Hello, everybody, to a very solemn and grave episode of Morning Here on
that snub Metal. This is Hyperblasts. This is our weekly news show where
we come at you every week with the goings on in rock and metal.
Last week we did not have news. I haven't even doubled up on like
the news we missed last time. This is still a bit of a mega
hype glass in terms of the amount of stuff I've sat on this script in
front of me. We have got announcements, we have got sad announcements.
We've got some you know, gigs and stuff that we were at as well,
and then obviously all of the music round up at the very very end
of this. My name is Peren Hayish. Here today, my fellow mourners.
We've got Sam Dignon, We've got Elliot Paisley on the you know,
the live music front. It feels like, you know, we are really
things kicking off now properly, you know, pretty much every week for the
next few weeks, I'm gonna have something to talk about. And Sam,
me and you were both at shows this week. You were at Spanish Love
Songs. Is this there was this the first like UK tour for the new
album of that significance of this. So technically this is their first headline tour
for both Brave Faces Everyone and No Joy because they obviously so bray Face seven
came out and they did that tors pointing the Mensingers and then the world shut
down and they've done you know, like odd dates and support tours since things
opened back up. But this was basically kind of like a double celebration for
Brave Faces Everyone at Overdue headline and No Joy. I went along to Span
Stuff song sold out Electric Ballroom, which was great to see. Didn't catch
the opening band, but a sort of heart Attack Man who were the main
support, who I wasn't super familiar with. Way more kind of just like
aggressively upbeat pop punk than I was expecting for a Spanish love song support,
but with a kind of like nerdy awkward energy at the same time, which
I guess does make them kind of fit in more with that sort of thing
than say a spot By you might see with a neck deep or something like
that. But they were good, fun They kind of had like sort of
like angular bits here and there, lots of energy. It was just it
was just funny seeing a pop punk from and yell at Spanish Love Song's crowd
get the fuck up and open a circle pit. I was like, I
was like, okay, you know, this is a weird disconnect, but
I did enjoy them, Like they've had some songs that ever sort of stuck
in the head, so I'll give them actually a proper listen, Like I
think they had an amount last year which I seem to see a few people
work quite into. But Spanish Love Songs were the best I've ever seen them,
Just absolutely brilliant. Setlist was very heavily focused on as I said,
no, I think it was like seven songs off No Joy in the seven
songs off Brave Faces. Everyone that those two got, like the bulk of
the Chair. Was very nice to see some Schmaltz songs back in the set
list because a few times i've seen them since they've come back from the pandemic
that those that album hasn't had a single outing at all. So getting stuff
like belly Ache and the boy Concienty's haircut was like, oh yeah, this
is why I'm gonna, you know, sing really loud after having a few
beers and get emotional. But they're No Joy stuff, which I've already seen
a handful of after seeing them with Hot Mulligan last year. Sounds amazing live.
Those kind of like extra just sort of flavors they've peppered into that album
really complement their live set where they just it's a nice change of pace when
you get to the kind of tropical disco beats of Clean Up Crew and everyone
just starts dancing and having fun, anting about their garden and their yard like
that gets a card going. It's stick a bit, but the Brave Faces
everyone'stuff still feels like the real, like the show pieces in the set like
that are getting the biggest response. I think that is the Spanish Soft Songs
album that has really going as people like where like Kick is everyone is like
going up a whole other level. When they started playing Kick, that was
when the energy really jumped up, and when they like they didn't do an
encore, but when they were like, these are our last two songs,
and it was routine Pain and the title truck of Brave Faces Everyone, and
that was kind of like the okay, final big everyone, get all your
emotions out. It was amazing. They didn't have a basis on this tour
at the moment, which I don't quite know why, but it didn't seem
to affect the live show too much. And like Marydith's doing a lot more
on stage and just keys now she's playing guitar on a few songs, so
they've like really bolstered out the sound, even if they're based on the backing
truck. But Dylan way more confident as a front man at the moment,
Like he's no longer as like super awkward on stage as he was when the
first few times I saw them. They've really sort of started to step up
to being a bad tour playing and selling out decent sized venues, and I
just it just had a real celebratory vibe, which is not something you might
necessarily go to span stuff songs with, but there was a kind of like,
you know, we've made it through and now here we are. I
think it was like their biggest headline show ever sold out. It was just
a great evening. Yeah. I mean, it's funny that you mentioned so
much Brave Faces Everyone representation because they've just announced those like small shows where they're
playing that album in its entirety, so you're going to get the extra Like
I know, three songs that they didn't play or whatever, but Bigson going
on there for them. I was at a depeche mode once again, which
I won't spend too much time on, I guess because we covered the stadium
show so at length last year. But this was like, I mean,
if you'd basically, if you'd given me the opportunity then to have the same
kind of experience again, I would have like bitten your hand off. And
this was like, you know, essentially like the same show but translated to
you know, an arena to move up and down the country rather than you
know, one big stadium show obviously indoors, so more of a reliance on
things like lighting and a video screen and stuff like that, which looked really
really cool, had like you know, the big m behind them and kind
of showing bits of their music videos and stuff like that coming through it.
I guess, you know, it didn't quite have the same sort of like
the elation of like first time seeing it in the outdoor stadium and everything,
But on paper the set list might have been even better, because I mean,
largely it was the same show in terms of the running order of where
things went was basically the same, the same thing of like, you know,
they opened the same two songs from the new album, and then when
they hit you know, walking in My Shoes and it's no good, it's
that thing of like, oh shit, this is where it really lifts up
a notch. But you know, the handful of slots in the setlist where
they like swapped in a song here, or they're some really good stuff making
its way in for this second round, Policy of Truth coming in there,
which just fucking what a tune, even though I now associated very heavily with
the Death on the Nile trailer for some fucking reason, but that was incredible
going through. We Got Before We Drown was the one like new song that
they hadn't played previously. I again, I could have gone even for some
some more songs from there that I really love, but that was really nice
to see the little the Martin Gore like ballad double bit in the middle,
really good stuff this time where there was the Somebody but also a like a
piano over version of Strange Love, which has worked like surprisingly well in terms
of just like everybody knowing the worst of that song and Martin absolutely being able
to you know, kind of sell that in that regard and then that same
thing of like hitting that point towards the again, it went so fast in
terms of like, oh my god, we're already at like X point of
the night when I feel you is coming in and just how fucking huge that
is and all that stuff, and again in terms of couple swaps in at
this point, you around the point in the set of like stripped and stuff
like that, which is still fucking brilliant, but behind the wheel coming in
in the kind of like the Andrew Fletcher sort of dedication point that we got,
which again hilariously again another of the most another of the most horny,
like the most BDSM song that night brilliant and the one again I'd seen videos
of them doing this when they went over to America at the end of last
year, and I was like, oh my god, if that is still
in the set Black Celebration, the Tautle track of which is one of my
favorite fucking songs. And that was the moment for me of like Black celebrat
as a thing is almost like sums up my taste in like things that I
like, you know, Black celebrations, And it was absolutely wonderful. And
then you know, the same sort of encore run of like, you know,
ending the main set of Enjoy the Silence, and then you've got that
little waiting for the night sort of like subtle bill back up, and then
that incredible run of like just can't get enough, never let me down again
in personal Jesus and I swear Dave must have been feeling sluttier this time.
