Review
In the Crosshairs
Partners in Crime

Blood Money (2005) — Robynn

In the Crosshairs – Partners in Crime cover artwork
In the Crosshairs – Partners in Crime — Blood Money, 2005

Partners in Crime opens up with a sound byte of god only knows what (I don't know, maybe something eastern-influenced? Is that PC? Who cares) and melts into metal. I know, I know, since when do things melt into metal? The laws of physics dictate that this is not possible, but the laws of hardcore dictate that it is both possible and good. The Lord (Ezec) hath willed it.

In the post-metal age of Crosshair 5280 A.D, one finds no shortage of breakdowns and gang vocals. In fact, there are so many solid breakdowns that I may use this as the archetype for what a breakdown is. When my mother says 'what are these breakdowns of which you speak? And what is this crucial mosh?' I will be playing this record. I will say 'do you hear that part in 'Food Friends Hardcore' that is slow and then sounds like the part of any movie right before something scary happens? But then it gets crazy again, right? YEAH! That's the breakdown!' How can one band do that so effectively without being trite or lame? Wow, I don't know.

Revelation described this band as being 'highly innovative but traditional at the same time,' and they followed it up with 'For fans of Most Precious Blood, Madball, The Hope Conspiracy, Terror and Iron Maiden.' Way to make conflicting statements, guys. Why not just say 'Yo, this band is dope'? Honestly, they're not that innovative. Breakdowns are not new, dance parts are definitely not new, and on the list of new things, hardcore songs about people being fake and transparent, friendships gone sour, and having heart in the scene are completely absent. That said, I don't enjoy hearing In the Crosshairs sing 'Some of you matter but most of you don't' any less. I hear them say things like 'your whole life is bullshit but it's all you got' in 'Caesar's World' and I cheer on the inside. Partners in Crime is like a good fight, minus the punches. There are insults hurled at invisible hardcore imposters, and In the Crosshairs comes out victorious. Am I expected to care about how new or revolutionary their sound is when it's this enjoyable? This shit is like Rocky! Follow the formula, give it your all, and come out a winner - Duh, Adriaaaan!

In the Crosshairs puts it best in the album's title song 'Partners in Crime.' It is bluntly stated: All these relationships are already tested / Stuck it out they remain true / Through all the fights and all the hard times / Without my friends I don't know what I would do.' Hardcore has already been tested. Its formulas all remain true. Without hardcore, both I and In the Crosshairs doesn't know what we would do. Hardcore and In the Crosshairs are totally partners in crime.

7.0 / 10 — Robynn • September 13, 2005

In the Crosshairs – Partners in Crime cover artwork
In the Crosshairs – Partners in Crime — Blood Money, 2005

Recently-posted album reviews

Haywire 617

I Don't Wanna Say Goodbye
Roadrunner (2026)

How does one describe what differentiates a good hardcore band vs. something special within the space.It's really difficult to explain but Haywire 617 has proven to be something special.When boiled down to base elements Haywire is a hardcore band in the vein of something like latter day Blood For Blood (specifically their more Rock n' Roll/Oi elements with Rob singing). … Read more

super*user

Gutless Wonder
GC Records, Ideas Are Bulletproof Records (2026)

Detroit is famous for bands like the MC5 and The Stooges, White Stripes and of course KISS. Fellow Detroiters super*user may sound nothing like any of those bands but I would have thought it would take some KISS-sized balls to intentionally start your punk record with a riff ripped off from U2’s “Sunday Bloody Sunday”! Maybe that one’s unintentional but … Read more

Nick Soulsby

Born of Struggle, Living in Hope: The Anarcho-Punk Lives of the Centro Ibérico (1971-1983)
PM Press (2026)

Living in Hope , as the subtitle suggests, is a punk-centric history of the Centro Ibérico, an anarcho-punk squat at 421 Harrow Road. It is also the first book-length treatment of the space, which was at the crossroads of far-right fascist violence, police surveillance, housing disputes, and the punk scene. Founded in 1970 by Spanish Civil War veteran Miguel García … Read more