Now celebrating their 11th year, New Jersey metalcore/hardcore veterans Nora have somehow gone unnoticed to the team here at Rockfreaks.net, that is, until now. Released back in July, "Save Yourself" is the band's third full-length record and, according to the promo sheet which goes as far as to call it their "Master Of Puppets", their very best to date. A bold statement indeed. So, knowing nothing of the band's prior material, apart from the fact that their last effort, 2003's "Dreamers And Deadmen" won plenty of critical acclaim, I set about getting stuck in to 10 tracks that would hopefully have me understanding the justification behind it. Carl Severson's brutal screams of "Where's your heart? Where's your heart?" in the brilliant opening track "Somebody Call Somebody" immediately set the tone for one of the most personal albums I've heard from any band in a long time. Written in the wake of a tragedy (the death of the drummers daughter) that marked the beginning of four hard years that nearly saw the band finish, "Save Yourself" deals with the concept of discovering new life within you at a time when you are broken as a means to being able to carry on. It was the band's ability to quite literally 'save themselves' that held the band together and led to this record even making it into existence. One of the more catchy songs on the album, "Broken" features some infectious and precise guitar riffs, contrasted with some open ended strumming, all performed underneath the bellowing urgency-filled vocals. Next comes the title track which fulfils it's purpose perfectly, utilising long, tearing screams to issue a blunt challenge to the listener: "What if you had to depend on yourself? Could you save yourself?". The guitars are darker than your usual metalcore, and lean more towards hardcore in the vein of Norma Jean. "Famous Last Words" sees the album return to a more metalcore style with the exception of any clean vocal parts and traditional song structure. You'll notice that throughout the album the song structuring is far less obvious than the traditional verse-chorus-verse-chorus structure and songs rarely contain any repetition within them. Severson's vocals are, for the most part, indecipherable, but take a look at the lyrics in the inlay and his writing abilities are displayed in abundance. Every song is written with such passionate openness and honesty that you can even begin to feel the pain he has endured for so long, almost like you were looking him right in the eye. This is certainly one of those albums where you can't get away with ignoring the lyric book and let the audio stand alone, as the experience of the record is so much enhanced once you read the words that Severson is screaming down your ear holes in songs like "Have You Ever Had A Really Bad Day?". Once you understand how close the band hold this album to them and the pain they went through to make it, the songs are really given another dimension. It's easy to see where the band have drawn influence from, especially listening to the beginning of the "The Moment, The Sound, The Fury" where the likeness to Norma Jean's "Creating Something Out Of Nothing, Only To Destroy It" is uncanny, to the point where I was questioning whether I had clicked on the latter song by accident. Whilst Nora's guitars are somewhat less frantic than Norma Jean's, similarities can be seen in the way they contrast melody with the vocalist's frenzied screaming. "Save Yourself" is a relentlessly hard hitting album from start to finish that lyrically journeys into the depths of suffering and comes out with a self belief and willingness to succeed that is translated into the music. Both musically and lyrically, the album is no doubt full of character, passion and brutal honesty, but sitting somewhere between the harder end of metalcore and hardcore (a little closer to the latter) possibly constrains it from reaching it's full potential. The record maintains a decent pace and while occasionally pulling itself up from the dark down tuned guitars into some nice riffing, unfortunately never dares venture into the guitar solo it would if they were a metalcore band. Likewise, it lacks the chaotic guitars that give Norma Jean the edge that makes them legends in the hardcore genre. Not to say that there's anything wrong with being mid-genre, but in this case it means Nora are just missing that little special spark that would earn them a grade higher. Nevertheless, this is an album worth having and will have you coming back to listen again and again.

Nora's brand of intriguingly shape shifting and abrasive hardcore once again takes the reigns on this hardened New Jersey quintet's latest presentation SAVE YOURSELF. Led by Ferret honcho Carl Severson, whose screamy howl echoes hardcore supremacy, this 10-track destroyer annihilates all in its path with an abundance of unforeseen genre-defying time signature shifts on cuts like "Just Like Johnny" and "SCUM", furthering the metal and hardcore bond of blood for generations to come. And for all you hardline oldschoolers out there, there's just too damn many tastefully-influenced remnants of all the great underground bands of yore you loved passing through the seams of cuts like "Broken" and "Chances Aren't" to pass this disc up. Nora's hiatus, though an undoubtedly a long and grueling episode, has rendered a masterpiece which demonstrates the vitriol and virtue that comes when struggling towards redemption on SAVE YOURSELF.

It’s been four years since their last album ‘Dreamers and Deadmen’ put Nora at the very front of contemporary hardcore, and a triumphant UK tour with Hopesfall was the last action we saw for them. Since then, their lives have been overshadowed by loss (drummer Chris Ross lost his daughter in a horrific accident), which makes this a fragile and poignant record. But thankfully, it doesn’t stop it being a great one. Far from retreating, Nora have delivered a 10 song, 35 minute ‘fuck you’ to the world. Obviously it’s a dark album (‘Have you ever had a really bad day?’) but as the liner notes state, it’s a record about remembering “how deep love and friendship can go.” Musically it’s almost flawless rage and should put Nora right back where they belong. At the front.

