"It's a fine line to walk, that of aggressive music that does not come off macho, but local lads Morse Code Heartbeat pull it off with much success. A little old school emo chest-pounding combined with just enough metal to make the finished product a brilliant mess of noise, emotion, and double-bass pedal." -Chazz Madrigal, Portland Mercury
Paper Cuts CD reviews: The bruiser "narcoleptic recluse" preps us for the bludgeoning madness of PAPER CUTS - time shifts galore, irregular and inventive guitar riffs, and feral vocals - which make for one helluva record full of aggressive, jarring metal with splashes of hardcore and grind. The unsurpassable "heroin chic" starts with a dark, sinister riff, while the body of the song is fast and punishing, ending with a hardcore breakdown. "north korea", with its disoriented feel, is a slower offering until three minutes in, when the speed onslaught begins. "late bloomer" is perhaps the most hyper, immediate track - but still, the tempos are all over the place, as some slower parts are mixed in. The real anomaly is the exceptional "dysphasia", a beautiful instrumental that gets somewhat heavier as it progresses. Appearing midway through the album, this gem acts as a slight respite from the chaos. -Janelle Jones, Skratch Magazine
Talented tech metal similar to old Converge or Dillenger Escape Plan. Good lyrics dealing with anger, frustration and paranoia. Way better than comparable bands on the bigger labels these days. -Neal Shah, Punk Planet #59
“Paper Cuts” by MORSE CODE HEARTBEAT features nine tracks of flailing and ferocious DEP-inspired metalcore. Stunningly deft and innovative guitar licks weave in and out of a wall of bludgeoning, yet complex, metal. The raw hysteria of the music is courtesy of the band’s hardcore influences and the entire package boasts just enough melodic counterpoise to suck neo-emo fans into the fray. MCH have enough distinction to allow them to stand out in the ever-increasing pack of bands plying their trade in this flava’ of noise. -Jeb, Short Fast + Loud zine
It all started way back in the winter of 1997-98. After countless failed punk bands, I was drafted to play guitar in Fresno, California's first real hardcore band - Lifeforce. Named after our favorite Nintendo game, Zach Evans (bass), Zach Markwith (vocals), Nick Moore (vocals), RC (drums), and I set out to terrorize the local punk scene with some vegan straightedge mayhem. This was my first musical endeavor with a drummer who had actual talent, and it became evident that this kid in a ripped up Kreator t-shirt would be accompanying me on my musical journey. However, the other guys who weren't wearing ripped up Kreator shirts began dropping like flies. Zach Evans was kicked out for not being straightedge and replaced by Louis Booth, who if was as good a bassist as he was a human being would be better than Les Claypool. Well, Let's just say that he wasn't as good as Les Claypool. Let's just say that he always played whole notes, regardless of what we were doing. But he's a super nice guy. Nick could never master the concept of 4/4 time (he was, however, very profiecient in -4/4 time. that's when you give the mic to somebody else and have them sing in rhythm), but made up for it with his hampster on PCP vocal style and live fire-juggling acts. Unfortunately, juggling fire and being a nice guy don't mean shit in the recording studio, as any of you who have heard the Lifeforce CD can attest to. Zach Markwith didn't even get to be on the recording - he shredded his throat on the first take and was never able to scream again.
Discouraged but not defeated, RC got some DW drums, I tuned my guitar down to D, and we started a new hardcore band with my younger brother Ben (vocals), Kyle Hernandez (bass), Corbin Peters (guitar). We named the band Azreal, which as you all know, is the cat from the Smurfs. It's also the angel of death - the connection my militant Islamic/vegan brother preferred. It was his over-the-top lyrics that got us kicked off the European label that was going to release our record. We recorded a sucky 4 song CD ourselves, went nowhere, and then parted ways with Ben. We then changed our name to The David Lynch Predicament and replaced Ben with Matt Mitchell of The Statistics fame. He was with us for one enchanted Halloween night where he performed in a dress and dislocated his knee cap - relieving him of his vocal duties, but proving to RC and I that he was the 3rd member of this fantastic musical voyage. He was replaced by Chris Hernandez - Kyle's younger brother. We played a few shows around the San Joaquin Valley and even made it as far as Bakersfield before breaking up without recording. Back to the drawing board.
RC and Matt, fed up with the futility of playing music in Fresno, moved to Portland in September of 2000. Left to my own devices, I tried to start up DLP again, this time with Mike from Fallen Silent hitting the skins. It went nowhere fast, so in March of 2001 I said goodbye to Corbin, Mike, Chris, and Kyle and joined my comrades up in the Pacific Northwest. They had started a band called Violet, which featured Matt on guitar, RC on drums and Chris Ubick on bass. I completed the lineup at second guitar. I also became the vocalist by default, because we couldn't find a singer and nobody else in the band wanted to do it. Straightedge turned out to be a true 'til 21 kind of thing (as i so shockingly found out one night, when i came home to find RC drunkenly singing along the misfits while pouring a 40oz on his head), so with the return of some bad junior high habits came the return of some bad junior high music which we decided to incorporate into our sound. Unfortunately, we didn't know how to blend them very well and all we got was "I like your fast shit, but then you go and ruin it with that emo crap" or "you should write more pretty songs. I don't like all the screaming stuff" or just plain "you guys are terrible". To make matters worse, someone in the band (we'll call him Chris U. no, that's to obvious. we'll call him C. Ubick) decided to be ridiculously cliché and sleep with my girlfriend and break up the band, once again without recording.
With an unspoken sense of frustration creeping in on all sides, RC, Matt, and I forged on. We changed our name to Morse Code Heartbeat and decided to drop the alternative rock, becoming essentially a metal/hardcore band with the occasional melody thrown in to keep things interesting. While the establishment of our new sound was encouraging, a revolving door of bass players only added to our woes. We had Joe Nealy (who used to play with local rockers Crosstide) play one show with us and promptly vanish like a virgin on prom night. We had a one night stand with Zach Evans (the original Lifeforce bass player!) as well as one practice with a guy who didn't even own a bass, or an amp, or a cord, or a pick, or anything. We finally got into the studio as a 3 piece and recorded a 2 song 7" in March of 2002 for Mr. Ubick's label, which we still don't have as I sit here and type this in November. We were all pretty much ready to raise the white flag at that point when our desperation ad in the paper was answered by a guy named Alan. We were all totally shocked and thrilled to find out that he 1) actually HAS a bass, AND can play it well, 2) likes a lot of the same music we do, 3) is a nice guy who won't sleep with our girlfriends or take our records OFF the market, and 4) was in a band called Chu Chi Nut Nut and the Pine Cone Express who opened for Wesley Willis. I can't decide whether to end this with "And it all came together like Voltron" or "Now our future is so bright we have to wear shades" so I'm just going to stop here.
There you have it. 5 years of paying dues. Not a single record, not a single tour, and not a single line of coke done off a midget's ass.
-Oliver Merson