It's just like he was a whole way through. He was just like grinding,
shaking, fucking stroking his mic stand in suggestive ways. There was also
a point where they sang Happy Birthday to some woman who was in the front
of the rose that it was their birthday, and when he was walking back
up the little stage walkway thing, someone else handed Dave a bouquet of roses
and he went oh, and then he turned back around for the woman who
sang Happy Birthday, thought He's like, I got these just for you and
hand as they're just like lovely stuff. You would absolutely die if they've gone
did that to you in that moment. So yeah, fucking just absolutely incredible
time. Seeing depeche Mode once again feels so incredibly that this time a year
ago, I didn't know if I would ever see Depeche Mode and now I've
seen them do this brilliant show twice inside a year. Fucking brilliant stuff.
News this week, Like I said, we've got a lot, We've actually
got some, you know, really decently sizeable pieces of music to talk about.
We've got a fucking onslaught of like festival and tour announcements and everything.
But there's one announcement that came yesterday as we were recording this that I guess
seems to overshadow Wall and it is that in a video that is so something
out of Garth Marange's dark place, where it's like time comes for us.
Time has run out time. It's time for time to run out of time
on us. Time time, time, time has come to claim none other
than you me at six. And this is it's a moment, you know,
for this podcast, and it's tumultuous relationship with a certain band. It's
it's quite a moment. I mean, they are the staple of like brit
rock for the last close to twenty years essential media. I think there was
like be just in a twenty years when they when they actually call time like
break when the breakup happens next year. But yeah, you know, Like
I mean, I can't say I'm too shocked. It's felt like they've been
pushing off the end as much as they can, you meet six, to
try and cling onto relevancy. It doesn't shock me that this comes after they've
played their final album, that they could potentially get away with doing an anniversary
show for that people would actually care about, Like they can't like people are
pulling that. But you know, I'm happy to see a band go out
on their terms and not you know, break up because they've all got into
a big fight or bad stuff's happened. They you know, they just like
we've had a good run, We've you know, got to big venue.
They've consistently managed to remain Like it's what people insist shockingly like somehow relevant like
in the picture because again the announcement here, as you say, twenty years
they're going to be playing their final shows in twenty twenty five. This slam
Dunk coming up is going to be their final UK festival and then they'll be
doing you know, last tour dates at some point in at the beginning of
next year, you imagine, and I don't know, like a lot of
people obviously will be expecting me to kind of whip out the trumpets and start
dancing like the end of the Phantom Menace, like, and part of me
is doing that, and part of me is, like, you know,
finding the fun and the kind of righteous victory in this moment. Part of
me is taking the noble route of you know, well, they were a
band, you meant a lot to people. There certainly will be people here
listening to us right now who got into rock music or were brought further into
rock music by you know that band. And that's fine, and that's respectable.
And anyone who is in that position who is wanting to go out and
go to these like last farewell shows or whatever, I don't begrudguate that at
all. I guess, you know, it's a it's an interesting opportunity for
a conversation to be had. I guess about what kind of legacy this band
do leave behind, you know, because again, the sort of tributes have
been coming over the last day or so, it's like Trophy Eyes were tweeting
like, you know, thank you for the you know, basically thank you
for giving us our band name. And you know, Trophy Ies not a
bad band. Holding absence we're talking about, you know, the kind of
the creation of a UK scene that you know Umi at six did, and
you know, Holding Absence is not a bad band. You could also argue
that that scene and how it proliferated stifled other UK scenes, and I would
argue more interesting kinds of heavy music. And that has always been a part
of my argument with something like this Uniet sixers, you know, impact and
legacy, and now we have the book who was sying the opporunity? Are
going to look back on it and call it a day? Unit six thing
is I always said that they were the one that wouldn't die. You know,
It's like that was a scene that I think had to be wiped away
for the world to improve. And Unit six were while they all fell like
Domino's, Unit six were the one that were big enough even as their relevance
waned in their latter half of their career. They were the one that were
sizable and popul enough to still maintain a successful career, and so they were
the one that would not go away while the other ones did. I you
know, my respect level is higher for u me at six having like,
as you say, a twenty year run of it. Consistently kind of you
know, bulling out whatever and then going okay, let's call it rather than
fucking off for four years and then hey, Mallory knoxa back everyone. It's
like those Yeah, I know, obviously we're calling it that. There's you
know, maybe one day in the twenty years to take off your colors.
Yeah, saying I'm putting the pin in that. That is the elephant in
the room. I'm gonna I'm gonna, in a very extremely rare moment,
I'll give you at six the benefit of the doubt right now and say they
won't immediately go back on that. But this scene of bands right that I
do hate so much. It's like, if there's three paths here of like
you know, let's say the the kids in glasshouses, like Mallory Knox path
of like going away in the kind of mid twenty tens or whatever for not
enough time, and just as we've started to see the back of you going
here, we are again the Unit six path of like being here the whole
time and then going away, I would hope properly or like the I don't
know, like the fucking Canterbury path or something of like went away No one
Cared hasn't come back. Uniit six has the the second best option of the
three out of those after having not polluted us for you know, too long.
I mean, I like say, I think they have Like I mean
again, I'm a U yet six fan for all, like, like I'll
own up to that they they have not Everything they've done is not been great.
There have been times I'd just been like, ah, like what's going
on here? But I was like thinking of this is kind of a a
lot of my like one of my closest friendship groups is kind of built around
us having a few drinks and going towards UNI at six and having the best
time and what it's like self awareness of like this is a bit silly,
but we have have a great time. So I'm going to miss that side
of it. But at the same time, I think again, I would
say, if if this is them legitimately calling time and being like we're done,
close a chapter and if they're gonna come back, leave it for ten
years when you know that the nostalgia is really like right for it? Who
knows, But a part of me is feeling like I don't I can't see
this being a long term thing that the with how quickly nostalgia cycles come back
around. Now. I can see Unit six getting caught back up in it
soon enough, but I did just the announcement video is the funniest I've ever
seen, like the Grasstones, Sucker Punch on my self, serious band ever
and it is not justified in the slightest Like again, no hint of camp
in that video, Like what the fuck? That's the thing is. It's
so sincere, And I'm just like, are you actually walking from cemetery?
They're burning their iconic six logo? The whole is incredible, and Josh reading
poetry about time in the most serious man, I'm like, that guy does
not have an ironic bone in his body, Like bless him for it,
Like there is a time and a place to be this serious, hunit six
and you are silly? Yeah, like this serious going through that graveyard and
seeing all the little dates with the albums again, this band have never released
an album I've liked, Right, I have no positive attachment with any of
those albums on those gravestones, but seeing them was like, oh man,
we have been on a journey, Like I remember Sucker Punch, I remember
night People, It's weird though, because it feels like since Night People there's
been something a bit kind of wounded puppy about U me at six, like
there's just been something ever so slightly. It's been up and down. It's
been up and down, even like in the up and down as it's there's
something kind of pitiful about the whole thing. I don't even mean that as
if I'm trying to be horrible. It's just they've kind of had this quality
where it's like they're waiting to bow out at any moment. And you know,
I'm not going to pretend that I care that much. They're not going
to be a band anymore. But their longevity twenty years as a band,
that's what struck me. Like they're about as old as Blink were when they
did Neighborhoods, and you think they went away for you know, half a
decade or whatever it was, and I don't know. I think back to
the big British rock bands of the late twenty early twenty tens, there aren't
many in a place as good as Blink now, Like Funeral for a Friend,
will look for My Valentine, I don't know who else you want to
throw out there like they they're kind of up there. It's chicari and bring
me in. Yeah. Well, I mean here's the other question is,
as said I in a perverse kind of way, I have more respect for
UNI at six dipping out at this point and properly closing a book on it
than I do, as I say, the Kissing Glasshouses and Mallory Knockers of
This World and the Blackout and whatever who were shit fucked off and then have
just waited for now to come back to them, whereas ub At six,
you know, try to be a real band for a while, but when
you go back to you know, the that era and some of the bands
who have become successful, you know, like I said, this is an
opportunity to have conversation about, you know, almost doing like an autopsy,
a critical assessment of what a band like Unit six achieved in their career.
