Virtually all cultures of the world, regardless of time, have demonstrated a fascination with the number three. Most often, reverence for this mystical number was incorporated in religious worship. Triad references abound in Greek and Roman mythology (e.g. the Fates, Cerberus, the three- headed dog, the "trinity" of Zeus, Poseidon, and Hades); Hinduism also swears allegiance to a religious triad with Brahma, Vishnu, and Shiva; the three great Inca deities of sun, moon, and storm fit this pattern perfectly; and of course, there's that whole Christian thing-– three persons in one God, the three Magi, the Resurrection after three days, etc.

Slighting the traditional ambiguity of other symbols, the number three is almost always used as a positive indicator, which is perhaps one of the reasons it's so popular. Why else would a New York City hardcore band like H20-- a band who has "never been into religion" or superstition-- devote so much conceptual energy to it? The number three is all over their latest album. Sure, F.T.T.W. is an acronym for the opening track, "Faster Than the World," but it's also, and probably more importantly, meant to suggest a later track, "Follow the Three Way." An illustrated three emblazoned on a clover (three- headed, by the way) graces the cover art and reminds us that this is the band's third full- length release. Normally, you would expect me to further my current argument with a third example as just another indication of the peculiar power this figure of the gods holds on us all.

But enough about numbers-- how's the music (though let's not forget the two are intimately related)? At times, this record seems nearly enchanted in its power. "One Life, One Chance" represents a grand feat in the realm of positive hardcore-– it's perhaps the most stirring and uplifting song the band has ever produced. "Fading" and "Helpless Not Hopeless" continue the band's talent for mixing irresistible hooks with a relentless attack. Blinding beat backed nuggets like "Bootstraps" and "Can I Overcome" show that H20 are in no danger of mellowing out anytime soon.

These victories compose the majority of the album, but not its entirety. Lyrically, the uncompromised pursuit of end rhyme sometimes results in lines which are forced and awkward (e.g. "the air was tense and muggy as fuck/ Lower east side running amuck.../ Bad reputations are hard to live down/ I'm not guilty for who I hang around"). Musically, attempts to always create a sing- along chorus lead to melodies dangerously close to the Velveeta factory. I was checking the liner notes to see if the Vienna Boys Choir made a guest appearance on "Liberate." Though, to the band's credit, they pulled off the song's multi- harmony chorus without a hitch when I saw them live-– an impressive accomplishment coming from a bunch of NYC street- savvy hoodlums. (I mean that with all due respect, boys!)

For the sake of the "three" motif, I'm tempted to use the adage, "Third time's a charm," but that would imply that the band's other two albums weren't up to par, which is certainly not the case. Basically, F.T.T.W. continues in a refreshing way what we've come to expect from H20-- inspiring lyrics, melodies strong enough to choke a horse, cameo appearances from the scene's finest (e.g. the Mighty Mighty Bosstones' Dicky Barrett and Roger Miret of Agnostic Front), and a general sense of camaraderie and musical warmth. My guess is that number four will feed our souls just as well.

-Kevin Ruggeri