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Fake History

letlive.

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Album Review

As a genre grows increasingly homogenous, it seems less and less likely for a band to break free of its safe orbit to try and do something different. Even a nebulous genre like post-hardcore that was initially so diverse can become formulaic given enough time. That’s why it’s so refreshing when a band comes along that’s willing to mix it up, as is the case with Letlive and their third album, Fake History. Originally released in 2010 on Tragic Hero and reissued (with a few bonus tracks) in 2011 on Epitaph, the album shows that Letlive are easily able to break away from the rest of the pack with an album that’s both frantic and sprawling. Not content to just stick to the tried and true formula of verse/chorus/breakdown/repeat, Fake History evokes the meandering prog rock of At the Drive-In, sprinkling the album with enough twists and turns to keep things from getting stale without ever getting lost inside their own heads and losing themselves in an cloud of swirling, esoteric riffage. This kind of focus allows Letlive to strike an enjoyable balance in songs like “Enemies (Enemigos)” and “Homeless Jazz,” where heaviness and headiness coexist rather than collide, giving the songs a flow that’s more rolling hills than peaks and valleys. So nice it had to be released twice, Fake History is an album that really cements Letlive's place in the vanguard of the current crop of modern post-hardcore, making for an album that will not only please longtime fans, but could also pique the interest of some of the genre’s disenfranchised old guard.

Customer Reviews

Excellent

I cannot say enough good things about this record. I'm tempted to say it harkens back to the early years of breakthrough post-hardcore, to the Worship and Tributes, to the Illusions of Safety, the Full Collapses, and the Watch Outs; yet, I cannot say that this album is a rehashing or emulation of those sounds either. While any additions to those formulas may be hard to pinpoint, there is a very refined quality to this record that sets it apart from its influences. If you are or ever have been a fan of anything under the large umbrella that is "post-hardcore," this is no doubt a worthy purchase. It is not an album that you'll have to commit lots of time to in order to appreciate it as much as aforementioned landmarks (and their followups) - it will hit you immediately. If you have no idea what the hell "post-hardcore" means, you may not find a better definition than in these 14 tracks right here.

Flawless

Thomas Cornelius put it pretty much perfect in his review. I've listened to this album so many times and it deserves this re-release immensely. I still get legitimate chills from the pure emotion and honesty and beautiful craftsmanship if these songs. This album truly is a classic of our generation. Please, please support this band.

Best Post-Hardcore since At the Drive-In and Glassjaw

This album is seriously top notch post hardcore. Every track here (including the bonus tracks) is entertaining and calls for repeated listens. If you aren't a fan of post-hardcore I would still reccomend that you check this album out. If this was released in 2001 or 2002 this would be considered one of the classic post-hardcore albums. If your in the mood for quality entertaining music check this out. My favorite tracks are The Sick Sick 6.8 Billion, Renegade 86, Muther, Homeless Jazz, Day 54 and Hollywood and She Did.

Biography

Formed: 2002 in Los Angeles, CA

Genre: Rock

Years Active: '00s, '10s

Based out of Los Angeles, post-hardcore quintet Letlive formed in 2002. With a frantic, driving sound, the band fuses some of the technical fury of At the Drive-In with a more direct, passionate delivery. The band made its debut in 2004 with Exhaustion, Saltwater, and Everything in Between, released on At One Records. They followed up quickly the next year, releasing Speak Like You Talk, all the while slowly building up their credentials. During these years, the band had a bit of a rotating lineup...
Full Bio
Fake History, letlive.
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Customer Ratings

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