And yeah, like the longevity and the fact that they were the one who
actually managed to stick out for so long, is you know, a point
in their in their favor in terms of their success and so on. The
other side of that is in like twenty ten, twenty eleven, they were
like one of the from a UK perspective, they were like one of the
biggest bands in all of rock music at that point time in terms of like
bands who were sort of you know, relevant at that time, and they
were around and again they collaborated with that points in time, bands like Bring
Me the Horizon and you know Parkway Drive and you know Enner Shakari and so
on bands, all of those bands significantly heavier, more extreme, more challenging
than the Umik six were. Those bands have gone on to become like genuine
some of the giant bands of their generation. Of those three bands, Inner
Shakhari are almost like the kind of like the band who have achieved the least
sort of crossover success of those three. It's wild to think about Bring Me
the Horizon obviously arguably the most important band of their era, while U Me
at six past that point, got completely relegated to the nostalgia circuit and constantly
being a band that were important to people when they were fifteen years old.
As you said, Sam, they have done the nostalgia circuit so many times,
with each album going up to Cavalier Youth, and then as soon as
they have done that, they go right, well, we can't do that
anymore out And I think you can boil it down to again, how bands
like bring Me Your Parkway or someone who, like I said, more challenging,
more extreme bands than U Me at six, how they have managed to
play the real long game and become genuinely large and meaningful. Important is whatever
you think of like modern bring me material, whether you prefer old Parkway Drive
to new Parkway Drive, whatever, those are progressive, forward thinking bands and
are you know, to be really brutal about it, those are interesting bands.
And UNIET six were a bad one whose artistic bankruptcy left them nowhere to
go, no avenues to pursue that wouldn't bite them in the arse. And
that's how Bringing the Horizon and n Shikari and Parkway Drive become bands who genuinely
mean something in a long term sense, and UNI at six got perpetually trapped
in Remember sinners never sleep well. The thing is, I don't think it
was through a lack of trying, few means, it's because they did,
you know, try to pivot their sound to be more really pitiful tries though.
Wasn't it like they weren't good tries but they were you know, attemptional
you know, be more than just a nostalgia band, and every time it
just it didn't work because that audience don't like like, they weren't interesting or
challenging enough then at that point to appeal to the people who were going with,
you know, the weirder left turns that Chicairo were taking, and it
wasn't hitting on the same way of like bring me the horizons kind of more
like simplified pop rock kind of takes. So they just kind of, yeah,
it just left them with no where to go. They were kind of
like an island that you know, could play at five in the afternoon at
Redding Festival and get and get a decent crowd, but never go any higher
than that ever. Again. Yeah, and I think that's a weird kind
of it's a weird trap to fall into the band because you know, like
you said something, they did try other things they didn't. It wasn't for
lack of trying. It was just it was just sort of sad each and
every time they check aged attacked and on the last couple of records, which
seems have gone down better with the fan base than the proceeding to the last
one, happened last Yeah, the two. Yeah, even that is a
pretty embarrassing thing that even people I know who like you Meet six are sort
of they kind of go, yeah, you know, it's I feel that
they're band who whose days of being in any way sort of cool were long
behind them before they started to change things up. I don't know how you
drag that back. So in a sense, in a way, they're kind
of going out of the perfect point. Yeah, I mean, like I
said, when you when you are such a limited band. The reason I
think the Unit six and they or worth so poisonous for a while is because
they limited the scope of what a successful rock band in the UK looked like
for such a you know, horrible period of time and such the life out
of it is when you are such a limited band like that, when you
try and be chameleonic and try and engage with the things, you fall on
your fucking ass and you things like sucker punch and what's it like in all
this bullshit? So this moment of Unit six going out, you know,
it is a moment to be like like, they love them, will hate
them. They were an important band in terms of their impact on the UK
rock scene. There will certainly be a band remembered in the history books for
some sense of that, whether you were down with that or not. I
you know again I have I have been waiting for this moment and asking for
this moment for a long time now, because I was like, they're all
going, and now someonem are fucking coming back, while Unit six still haven't
gone yet. It's, you know, like I said, wipe the slate
clean. But at the same time, you know, for anyone who this
band were important to or whatever, like I said, I don't begrudge you
going to the farewell tour or anything like that. It's just the moment to
look back and be like, yeah, that was that was UBI at sixes
and don't fucking come back in twenty twenty eight to do take off your colors
inful I swear to fucking God, get a real job. Josh Francis,
Josh Ronjesky, solo alms coming. A bet one of them is going,
who is he going to go for a solo career? That's the other bet?
Will you attempt to so what will we do consider attempts to change being?
So? What would that? That is the magic of Josh Francesc.
No one knows, No one knows all right, new music. I guess
touched very briefly on this because it is a cover at the end of the
day, but Paramol's talking Heads cover that we sort of sabbing an out a
little while Ago is out. Now it's the song it's called burning the House
Down something like that. I'm not really a talking head of Fishnado myself,
so I'm again for me, this is almost like hearing just a new song,
because the Talk one of those bands where I recognize their influence on a
lot of things, but I don't actually spend any meaningful amount of time listening
to them or whatever. I hear this and I go, that's just so
fitting for Paramore, Like the it's so obvious in terms of like where their
recent material has been. But just like the little leaps and like keys and
stuff that's all in this song, all the like the little guitar pops that
are less like melodic leads and just like strange little noodlely bursts. It sounds
like the kind of thing that you know, Taylor would write on a recent
Paramol record anyway, For me, again, like fuller production and a more
kind of to my taste vocal delivery from Haley on something like this, it's
just it's very pleasant to listen to it. It makes a whole lot of
sense. Yeah, I mean, this is this one that the handful of
talking Head songs I really no one really like, and it just it is
perfectly suited to Paramore. Hailey's charisma and personality comes from the vocals about those
little like say guitar bits and all flourishes all that. It's so just it
would like when it was that Paramol coming Talking Heads was like that's a no
brainer. And this song in particular feels so perform inland with what they were
doing on This is Why all that and yeah, just a lot of fun
to listen to. It's not much more to add on it. It's just
like one of those things that just makes sense. I love this. I
love the Talking Heads anyway, and Paramore in the best era by far,
so it's a good match sort of from the off and Burning down the House
is I think maybe impossible to turn into a Nott banger like you could probably
do like a Rainbow Rhythms drum circle version of it, and it would be
incredible because it's just down to its essence a fucking great song and Paramore don't
really do anything to it, like they basically play it completely straight, but
they're on the form of their lives and it's always it's one of one of
my absolute, absolute favorite talking Head songs, but it's one of the most
instantly likable, so just they can't miss. Yeah. Like I said,
it's like fattening up the production and the bass and stuff like that just makes
it sound really sumptuous. This came out last week, and I think it's
worth a more, you know, slightly more in depth discussion of a piece
of music. It's an EP from a band who we've reviewed in the past
called k and Nashi. They released on Friday their new EP with a really
long name. It's called The Three Faces of Beauty, a violent misinterpretation of
Morgan Montgomery. This band we reviewed their last It's like Deer Lemon House,
Yeah, yeah, And I like I remember it being mad, but I
like I didn't. I kind of it went back to the back of my
mind terms on anything I was actively revisiting or anything, and I remember the
bizarre, sort of intense, conceptual, sort of storytelling side of it,
and putting this EP on again a couple of years after I'd last listened to
them. Realistically, this Kanashi Man like this band, I don't know how
much actual sort of hype or buzz they're getting it again to compare them to
bands like The Zulu, for example, or like they on the kind of
more crazy Matthew side, where it doesn't feel like they're quite as like spoken
about and omnipresent as those, But my god, in terms of making an
impact on you, I feel like they should be spoken about a little bit
more. This is like one of the most like genuinely like nervous, meltdown
sounding bands on the planet right now. The singer, I know, he
sounds like a sesameat Street character but in the midst of like some kind of
violent psychosis. But I checked in on this and the first song he's doing
that. So I crossed the street again and again and I just heard that
and went, OK, yeah, I'm gonna pause this. I'm gonna put
a pin in that we're gonna come back to this and talk about it properly
on the next show. This EP is like, I know, it's early
days everything, but when you're talking about EPs of the year and stuff like
that this is fucking wild, this thing. I mean, I loved that
last K I really like this band of just doing something genuinely weird and different
within kind of hardcore, and this EP is probably my favorite thing they've done.
