I've a real problem with the idea of a 'genre'. This isn't just in music - it goes for books, people, art, films, everything, anything. The human urge to classify and package up into one lovely gift wrapped thing is one that really fucking irks me. Due to this being a music review, I'll tell you - more specifically - why I hate genres in music. I hate the way people only listen to specific genres, I hate the way people invent genres to sound clever and/or bend the rules of their previously attributed music taste, and most of all, I hate the way these made up genres usually have really stupid names. Exhibit A (that turns out not be exhibit A at all) 'Math Punk'.

This was the term coined to summarise the sound of Holy Cop, the second album from Mayors of Miyazaki. Deconstructed, it conjures up idea of a post-punk sound, with all the artsy angular geometrics of early Foals. It suggests it's going to be loud, and jangly, and shouty. Once I discovered Harvey Birrell of Fugazi fame had been involved with the construction of the album, it all began to make sense. It is post-punky, and at times, there are subtle hints of (much heavier) Foals-esque lines. It is loud, too - and jangly, and very very shouty. In fact, it gets a little too loud, and a little too shouty.

'Souvenir' kicks things off with a slow build; the floor suddenly falling through and opening straight up into the main hook of the track. It's quite obvious straight from the off that we're dealing with extremely strong musicians here - especially on drums. However, this just makes it all the more frustrating that the whole style of the band is undermined by one overriding element. It's showcased rather unfortunately on second track, 'Start After One'. A scorching riff strikes through and then drops into something a little more intricate, but then this tired, back and forth shouting thing occurs between the male and female vocalist. I know it's not exactly unseen under the umbrella of post-punk, but surely, it became a little gimmicky quite a few years back? This 'callback' style of vocals is a real shame, as not only does it take over the entirety of the sound, but it also makes it all lack a certain authenticity.

After the migraine feeding 'Sugar in the Fuel Tank', 'Tongues' displays a side of the band which works infinitely better; harmonies. There's still a bit of the old harking back at each other across an empty room, yet when the voices actually come together on the same line, it lifts the track significantly. The more toned down vocals here work better alongside the (slightly) softer track. We see hints of this working again on 'Parts Per Million' and the promising 'Muy Sexo' - again both slightly less ferocious than most on the album.

At times, the riffs are splendid, and the adjacent drum patterns are seriously tough. The musicianship is great, as is the composition of the sections. Sadly, the problem lies with the vocal. When the tracks are put together with such complex structures, and the sound is crafted to be so purposely angular, the extremely raucous vocal style just tips the whole thing over the edge. With Holy Cop already aiming to be a hard, heavy album that you're probably not going to pop on whilst snoozing in the bath, this problem just makes it all the more difficult to listen to. For once, the applied genre of was probably spot on. However, if Math Punk sounds like it may be a little much to shovel into your ears, it's probably because it is.