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'Til It Kills

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Album Review

After leaving Lookout and signing up with punk juggernaut Fat Wreck Chords, Tilt released their sophomore full-length, 'Til It Kills, in 1995. Despite changes within both the band and the rapidly evolving pop-punk musical landscape, this follow-up to Play Cell is very similar to its predecessor. The material is melodic, up-tempo punk and vocalist Cinder Block is in her usual fine form, but aide from the fine opener, "Libel" — a minor underground hit — there is little evidence that the punk outfit experienced any songwriting growth during the two years after their debut. The tunes are often repetitive, slightly vague, and even a little pretentious at times. Throughout the late '90s, Tilt maintained their second-tier pop-punk status, offering up many more titles for Fat Wreck Chords; however, there is no individual characteristic that sets 'Til It Kills (or any of these records) apart from the rest. Many fans of the Bay Area punkers believe that this is a powerful effort from the group, but casual fans of this genre and new Tilt listeners aren't likely to notice anything special.


Formed: 1992 in Berkeley, CA

Genre: Dance

Years Active: '90s, '00s

Nearly every track Tilt produced in the late '90s became a huge success within the progressive house and trance scene. Superstar DJs like Sasha, John Digweed, and Paul Oakenfold championed Tilt's productions, as did countless other DJs. Trend-setting tracks like "Rendezvous" and "Seduction of Orpheus" helped move progressive house into darker, more ominous directions. Emphasizing hypnotic, tribal percussion and towering, thunderous bass lines, Tilt's style of progressive house had much more in common...
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'Til It Kills, Tilt
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