Yeah, I don't remember enjoying that album as much as I have this.
Like this, there's more of like a kind of like low end,
kind of like heaviness to this rather than like the album was a lot more
frantic and chaotic and kind of all over the shop. This is more of
like I think, a consistent musical through lining, just kind of a short
space. But again, thevocal is gonna be the thing that Evan is gonna
latch on into us. Like you're either gonna love it or hate it,
depending on how much you can get with those vocals. It's on the on
the truck, I hate the Son of car Keys, whereas that that oh
my god, look at what you did to me a bit where it just
stopped and he shrieks. I burst out laughing because it is it's such an
insane sound, but because this band are just nailing this kind of like demented
meltdown, kind of like freak out music. His vocals sounded like that are
just what they should be for this sort of thing. Yeah, fully,
because I remember that last record coming out, but I completely forgot about this
band and it was only going back to listen to this and seeing that deer
Lemon Housel cover on Spotify and going the Mickey Mouse band, the Teenager from
the Citizens band and listen. I think they're I think they're great because I
can kind of enjoy them on both levels, Like you say, genuinely funny,
like laugh out loud moments all over this EP because it's so it's just
sort of like wrongheaded and deranged, and especially with the more low end thing
that voice sticks out. Yeah, and like that sound I just associate with
confidence and having a singer who's shrieking, like grassing their street over that noise.
Just the two things don't sit together naturally in my brain and it makes
it feel so fresh. And I mean normally this is said as a defense
of things that are a bit shit, but I listened to this and it
just sounds like it would be so much fun to make, like to the
point where it's infectious. Like you can just imagine the band sitting around a
laptop having mental ideas just throwing it out there for the hell of it.
I think this is awesome. I can I can see that, but I
also feel like that the genuine like nervous, fucking you know, lashing out
energy of it, like I know that again, a lot of it is
like character based and stuff like that, and there's a you know again names
of characters have drawn and stuff. So I don't know how much this is
drawing from a real experience or whatever, but like that first track again,
it's it's it's one of the most memorable songs of the year, I guarantee
it, Like in the same way that fucking you know you say loud dispute
to anyone and they'll think about, you know, well, I still going
to to heaven if I kill myself or whatever, that kind of thing,
like Kay and Ashley Now to me was read and I crossed the Cross the
Street man to me now and it's like in a way again, it's so
out there and funny, Like I put this EP on with my girlfriend in
the room just because I thought, let's see how this goes. And I
put that first song on and the kind of like the weird like twinge of
the head the look that she sort of gave when when she started recognizing what
was happening, and then she like sat down and was glued to like the
screen as like the lyrics were going past for the entire remaining fifteen minutes of
the EP. It's one of those things but like if you're walking past it,
you just be like, what what is this? And that song having
that effect, but also like the genuine kind of like you know, this
sort of the anxiety attack feeling of like just telling the story of a man
crossing the street and all of the things that are coming to play in a
decision like that, you know, the white woman thinks I'm following her whatever,
The kind of that was like, oh, everyone's looking at me,
and that inner voice like getting louder and is just just one song. It
is wildly fucking immersive and effective, and the rest of the EP like those
the I agree that kind of the low end of the band, they've got
these like tech metal riffs. It's almost like at points I'm thinking about the
kind of almost like funk sort of tech metal riffs of like Issues or something,
but like meets not loose, like kind of heavier and harder, like
We Got One has like a Black Dahlia murder type breakdown in it. I
hate the sound of car Keys has again that sort of canistal boys like mathcore
fretting up and down. It's fucking just mental. How many hard moments again
combined with those like disarming outbursts of oh my god, all these fucking shit,
it's so just like battery again. It reminds me of like the Not
to Lose Ep from a couple of years ago, and like the sudden individual
moments of just like completely wrecking you as a person. And then you get
to the last song, Exit part five, and again it's like this whole
like this whole you know, sort of wildly delivered narrative about like being scared
to come out to your parents over this like tech metal disco part at the
end. Yeah, and there's there's almost like a cheerleader chant or something in
there, but that hook has been stuck in my head awake. But if
I say cheerleader chant, I don't know how else to say it, but
that makes it sound a bit more zany than it actually is. It's delivered
very seriously. There's just there's so much going on there. Yeah, no,
I mean that last song is one of my again I said this AP's
my family can Ashton, that last song probably might be the songs that have
really stuck me from them. I mean, that's what again, because it
is coming from an experience, like obviously this is coming from the pole,
from like the black experience of coming out to a black family, about being
getting all that and how hard and the pressure of that and the fear the
who like I said, get my fear and my shame, take it all
away. Hook at the end just kind of nailing this feeling of like I
wish I didn't have to do this, and it is really painted and it
kind of is where it burns that line between the storytelling and the kind of
the real things out the focus. Yeah, possibly had to go through,
and it just it adds an element of like genuine like pain and anguish to
it that is really impactful. And I just think like they now that with
the kind of chaotic musicist musicianship and liken' like I say that kind of the
disco bits and all that, but without it never feeling quite as like zany
and like oh look at us being like weird and crazy. It's all just
kind of like for them, it's just like what free, what like manic
lashing out can we do to just sell this pain? And they just throw
it all in there. Yeah, And I think that the voice being that
strange it disarms it in a way that makes those more emotional moments even more
effective, because there's certain things with extreme music where we almost have it almost
feels like a language where you got I know when this is going to happen,
and when the singer does this, it means that even if I can't
tell what they're saying, bloody, bloody, you know, et cetera,
et cetera, when it's that voice going into those moments, you're like,
just ten minutes ago, I was laughing my head off at this person,
and now it's this unnerving, alarming, sort of emotionally vulnerable with that say
voice, and it just it kind of cuts through your defenses in a way.
Yeah, I think you know, it's it's like this mini concept narrative
EP that feels like a fucking explosion, Like I certainly think you know it,
like for it's seventeen minutes or whatever, Like, there will not be
many pieces of music that at least like keep your attention just like as firmly
as that over the course of its run time. So yeah, really really
wild piece of work there from Kay and Ashy with its very long name.
It's the the Morgan Montgomery EP is what I'll probably end up calling it,
right. We also have new music. We had an EP from Military Gun.
It's called Life under the Sun. This is like largely acoustic Military Gun.