The intense Yank moshpit masters go straight for the scrote with this cracking follow-up to what was a brutally average debut. Their first effort might've stunk like a hangover borry, but this is fist-pumping 'core that gains steam early and goes harder than a priest at an orphanage. The guitars are cranked to 11 and stunning track "Just Like Johnny" really has to be heard to be believed.

There are certain albums that come along and guide you into a journey of madness and sheer terror, leaving you yearning for more. It can shift your perception of madness a bit more than usual and add sufficient fuel for you to overcome those roadblocks in the daily routines of your life. If this sounds like the kind of record that you are looking for every time you peruse the isle of your local mom and pop owned record store, make sure your fingers happen to find a copy of Nora's latest release, Save Yourself. From the first twenty seconds of this disc, the kicks to the stomach never cease to intensify. Clearly a full blown rollercoaster ride of insane guitar antics, bolting from one section to another with a force as mighty as the fist of The Punisher himself. There are interesting breakdowns during what would be a bridge, leaving you in a swell of musical waves that constantly rearrange to hit you from where you least expect it too. The rhythm section just pumps with simple, yet strong hooks that keep the machine moving on its sweltering path of destruction. Lyrically, the album seems to aim directly to the concept of arising from the ashes to find a new life inside yourself. Through the process of overcoming personal tragedy, you have an opportunity to rediscover yourself and your intentions with your life. Be it an abrupt death in the family or close friends passing. Digging yourself out of a grave of emotional chaos is something that is no easy task, but as Nora musically indicates for us, the change is something which must be done. Cheers Nora!

With Save Yourself, Nora is set to please alot of fans and silence plenty of critics. If Dreamers and Deadmen was impressive in a Soviets launching Sputnik into orbit sort of way, Save Yourself is Nora's moon landing. It certainly is the most unrestrained, dangerous record Nora has released yet during the bands 10 year career. On Save Yourself, Nora breaks out of its own box, steps out of own way, embraces new, almost shocking freewheeling approach to songwriting, and offers a few dozen honest to goodness musical left turns- all of which expand and diversify Nora's sound for the better. It stands as a testament to Nora's newfound prowess that the band not only weaves such disparate bits together, but does so without ever loosing the groove or breaking down the coherence of the song, Admittedly, there are a few moments where the midtempo open chord chugs get a little old. Overall, however, Save Yourself is a remarkable album that bridges gaps between post-hardcore melody and metalcore aggression. Here's hoping it gets the attention it deserves, and Nora floats to the top of the underground metalcore pig pile. We could use a whole lot more of the sort of ingenuity displayed on Save Yourself and many few half-hearted Swedish metal imitations.

Another band that I had never heard until recently, mostly due to the fact they haven't released a new record in over four years. Save Yourself is an inherently punishing disc with impressive guitar chops, sick vocals, and a massive yet extremely gritty recording style. Count me a fan.

NORA is celebrating its 10th anniversary and "Save Yourself" is the first album I've heard. It is not all that surprising though when you consider the sheer number of Trustkill-type hardcore/metalcore bands that have been saturating the scene for years now. However, on "Save Yourself" (and presumably albums like 2003's "Dreamers and Deadmen") NORA proves that they are no run-of-the-mill metalcore band. "Save Yourself" offers the discerning listener more than your basic 'core album, even though hardcore's purity of rage and relentless aggression is heard on every one of these 10 strong tracks. Who says metalcore has to be generic and lifeless, recycling the same old riffs and rhythms? Everything from the flawless dueling and dynamic chords of guitarists Matthew Hay (Portland) and Stephen Chladnicek to the loud, proud, and convincing vocals of Carl Severson to the taut and colorful rhythm section of bassist Mike Olender and drummer Christopher Ross is performed with passion and determination. The short of it is that "Save Yourself" consists of a darn good collection of songs that gets the blood pumping and never gets boring, thanks to a smart songwriting approach that injects the compositions with verve and variety. It starts and ends with those guitars though; the unit owns quite an arsenal of major and minor chords, mixing and matching to grand effect. You'll hear it on the hard charging "Somebody Call Somebody" with its excellent two-part riff punch, one marginally dissonant, the other tough as nails. The band keeps delivering on "Famous Last Words", switching from lethal speedster to crushing stomper, all the while incorporating those slightly askew licks, while stop-start riffing joins stone cold grooves on "Have You Ever Had a Really Bad Day". Changing pace nicely, the title track goes for a slow-burn attack and "The Moment, The Sound, The Fury" features a southern tinge to its six-string fire and slower tempo, not to mention its big Bonzo-esque drum thudding. Yes indeed, "Save Yourself" is an album sorely needed in a scene that becomes more vanilla every day. This is not about saving hardcore; it is about a band called NORA that knows a thing or two about blending intelligent songwriting with ass-kicking 'core aesthetics.

Fronted by Ferret Music major-domo Carl Severson, this long-running New Jersey hardcore combo spikes the blast-beat brutality on its third full-length with surly Southern-rock riffs that make Nora sound older and wiser than the zillions of like-minded bands they've spawned. Every Time I Die fans: Here's some history.

