I don't know if it's the same anywhere else in the world, but in the UK we're experiencing a rise in the popularity of insertgenrehere-core. You know the deal: metalcore, hardcore, post-hardcore, as well as screamo, emo, extremo and whatever else you can think of. Ska-punk is but a distant memory, with checkered shirts being swapped for sweatbands and a bucket full of tears. Yeah, of course some of it is contrived and watered-down mainstream drivel (hello Funeral for a Friend), but it seems as though there are a lot of genuinely good bands deservedly bursting the bounds of their popularity in this country. Amongst the ranks of this new movement is a band who are responsible for one of the most intense, moving, brutal and beautiful musical experiences of all time - that band is Converge.

It's very hard to summarise what Converge are about in a few sentences, but I'll try my best. To my mind, Converge produce perfect, unpretentious art: if art is expression of the self and music is an artistic medium, then Converge have suceeded in transferring their chaotic emotions to an even more chaotic medium. No Beach Boys-esque harmonies, no contrived attempts at pop success, just an unstoppable bastion of savage beauty. This is not background music - it will stir up reaction in people. You will either become totally immersed in its honest delivery, or you will wish to distance yourself from the wall of noise that confronts you. I fell for the former, and I'm glad that I did so.

So where does Jane Doe come into this? Well, it simply is the best representation of what Converge are about, and where they were in their lives at that particular time. The approach is the product of the breakdown of a 5 year long relationship that vocalist and lyricist Jacob Bannan had been in, with fragile nerves dominating the instrumentation and lyrics. All the songs on the record are very much tied thematically, and so whilst not a concept album in the sense of Operation Mindcrime by Queensryche, Jane Doe does give one a sense of completion if listened to in one sitting. However, if it's your first listen then you're likely to find it more than a little unnerving!

The album opens with Concubine, a series of distorted guitar hammer-ons that descends into utter chaos. How the hell can these guys play that fast, bouncing instrumental lines off each other, and still seem to keep control? In the one minute or so covered by Concubine, you already know what Converge are about - insane but not contrived technicality, bone-crunching riffs and, above all, honest delivery. Jacob Bannan's indecipherable screams may not appeal to my pop sensibilities but they cannot be had any other way.

Concubine flies straight into Fault and Fracture, another fast but more progressive bruiser. Just as much chaos if not more, as riffs smash into each other like dodgems manned by suicidal maniacs, leaving absolutely no room to breath. It may take a few listens, but these songs really do grab the listener and let out screams of alienated horror that cannot be ignored.

Even after this symphony of destruction we get no rest - Distance and Meaning may be slower and more approachable but it still provides a very draining experience. It's ironic that one of the only decipherable lyrics comes on this song, as Bannan whispers "that's where they die..." like Fugazi's Guy Picciotto over and over again. As you've probably gathered, you don't come to Jane Doe for pleasant easy-listening! The opening trilogy of songs provide no respite and do exactly what Converge says on the tin: they confront the listener with all emotions, either that of their own or that of the band. As I've said, this music cannot be ignored.

Hell To Pay does slow the pace a little, making the album much more listenable but perhaps even more emotional intense. Like Public Image Ltd's post-rock, the blasting crescendos of the choruses leap out of the haunting riffs and vocals of the verses, leaving no stone unturned. This slow and plodding monster of a track eventually crumbles into one of the more straight-ahead hardcore songs of the record, Homewrecker. This kind of juxtaposition is normally found in the most confused poetry, like the latter writings of Sylvia Plath before her suicide, which is telling of the fact that this album really is sheer emotional confusion. Again, it is rather ironic that the decipherable lyric in this song is "No Love - No Hope".

The Broken Vow recalls the insane progressions of Fault and Fracture, moving from nonsensical jabs to slight hints of (shock horror) melody. This song is chilling in every possible way, from the out and out frightening screams to the haunting, ethereal backing vocals. If you only listen to one Converge song in your life then make sure it's this one, because you could debate the merits of it with your less hardcore-inclined friends till the cows come home.

More of the straight-ahead metalcore influence is found as Bitter and Then Some comes crashing in, and is continued to a lesser extent in the monstrous (almost of Zepplin proportions) Heaven In Her Arms. These songs are an integral part of the record as they come as the build-up to the absolutely amazing Phoenix In Flight. Again the post-rock influences come into play, with the twin guitars of Kurt Ballou and Aaron Dalbec screaming like air raid sirens over the rhythm section's most melodic contribution to the record. This song is undeniably one of the finest moments of Jane Doe, perfectly encapsulating the sense of just 'feeling', drifting through everything and experiencing everything that confronts you. This is broken by the cathartic Phoenix In Flames, an earth-shattering combination of vocals and drums. Whilst only 42 seconds long, this track is again an artistically seminal moment amongst some of the finest art produced in the 21st century so far.

Thaw is unstoppable math-core chaos, somewhat reminiscent of The Dillinger Escape Plan. Converge, however, are much more poetic than TDEP, not because Dillinger are contrived but simply because Converge have totally immersed their musical output in the emotional instability of Jacob Bannan. The dying screams of Thaw move into what must be one of the longest hardcore compositions of all time, which is the title track. This 11 minute juggernaut really is representative of the whole album, moving from mathy terror, to meaty riffs, to ethereal vocals, to massive breakdowns and to anything else that you've picked out from the album. There is something of everything in this song and one would imagine that if musical historians ever discuss the progression of hardcore they will want to link the two poles of 11 second blasts of Minor Threat's rage with the 11 minute blasts of Converge's rage.

Just take a look at the words I've used more than once during this review - chaotic, brutal, beautiful, ethereal, haunting, emotional. There are probably a whole lot more. Mere words cannot describe how great an acheivement Jane Doe is, but they can give indicators to its status and I hope that I've done that with this review. Everything about this album is emotion, including the sparse and abstract (but incredibly confrontational) artwork that adorns the sleeve. I really don't think I can sell this record to you any better - if you want a true musical experience, then go out and get Jane Doe. I assure you, you will not be disappointed.

Recommended: Yes

Great Music to Play While: Waking up