Yeah, yeah, which Military Gun for me are like, again,
not a band I really fall them for yet, And in a way it's
kind of it's it's not like they're chiller anyway than like the average thing that's
popular in hardcore. So doing like your angel dust campfire versions with like a
bunch of guests who I don'tcessarily go to it for. But you know,
if you are a Military Gun fan, you probably love those songs a lot
and maybe you'll be interested to hearing the alternate version of it. But we
also have this is interesting bad Omens. They're back again. They've released a
single which is from a upcoming piece of work. But I guess is a
bit of like maybe like the way they're one of the bands they really rip
off health do like their kind of collab sort of record type things. They've
released a single from this upcoming record. It is in collaboration with Poppy.
It's called V A N, which is Violence against Nature. It's actually,
you know, it's it's it's a metalcore song like bad Omens do, but
the vocals are entirely done by Poppy. You know, Noah is nowhere to
be seen in terms of his vocal starlings or whatever. And I again checking
on some of like bad Omens because it is so I know, we've said
that we might not necessarily review their albums and stuff like that, but I
was at least intrigued by what a bad Omens Poppy collab sounds like. And
it is, like, you know, maybe it's because it is. It's
basically like a grime song, isn't it. It's like, you know,
the kind of even like the sort of cut off screen parts that Poppy is
doing, like at the end of something. It's straight off of a grime
track from like ten years ago or whatever. But for the kind of you
know, zero zero zero threat riffs that bad Omens tend to do. There's
a bit more energy in this one. They've got those like again the health
Rip beats with kind of Poppy's voice on it, like it's a solid kind
of like you know, industrial take on the kind of metalcore thing they do
at the moment. It's not the worst, and this is probably the most
I've liked a bad Omens. I really like Poppy. I think she's like
her delivery on this is really good. I think musically it is very competent,
hyper polished electronic metal core sort of stuff. Right. The health influence
is really obvious. I don't think it's like outstanding, but it didn't like
I didn't get this feeling or feeling like I'm listening to something that is so
soulless that I've got from when I've listened to actual bad Omens songs in the
past, So you know, yeah, better from them, Yeah yeah,
without those kind of like R and B kind of pop elements and stuff that
Noah puts into forced emotional sort of stuff that yeah, I think, you
know, certainly again it kind of like, you know, obviously I really
liked the you did as well that when spirit Box did they kind of industrial
metal types song with Rotoscope and this isn't that good, but it's kind of
maybe bad Omens leading a little bit in that direction, and yeah, it's
like not the worst thing. I again interesting mixing of minds, at least
in terms of again people who are very involved in the sort of current wave
of like you know, where heavy music is going with stuff like this festival
announcements. The big one that we will spend the most time discussing, I
guess is download added a bunch you know, is this the final line up?
I guess there's probably a few more to come, but we have a
whole bunch of men to being added onto the download bill. It also means
that we have things like the we can really look here at like day splits,
the things like the main stages and so world and figure out kind of
how we assess them. In terms of the new announcements, that's actually it's
not quite what I'm actually interesting talking about. I want to talk more about
those things like, for example, the stage running orders and stuff like that.
But you know, mister Bungle are on there. They've also announced some
shows around that. I guess the the new announcement that did get the most
people talking Sam is the fact that Busted are making their for some people long
overdue for some people should never happen appearance debut appearance at Donnington headlining the Avalanche
stage. I can't say I'm surprised. I guess I mean, I'll be
honest, that's playing well below their status at the moment, given how the
arena run like, and it was it was a sold out everywhere up and
down the Country Arena arena run, so I guess they they kind of know
that they're they're stepping out of their comment one so they'll play. So but
I kind of got told busted down and I was like, oh they subthing
to fall out. Boy, that to me just in like the no brainer
place to put them. Yeah, headline the Avalanches was like okay, yeah,
and putting them on par with the used does not feel entirely Billy Talent
have announced shows run down they're doing like the Troxy, which is like two
thousand capacity. Yeah, so yeah, it's it's an odd one. But
that's gonna be a fucking insanely round tent. You would imagine for as much
as there will be people who will like want to be a million miles away
from it, just like when they turn up a slam Nun or something like
that, that there'll be people trying to get into that fucking tent. Yeah,
I think so so. Looking at the actual days of download though,
there's they're just bizarre shit in terms of how they'll be put together again,
busted headline the avalanche page is one thing. But when we look at some
of these stages, like what what what are the things that jump out to
you? I guess in terms of like either the best stuff, the most
exciting stuff, but also slightly head scratching stuff. I mean Highland Sandwich between
Mister Bungle and bad Omens is like, I do you made me do a
double take? Is I? I checked out bad Omens last year they headlined
the Dome that was that was their last year, pretty pretty sensation like it
is. I was like I was, I was just just as to how
big when the head on the second stage along like on level pegging with Planterarum
Machine, and I was like, how big actually are there? Like like
and again, their rise in the UK in the last twelve months has been
insane, but I was just kind of like, that's crazy big for them,
and you know, like it's happening. But Hilung before them is mental
them, which you need to go further than that scene Queen into all them
with them, which is yeah, and then mister Bungle high Lung bad Omens.
And again it has been raised the idea that Pat bad Omens fans are
the type to sort of like grab a spot on the barrier or anything like
that, and if they're hanging around watching Hylum, which is that there's like
full on folk music. Yeah, like barely even a rock band, more
of a kind of you know, chem ceremony than anything that's going to have
a breakdown in it. That is one of the most bizarre top billings of
stages in download history. I guess the other one that really is strained is
the opening rund of bands on Sunday's Events Pole's main stage, where Code Orange
a sandwich between Lord and the Lost and Boling for soup. Does that make
Code Orange? I mean, for a start, I just want to say
Code Orange on the main stage, fucking wick idiot to see. Code Orange
are the kind of band who, again, while to some people they may
seem over hyped and like they've been oversaturated or whatever, they don't actually get
great opportunities. A lot of the time they have been a band who have
been you know, snuck away into like the third stage at Download in the
past. Actually seeing them on the main stage for a their big rock album,
which is most suited for it, but be also maybe their least kind
of oh again, you know, highly critically praised album. Their current run
wonderful to see, but being sandwiched between essentially two shit bands, did you
think that make Code Orange look better for their surroundings, like they'll light the
place on fucking fire? Or is it like they are not supported by their
surroundings. I mean, going by what happened to them when they did Download
in twenty fifteen and found themselves in a similar position, I can't see it
working in their favor. But maybe maybe people will see Lord of the Loss
and then see Code Orange and will be like, oh fuck, okay,
this is the real deal going on before bo That's gonna have much impact.
I guess like they're just you know, festival three PM band that people watch,
but it is just weird to see them again be between two bands who
do not line up with their attitude or their sound. In the slightest bowling
for super gonna be the problem because if Lord of the Lost just do the
Lord of the Lost thing, and then Code Orange come on after them,
It's like, oh, yeah, that's how you do it. But imagine
if at the end of that outbreak set, some just comes in and goes
stick around for Bowling for Soup. It's just like, I don't see how
those two things are gonna gel in the slightest But I mean, I feel
like that main stage on the Sunday is it's like they had to have two
things that I definitely didn't want to see. It as if they were trying
to keep me away from the festival, because it's like Avenge Sevenfold, Limb
Biscuit, I'd like to see some forty one before they go Code Orange.