The strangest thing about Nora is that no one ever knows what’s going on with them. Half the people who listen to them swear that they have broken up, then we get hit with another album out of the blue, BAM. Like a hardcore ninja, Carl Severson and the boys hit us with another album. And each one comes like a punch in the gut, because not only is it unexpected, but they’re always better than the album before. Last time it was Dreamers and Deadmen, this time it’s Save Yourself. Given the longevity of this band and the status of their members, you know that they’re pretty much going to get A list treatment from everyone, and that obviously includes Eric Rachel at Trax East and Alan Douches at West West Side, as this album came out like a gem, as well as a solid layout from Sons of Nero. But let’s get back to the real task at hand, Save Yourself. While it stays the course that they’ve set in the past, it builds on the foundation of Dreamers and Deadmen which really elevated them to a different level. I was very glad to see that they didn’t plateau out on me though, they just kept on climbing. Carl’s signature style vocals haven’t changed since the inception of Nora, still pretty timeless. Guitar wise, the new record showcases a lot of slower, sludgy, southern influenced riffs, which is perfect in so many ways, you don’t get sucked into one stagnant sound, you’ll get to bounce around from Swiz style hardcore to something Crowbar could’ve written to something amazingly different in every way. If there’s one thing you can be sure of it is that Nora isn’t your typical hardcore or metal band. Save Yourself stands out like a leper on a school playground. In the rhythm department, you’ve got Christopher Ross and Mike Olender. Does the second of the two names strike you as familiar? It should, he spent most of his recent years singing for Burnt By the Sun. Yeah, it’s true that Nora is a hardcore all star band, featuring ex members of BBTS, Ensign, Endeavor, and more. Their history only serves to drive them to create and contort new styles of metal/hardcore with each record they release. I have to give them praise for their ability to live on the very cusp of the genre, without teetering over the edge. Get with the program, and buy this album.

Coming off of a four year absence since their last record, Nora has been building and breaking their constructions towards their latest album, "Save Yourself." These guys are some what legends in the hardcore field and seeing that their vocalist is the owner of the famous Ferret Records, it is no surprise how much of an effect this band has had through their own music and the ones they support. That is why I was really interested to check out their new effort and why after more than 10 years, these guys have been on top. Commonly, many bands that used to have a harsh sound start to smooth out the edges of their music which can leave their die hard fans a little alienated from the band. Luckily Nora is a pioneer of the "If it ain't broke, don't fix it" policy and have supplied us with the similar brutal assaults and wrenching vocals that we've come to know and love. Their guitars burrow and collect into mounds of breakdowns that put so much force on the ears, what a treat. And when the drums and guitars take a slower route, we are still bombarded with Carl's shoutfest of a voice that brings back the old fashioned style that formed the hardcore genre in the beginning. It stands as a more primitive, yet still complex, standard of composition. Acting like an interesting fist fight, the album unleashes blow after concentrated blow of fury and then does a little melodic dance after we have hit the floor. A very few amount of bands can keep the energy on a constant level through out the album, but Nora seems to do it flawlessly and with a clashing, vicious attitude. There were times I thought I might slowly zone my hearing out because of the steady bursts of rupturing audio, which bugged me a little. Although just being a 10 track CD, there were some goldys that I spotted. The down trodden "Save Yourself" dredges through progression and pounds out arrangements of the down-tuned, lower fret variety. The pure infectious nature of "Have You Ever Had A Really Bad Day?" comes from its finicky and awkward guitars that send you for a loop. Like loads of screaming? No? Too bad! You are bombarded with it whether or not you like it or don't. "The Moment, The Sound, The Fury" was a different approach to their sound because of the slow beginning, but amounted to a great song after plateauing in classic Nora style with passion and strength. Coming from a fan of Nora, I was ecstatic to hear anything from them since it had been so long. Also seeing that this record almost didn't happen because of other issues, I respect the effort and time the band took to craft it. If you love old Nora then this will fit in perfectly with your harsh hardcore collection. If you haven't heard of them.....where have you been? While you were listening to Limp Bizkit, they were helping to shape the sounds you are all over today. Do you like Comeback Kid or Bury Your Dead? Well then welcome an old familiar sound to your stereo. Simple. Brutal. Honest. Nora.

It's been four years since the last album from Nora (2003's Dreamers and Deadmen). The gap is understandable, since frontman Carl Severson keeps plenty busy running Ferret Records. This is the New Jersey metalcore band's third full-length, and their best so far. Save Yourself has the standard metalcore riffs and massive breakdowns, but Nora adds a few things that make this much more than a standard metalcore album. Every song is furious and intense, but there's a lot more diversity than you might expect. Some songs are precise and technical, others really groovy, and there are even some sludgy and doomy riffs. Severson's vocals are angry and aggressive hardcore style screams, both strong and passionate. Eric Rachel (Every Time I Die, Atreyu) produces, and captures Nora's controlled fury perfectly. With so many generic, cookie-cutter metalcore acts out there, it's refreshing to hear veterans like Nora who manage to inject some diversity and creativity into a genre that sorely lacks both.