It turns out the 1990s are not dead after all. Or at least, 1990s alternative rock is not dead. Despite grunge-esque groups entering the “classic rock” stage of their existence—if they continue to exist at all—there seems to be a growing number of modern bands tackling the flannel and anti-establishment mantras groups such as Mogwai and Nirvana championed twenty years prior. One such contemporary group is Long Island’s own Sainthood Reps whose debut record, Monoculture, is grunge, mixed with a little ‘90s hardcore, for the emo culture.

After signing with Tooth & Nail Records, Sainthood Reps entered the studio with famed-Long Island producer Mike Sapone (Brand New, Crime In Stereo) to record what would become Monoculture. It is quite evident after listening to the record’s first track, “Animal Glue,” that Sainthood Reps find inspiration from the likes of Brand New and Fugazi. The track starts slowly but builds to a crescendo as lead vocalist Francesco Montesanto’s scratchy yells weave throughout intricate bass and guitar chords in a melodic ballroom dance of sorts. This ballet between bass, guitars, and vocals is a consistent point of enjoyment that helps move Monoculture forward. “DINGUS” is straight out of the Nirvana playbook while “Hunter” brings the aggression to halt with lyrics Jesse Lacey would be proud to call his own.

The problems Sainthood Reps encounter are two-fold. On one hand, there seems to be a disconnect between the general melodic direction the quartet want to head in. Monoculture feels more like a split between two bands versus a cohesive product from one. Tracks such as “Holiday Makers” and “reactor, reactor, reactor, REACTOR!” slowly build anticipation before bellowing into a tirade of fury much like the structure contemporary groups The Republic Of Wolves and Balance & Composure are so found of. Yet, on other tracks, such as the quick hitting “No/Survival” (which clocks in at just over two minutes) and “Monoculture,” the group relies heavily on distorted guitar work and vocals in a barely audible Rage Against The Machine-meets-teen-angst sort of way. This is not to say that this dichotomy is detrimental to the individual tracks—quite the opposite, actually, for “Monoculture” is a barn-burner of a song. It is just that Monoculture lacks a cohesive sound which leads to a choppy listen.

On the other hand, lyrically Monoculture is rather monolithic, following a singular theme revolving around being overburdened and underwhelmed by Western society’s normality. “You parked in your garage and closed the door behind you // And then you turned on the ignition // You opened all your windows wide and closed your eyes…” Montesanto sings on  “Holiday Makers,” “There’s a million people just like you, waiting for a way to escape all the stress // You want the quiet life on the company dime // The corporate giant falls and hits the Atlantic.” Monoculture would have been a more satisfying listen if Sainthood Reps explored more diverse lyrical themes rather than sticking with the melancholy anti-establishment rhetoric the record does present. Alas, lyrically the record is not throw-away and shows great promise. What the listener must do is remind himself that Monoculture is Sainthood Reps first full-length record. And as debut records come, Monoculture is auspicious and compelling.

★★★.5/★★★★★

*This review was composed by Mike Meeze