There's loads of stuff on the other stages, and just putting Lord of the
Lost and Bowling for Soup there is like it's either trying to test me or
something. Yeah. I mean, we're gonna talk a bit about Frank cart
and the Rats next later when we get to the sort of new release stuff,
but you know that it's quite a lot of on the Saturday. There's
a lot of like genuinely big have played arenas in their own right sort of
bands there where at Chakari baby Metal and Frank Carter being like Fifth Down,
maybe it's a surprise to people. I also like the Friday main stuff Queen's
the stone Age right, like I if it's not come across, I fucking
love Queens of stone Age. I think then getting to play download and headline
it is a brilliant, so well deserved thing. They generally they could well
be my favorite band to have been in that like download headlining slot. I
love them that much, and part of that is they are such an interesting
band and you could in the way that again I've seen things like Queens of
stone Engine Friends, you know, Finsbury Park, Dais and stuff like that.
You could make such a cool main stage with Queens of stone Age headlining
it, right, And they haven't. Instead they've gone, oh, we're
going to turn Queens stone Age into like the dad rock band of the day
and put together one of the most pitiful download main stages you could imagine.
This was the sort of the main sage that they managed to completely avoid last
year, and everyone was so happy they like again, like Royal Blood,
you know, like them stubbing to Queens of stone Age. I don't see
much of a problem with that. They you know, a big rock band
who do a similar thing, and we've you know, been like they're they're
decent, but my second favorite band on that stage because I'm not into Polifia,
who are really out of place surrounded by We're the one that's that stand
out as like are they there for? But the Bluestones those down. Yeah,
I just I don't think it's a shame that Queens of Stone Age are.
Like I said, you could do such a cool thing with bands beneath
them, and instead they've done the most boring, predictable possible thing. And
as always, the fourth stages are really good. It's incredible. Yeah,
there's a case of whether you want to pay you that much money to go
and see largely the best stuff beyond the fourth stage. Dying feat Us are
back. Everybody not on the main stage this time, but you know you've
got Black Darling and Murder headline on the fourth stage, like Fear Fact,
Dining fits into Fear Factor's cool that like the Saturday the Friday where you've got
Zoom Callus, Dowboys, Zuli if Speed Scale as a run, I quite
make them suffer, but they kind of stick out a little bit. And
then helping to Bio has at the end of the day, I'll have that
please. Yeah, like that's really really good looking stage. I'm really taken
sort of surprise by how low Health. I don't know if that's just they're
inflated in some corners of the internet and they don't draw that many people at
something like a download, but I feel like there's few bands that get more
kind of nods than Health at the moment. And I mean, just to
go back to that Friday main stage, it's just that's the sort of thing
that would be so exciting in that situation, and you're just looking at like
I've been a defender of Blackstone Cherry but like them again, I don't even
get the impression of the banner that popular. Now, Yeah, I don't
know. We've also got the Sunday headliner of Outbreak Festival. It's gonna be
American Football actually doing their LP one. The House one, I guess unless
the other ones all of houses on. I'm not entirely short of myself,
but the House one they are gonna be. I guess you know that there's
been a little bit of like, oh, not having a hardcore band player,
but I mean there's such a like so self explanatory when it comes to
the emo side of what Outbreak is our basement headline in the Saturday or is
there another there is another headline that to come, So I'm guessing Basement surely
must be subbing to amage the football. That would make sense to me as
kind of like a hereage or emo pairing that you would want to go like
and have a lot of time. I mean, you probably could put on
Friday and do well, but or a Saturday even Sorry, but what I
guess it's We've got two headlines Outbreak so far, neither of them are hardcore
bands. Like, you've got to have a third rigit hardcore as fuck headliner,
because again, American football playing Outbreak I think makes sense. But at
this point you do need to start going, let's have a hardcore band at
the top of this bill, because it's a bit out of character. I'm
sure they will, it's just a case of who that ends up being.
We also have two thousand Trees headliner in the form of the chats. There's
some more additions on there as well, like Spanish love Songs, Death from
Above, ninety seventy nine, Hot Milk, then Overtwins, whatever, but
the Chats have been added in next to the Gasol anthem as the headliner,
and that I guess it's one that's drawn a few kind of a's them because
like again, I saw the Chats opening Queena Snag's Arena tour like three months
ago or whatever, and I certainly would not you know, they were fine,
but I would not have looked at that band and gone like, oh,
yeah, that's the band who are going to be headlining one of our
relatively major rock festivals this year. A bit of a wildcard. Yeah,
I mean, I remember seeing there was a bit of buzz on the Chats
album a couple of years ago where black of people were like, really going
on. I've heard it have been quite a sort of long running band at
this point, a decent way in not band I'm too familiar with, but
just given how like two thousand Trees have had I can't remember what they're they're
called now, but formerly slaves, like yeah before, they feel like the
Chats will just appeal to the people who will go watch that, So I'm
like, I'm sure they'll they'll do a fine science slot. It makes sense
in terms of the kind of music it is because as you say, there
is like there's a there's a realm of stuff that I'm not that into that
does have a huge like place at two thousand trees. I guess it's just
quite surprising that again I'm I'm always waiting for someone like Creeper to kind of
make their way to the top of that and seeing them on like the third
row of this while the chats just like out of nowhere sort of walton to
headlines but like oh bit bit mad sort of you know, sister festivals in
that regard. We have Art Tangent also adding some bands to their lineup.
They've got Mogwai, Electric Wizard, Explosion to this Guy and Isan, so
good stuff at Art Tangent Botch. This I guess is a bit of public
service announcement. Boch have announced that their final shows a go to take place
in Seattle in June. This means we are into unless they go back on
that, they have some things, but we seem to be into the final
six months of the Boch reunion being a thing. They are coming through the
UK in March. This has certainly made me go, I should you know,
go along to that if you want to see Botch. You need to
do it in the next six months really, because apparently they're not going to
be a thing after that. A band who are a thing again is the
wild Heart so combust at will that they and then reconvene with a different group
of blokes. But they are back, they have a new lineup, they're
a live band again. They were last around and I think twenty twenty one,
twenty twenty twoish. If you're a big Wildhearts fan, I'm sure you'll
be related about that whole bunch of tour announcements we had come in after those
festival ones. Pupil Slicer are doing a UK headline tour, which I've actually
done before, and on that tour they are going to be playing Blossom in
its entirety. I guess that's a big show of faith in a new album.
Also, like you know, don't entirely forget about the first one.
That one was good as well. We have body Count as part of you
know around download. They are doing a UK tour as well. I don't
know if body Count have actually played in the UK in terms of like Wild
like proper UK tours that much, which I can't remember that many so I'm
sure that's gonna be a big draw for some people. The one of these
that I am really excited about is High on Fire are coming back for a
UK tour over the summer. I have been in a real High on Fire
thing lately. I haven't seen them in about nine years, and I've been
really wanting them to come back again. This is one I'm absolutely going to
be like making sure I get to this one. Elliot, are you gonna
like, does this draw you in? I've never seen high enough her,
so did this? Speed's ticking off? I can't believe it's been fucking six
years since that last record. Yeah, I mean this. I mean that.
There was a picture the other day with the basis like holding like the
test press of their new album, so that'll be coming presumably around the time
that this tour happens. But yeah, fucking good stuff. How far are
coming back for our American listeners, I'm sure you would need this one ticking
off? Lord of the Lost. Off the back of our discussion about them,
very recently, I've announced that they are going to be going back to
the US for the first time in a decade. I hope they play entirely
covers and play the Lady Guargard covers twice because why not not also announce a
huge US tour with showing me the Body, Loathe and Speed. That's gonna
be fucking massive over there. And we also have my favorite. So as
said, we didn't do a lot of news last week, we got straight
into the reviews. The one bit of news from last week I did forward
into this episode because I just wanted to talk about it was Winter Sun Updates.
We had the news that Time I has very surprisingly apparently been completed.
