20th May, 2025
LCTR
'These Streets'
LCTR are a 4-man beatdown hardcore band hailing from Richmond, VA. Known in the scene for their aggressive, slow-groove approach to hardcore, the band delivers a visceral listening experience that fans of the genre will appreciate.
On May 16th, they dropped a crushing 3-track EP titled 'These Streets' and we're diving into each track to see what kind of chaos this new release brings to the table.
The opening track, 'Funeral Lust' sets the tone immediately. It slams in with a ring-out guitar riff, slow and menacing, backed by a heavy tom-driven drumbeat that adds serious weight right out of the gate.
The build up in this track is particularly satisfying - deliberate and thick - with the drums providing the perfect pulse for the riff to ride on.
Bassist Greg Branch lays down a chunky, chugging foundation that locks in tight with the rhythm section. It's a powerful low-end that a lot of bands overlook the importance of. The production doesn't bury the bass, which is a refreshing choice and gives the track that real physical presence you can feel in your chest.
When the vocals enter, they hit like a freight train. Vocalist Travis (People might recognize from Diseased Earth, who we've covered previously here!)
delivers a vocal performance that's both commanding and cathartic. He brings the fire needed to match the instrumental intensity, but what stands out most is his range. The contrast between his deep growls
and higher-pitched screams adds much-needed variety, keeping the songs from becoming one-dimensional.
That balance between raw aggression and vocal dynamics helps elevate the first track above typical beatdown fare.
The second track, 'In Regards to Elvis' dials up the aggression with rhythmic intensity reminiscent of I Declare War or The Acacia Strain. That opening riff is an instant headbanger - heavy, rhythmic, and
dripping with attitude. There's something about the tone here that hits a nostalgic nerve. Funnily enough, to my ears anyway, the production leans into that mid '90s feel - particularly in the way the bass and drums are mixed.
It reminds me a lot of Ross Robinson's work on the debut Korn record - raw, crisp, and unfiltered.
There's very little polish, and that's exactly what works about it. It captures that live energy, making you feel like you're standing in the front row of a sweaty basement show.
Tim Madison's guitar work is sharp and deliberate. He knows when to dig into a crushing chug and when to bend notes for tension, creating a sense of momentum from bar to bar.
The transitions never feel forced - each riff flows naturally into the next, giving the song a solid structure without sacrificing that chaotic energy that beatdown thrives on.
Have a listen to the album below while you read ->
Ethan Donnelly's drumming is a real standout across all three tracks, but while with 'In Regards to Elvis' he shows the restraint and control where a less disciplined drummer might overfill,
Ethan gives the music space to breathe. That breathing room amplifies the crushing weight of each riff when it comes crashing in.
Closing the EP is 'A Committee of Vultures' and it's a fitting finale. Ethan approachs to this song reminds me of the smarter elements of the drumming from the band Ion Dissonance -
knowing when to let loose to keep the listener engaged.
When LCTR decides to speed things up like in this final track, it's surgical. Breakdowns hit harder because of the contrast, not in spite of it.
'A Committee of Vultures' ends with one of the strongest and dare i say, thrash type grooves on the record, a punishing close that leaves you wanting more without overstaying its welcome.
It's rare to find a group of musicians who gel this well on record, especially in a subgenre that can sometimes feel like a race to the heaviest breakdown.
LCTR understand dynamics, space, and pacing - and 'These Streets' showcases that across all three tracks. From brooding atmospheres to dirty, disgustingly heavy riffs,
this EP proves that beatdown hardcore has something cool to offer - when it's done right.
