely-longwinded-and-descriptively-titled-emo-sub-genre-du jour.