One person who was surprised more than anybody is the drummer in Winter Sun,
Kai Haato, who thought it was a prank that it had been completed because
he apparently recorded his drum parts for this in two thousand and six, when
Time one and Time two were I guess to be one album at the time,
and so Time two's work has been taking place on drum parts recorded during
the Bush presidency. This is even more baffling now because at least like Fear
and Option had loads of rewrites, but they must have had the songs compositionally
finished and somewhat recording two thousand and six. You think, unless you were
putting in like one note for each harp or whatever every day since then?
How is it possible? Why did we fund that sauna if the drum tracks
were written in two thousand and six? Insane? Yeah, like you said
it. The fact that the skeletons of the songs must have existed at that
point for drum parts to still make sense fucking nearly two decades later, insane.
A piece of news I Routich enjoyed is that Paul from Blooding Cantation and
Erica, who plays in a number of bands like Escephalix and More Tooth and
so on, they got married this week. They were married by none other
than Chris Rifert from Autopsy, who I guess became an ordained minister so we
could do this performance death metal wedding. That's brilliant. Will you get married
by Chris rifer I would that it would be a laugh, wouldn't it?
Like rather ride? But that would be the dream scenario, I suppose.
Yes. Alison chains off the back of our special. You know, at
the end of last year they were teasing some thirtieth anniversary stuff around the Jar
of Flies EP, which is of course really in nineteen ninety four. We've
got a kind of merch range for it this week, including a pressing of
the vinyl that actually features dead flies pressed into the record itself. You know,
I've seen again We've had like Nurgle putting his blood in records or whatever.
We've seen that kind of thing before. Did fall out boid? Do
tears fall outvoided tears? But man, like I I'm no scientist, right
like, it blows my mind if I stop and think about it, that
you can have like a piece of plastic that has had like grooves cut into
it that then when you place a fancy needle into those like wounds, it
will replicate the perfect sound of a recording session from nineteen ninety four. Right
like that, I don't understand how that works. Like I said, I
know, scientist putting, then how do you put dead animal inside that same
thing? Like, I just the logistics of this. So someone out there
is like a you know, a vinyl pressing plant worker or something. I'm
I feel like I'm like I'm watching some kind of crazy episode of like Richard
Hammond's science show or something like. I just to understand what the fuck how
this works. I'm just thinking that every now and then there'll be a video
of like a vinyl press when that goes viol and oh my god, this
is so a vinyls men now, just like sprinkling in dead fires, the
little lump of wax that they flatten down like, they must not like rot
or decay. They must be like perfectly preserved inside forever unless in like twenty
years time you just can have a horrible like mush I mean inside your record
fuck nose. Will do you buy it? Oh god? Yeah? I
mean if if you even get hungry, just fly it's open. I mean,
if you think this is impressive, waits, you see what they do
with the self titled when they get a three legged dog and pound it.
We can only dream and bring me to life. I Have van Essence became
the latest rock song to surpass the one billion streams on Spotify mark this this
past week. The new metal era is like the real king of those,
isn't It's like so many of those fucking songs, And this is a yeah,
deserved, perfect song. Right. We've already been going for a fair
old while in terms of news, but we are dua questions around or one
of these hyperblasts. So we've got a handful here. We'll try and go
through them as efficiently as we can. Ryan Musgrove kicks us off at Barry
Tomorrow. Recently, Dan said that the band has decided not to do any
encoorse moving forward as a bit of a weird concept. Band pretends to leave
even though they know they are going back on, given that in the time
it takes a band to come on for an encore, they could have performed
another song. Do you think it's about time that encoors are phased out?
You know, this is a subject that we've we've spoken about a few times,
but I guess we've maybe not been asked a direct question like do you
think encore should be gotten rid of or not? And I will elaborate furthermentarily,
but I will sort of say the pussy footed thing of going certain scenarios,
Yes, certain scenarios quite quite quite nice. What's your guys? Do
you have like a hard stance you take on an encore? More so than
myself. I mean, I would like to see encores outside of arena shows
phased out potentially, like when it's when it's like in a smaller club.
But I just I don't see the point in its love songs didn't do one
like and it didn't bother me one bit because I was like, I've got
my show, Like, there we go, Like all I'm missing is them
walking off for thirty seconds so we can troll well more songs that we know
where they're going to play, because they haven't played routine, pain and break
Faces everyone Like. I mean, it's like it's if they haven't played those
songs that you know they're gonna play, it just it feels a bit redundant.
If you know it's an OnCore that they're gonna come back and do something
genuinely left a field, I'd be down for that. But yeah, in
smaller shows at least, I'm just like just spin them off. I think
the only time it's really advisable is if you're doing an album in full and
you want to sort of soak in that moment when the main set is done.
But yeah, but generally, I just find them a bit annoying because
they're not long enough for you to go to the toilet or get a drink
or even chats when you're just sort of stood in the dark waiting for the
quote unquote surprise and I get that they kind of allow the energy to dip
so you can pick it up again. But I don't know. I think
back to when Slayer did their last download and there was no pause and I
didn't get to the end of angel A Death and think, oh, I've
had more energy. I would have enjoyed that more if there was a break
beforehand. I think I don't want them to go away because they are fun
when they happen, even though we all know that they're going to happen.
But maybe if they were more like a quarter of the time there was an
encore rather than going and going, there's definitely going to be one every time
you see a band. Yeah, that kind of just makes it feel a
bit redundant. I I think what Sam was saying about like bands getting slightly
above their stations, Like if you're playing a club, like you don't need
to put in some like big. I know it's nice to dream big and
treat every show like you're playing an arena or something, but like you don't
have to have to do that. And like, if I'm seeing a hardcore
band, they probably won't do an encore anyway, but certainly you don't need
to. If I'm seeing like a small death metal or black metal band or
something. It's not necessary. Again, a lot of those bands, certainly
in the black metal world, might not do something like that. But in
terms of like larger shows, I do think there is value in the more
a show becomes treated like a show rather than like you know, a band
playing songs that I do start to see some value with them. The ab
in full point, I do agree with it's nice to have again, specially
a band's got an album's got a big grand closer or something, let that
moment it out. Yeah, yeah, And then I think about you know,
times I've seen like Judas Priest or something and like you know, encore,
they'll come out and maybe they'll open the encore with Electric Eye or something
and they get the helly and starting up again, or you know, he
comes out on the Harley for hell Bent file ever or whatever. Again,
like the the pesche Mode encore that they've been doing, where like at the
end the main set will enjoy the silence. It allows you to kind of
have like a set closer and then to have another set clothes. You know,
that big moment like, yeah, enjoy the silence is like one of
the biggest fucking songs ever. You can like go crazy with a huge ending
like that and then come out and do more and then end on you know,
personal Jesus again. And I think there is a that point of the
energy up and then going down or whatever certain shows that is nice to have
that moment of Again, let's have a grand re entrance for the start of
an encore whatever again, use your favorite appropriate example or whatever. Iron Maiden
could have like a really good ones of starting encore with like fucking you know,
oh shit, they're doing aces high or something again to come out like
that'd be brilliant. That idea of like refreshing, letting the moment sink in
and then going again I think does have. I so as a blanket rule,
I would not see encores like banned or phased out or whatever. But
I do think there are scenarios and types of show where it is more appropriate
in terms of seeing you know, any old rock or metal band or whatever
in a you know sort of let's say, like an Academy venue or lower
I do not necessitate an encore. Couldn't we bring back intermissions maybe for some
bands? Again, it wouldn't work for all bands and I think back to
that Goho show at the Royal abber Hole and it was like twenty five minutes
