Emerging out of Cincinnati’s increasingly fertile hardcore scene, Pain Begins carve out a space rooted in metallic weight and stripped-back brutality. Tired Of Being Alive doesn’t waste time trying to dress that up—it leans fully into it. It’s a short release, but one that establishes its intent almost immediately: cold atmosphere, punishing grooves, and a focus on sounding as heavy as possible without getting lost in unnecessary complexity.

“Pain Begins II” sets the tone exactly how it should. The sirens and slow, creeping intro build tension patiently before everything drops into thick, no-frills chugs and sharp, snapping drums. There’s a physicality to it that feels designed for a live setting more than anything else. The high-pitched vocals cut through clearly, but they sit in an interesting, sometimes uneasy contrast with the density of the instrumentation. It’s not a dealbreaker, but it doesn’t always feel fully locked in. Still, the closing stretch—where the track collapses into that drawn-out scream over wailing guitars—lands with real impact.

That sense of push and pull carries into “The Noose,” but with a sharper edge. The riffs hit harder, the rhythm section feels more dialed in, and the low-end—especially the bass—adds a noticeable depth. The vocal dynamic becomes more defined here: the higher screams feel more jarring against the weight of the track, while the lower, harsher backing vocals ground everything. When those deeper tones take over, the band sounds fully aligned—focused, aggressive, and convincingly heavy.

“Shattered Glass” is where things lose a bit of momentum. It’s not a weak track, but it plays things a little too safe compared to what comes before it. The riffs rely heavily on repetition without evolving much, and while the breakdown is solid, it doesn’t hit with the same urgency. There are moments that hint at something bigger—particularly in the layered guitars building tension—but the payoff never quite matches the setup. It’s functional, just not especially memorable.

The energy picks back up with “Hope,” which introduces a more groove-driven approach. There’s a looseness here that works in the band’s favor, echoing that classic hardcore bounce where the riffs have room to breathe and the rhythm section locks into a natural swing. It feels less rigid, more alive. The back half of the track especially stands out, letting the heaviness unfold instead of forcing it, and showing a more dynamic side of the band.

“Another Body” closes the EP on a slower, more deliberate note. The pacing gives everything space—the riffs hit harder because they’re allowed to resonate, and the bass fills out the atmosphere in a way that feels intentional. Once again, the backing vocals add a lot of weight, reinforcing the heaviest moments and making them feel earned. By the time the final breakdown hits, layered with those eerie, lingering guitar lines, it feels like a natural and satisfying conclusion.

Across the EP, Pain Begins show a clear understanding of what makes this style work: weight, groove, and atmosphere. The production plays a big role in that, giving the drums and bass a thick, physical presence that carries even the simpler ideas. Not everything lands—some riffs feel underdeveloped, and the higher vocal approach can feel disconnected at times—but the intent never wavers.

Tired Of Being Alive isn’t trying to reinvent hardcore, and it doesn’t need to. It’s raw, heavy, and at its best, genuinely vicious. There’s still room for growth, especially in tightening the songwriting and fully integrating the vocal dynamics, but the foundation is already there. When everything clicks, they hit with enough force to stick—and that alone makes them a band worth keeping an eye on.