in the middle where I think Cradle of Filthy two sets with a little Braain
Yeah Town at the Royal abbitt Hole. When I saw him, he did
that way. He did the Zill Toyd set, then had an intermission,
then did the fan request and it was it was a nice break between the
two. Did you get the opener and the closer that way? And it's
enough time to you know, get a drink or talk to someone and kind
of that refreshes you in a different way. It's I get for some things
it would maybe zap the energy out a little bit too much. But as
an alternative to every band doing encores, I think for some bands it could
work. Yeah. And again with like huge arena SHOs and stuff like that,
there's a lot of points. There are breaks anyway, in terms of
like people going off stage, things moving around on the stage, logistically changes,
yeah, exactly. And again encorese very naturally feed into that where you
might not even say if the argument here is scrap your on core and you
can fit in another like three four minute song at something like an arena show
that does not necessarily happen anyway, because those logistically moving around. Whereas as
said, if you're playing the Underworld or something, maybe you can fit in
something like that. So it depends on you know, the logistics of the
environment around you. I suppose Chromosomed asks my wife is a maniac and prefers
a lot of depeche Mode covers to the depeche Mode originals. Are there any
bands whose songs we think are better when covered? I mean, I can
certainly think of the opposite in terms of bands I never want to hear covered
again. Maybe specific songs I never want to hear covered again. Please do
not cover Zombie by the Grand Breeze ever. But this is an interesting question,
not because this is a There is a difference here between like individual cover
versions of like oh, I think that song is better when done by so
and so, and more like As a rule, this band writes songs that
I like, but I think they are better in other people's hands, and
that, as like a rule to enforce is extremely rare. I think where
like they by definition they must have produced a number of songs that you enjoy
but hard to again, like Depeche Mode and the Misfits seem to be like
common choices where I go absolutely no fuck off, blasphemy if you are saying
that Misfits covers as a rule are better by other bands. But I am
conscious that maybe my answers that I would come out with other people who have
different tastes than me would be would say the same thing in terms of like
no fuck off. Those are their songs, you know. So do you
have any examples where this strange rule might come into play. I mean I
racked my brain for the second of any band where I'm like, as a
blanket rule, yeah, type like, there are some things where like I
love hearing bands do covers when I think some bands when they do cover,
they're always really great fun. But I don't necessarily have a I could.
I just couldn't think of anything. Around'm like, no, no that that
I don't like that band, but if they're being covered, I've always liked
it or something. And this is really odd because, like you said,
there's plenty of bands which I don't want to it covered at all, and
there's some bands who I think are generally when they're covered it's quite well.
So something that Iron Maiden, but those melodies are so strong it's just easy.
Yeah, in a way. But it's like you say, they have
to have great songs, but the sound of the band has to be the
thing that's lacking. But they also have to be popular enough to be covered
a lot to notice the pattern. So there's to be a popular band that
isn't that great, that writes great songs. And I couldn't think of anything.
Really. The only one that came close, and I kind of had
to dismiss it again was I nearly said, Nick Cave, that's a you
must have a lot of conviction in that, you know, that's a bold
choice, is what I would rather say. This is the thing, not
really I had to kind of back out again because I think the thing is
he's basically been covered by everyone good like Johnny Cash has done his song song
Kill Moon, PJ Harvey, like Metallica, and but are they better than
the originals? This is again, that's really the question, because one of
my favorite covers ever is six doing Tuppolo. But that's mostly because the original
song is one of the greatest songs ever made. It's I couldn't I couldn't
think of anything else, like, Yeah, that's that's a band that I
like their songs, but I prefer when other people do them. Yeah,
I mean again what I was saying about the way I would sort of like
pull a funny face if someone says depeche Mode all the misfits, the ones
that I would maybe come out with. I'm sure people out there will do
the same. But again, if this happening in the same week as that
Paramore cover, again, the Talking Hair is not really a band I listened
to very much. And when I listened to those two songs back to back,
I did. I enjoyed the Paramore one more for things like the delivery
and production. So and again, I'd have to go and find a whole
bunch, but maybe they could be a contender for me. I think similarly,
it'll be things that are kind of, you know, it's kind of
old things where the original versions of things maybe haven't majorly connected with me in
terms of being like a favorite. But I like when like heavy metal bands
and bands with a bit more bite lay into them, things like Pat Bennetta
for example, or The Runaways and stuff like that. I'm sure I could
find some great you know, slightly harder covers of even like you know,
A weird example would be like the Beatles, because like there are like I
can think of two at least Beatles covers by bands I love god which I
prefer, sorry Godhead, I mean the type of negatives Beatles, like Medley.
There's also Ghosts version of Here Comes to Some which I massively to the
original. But there are also other Beatles songs that I like where maybe I
can't picture some of the weirdness and magic that's in the original recording being recaptured
somewhere else. I wouldn't enforce that as a rule. Again, I would
major I would have to really stop and think about this because I'm sure some
people would like again really fucking revolt against this, So I'm not committing to
it. But the Ramones maybe popp into my head where I like. I
obviously I love the Ramones. I think the Ramones are great, but the
originals of those songs are rarely like hard or particularly fast. They're such a
kind of happy, go lucky kind of punk band of that era. And
when I think about, like you know, unto Others, to Mayhem,
to Gallows or whatever, like all covering Ramone songs putting a bit more kind
of like ah into it. I do get that. I like that,
so maybe them, I don't know. I was thinking more about, like,
there's bands who I love being covered where I just always welcome covers of
them again, The Misfits, Blue Oyster Cult, Thin Lizzy. I mean,
that's almost why I put the Ramones in. Is there a band I
love? Yeah, scouted a Romones cover when I saw them, and it
was sure like like Bathery and Venom. I love when people do covers of
those, But all of those bands, those covers aren't usually better than the
originals. They're just great songs I love hearing put into other people's hands.
So it's very, very hard to actually find an effective answer to this question,
and depeche Mode is not the answer. I am sorry. And King
Crimson Frog asks. We often talk about bands being underappreciated or not being as
big as they should be, or bands who are overrated or bigger than they
deserve. What band do you think is the exact right size and has the
exact right reputation for what they deserve? So, I mean, like one
of the things you can go with this is bands who are legendary in niche
communities, like hardcore bands like I think bands like Terror and bands like Sick
of It All and so on. Are you know they are legends or all
of those bands where they need to be. They're exactly where they need to
be, like you know, legendary respected bands in that sort of world,
Like Cannibal Corps another great example, right, like they are feasibly Cannibal Cops
are about the like epitome of what they can be. Right, It's like
they are massive for a band of their kind. It's completely deserved and they're
never going to be more than that cradle of filth. Maybe another one.
I think a more interesting way to go with this question is to move away
from those sort of like kings of their niches and go like melodic bands that
could get on the radio, for example, but where they are on the
ladder. You go, yeah, that's about right. I went a certain
direction, David, What do you guys got? I mean, I my
head was like to be there you me at six were you know, probably
about as like they were in the position they probably should have been out.
I don't think they ever should have been a festival headliner band. I think
like, like I said, when they hit that like five PM out of
the festival, I was like, yeah, that that's about where you meet
six belong. I mean this is maybe just as I was listening to them
recently, but I think the Descendants, like their place in history is just
about right because they're kind of like the Black Sabbath for pop punk in a
way, and like Black Sabbath, there were many bands that enjoyed higher commercial
heights like the Descendants of Black Sabbath, maybe Green Day and Metallica Blink when
it to a Lincoln Park or whatever. They've not done a great record in
a long time, and they don't seem to take it all that seriously.
But I quite like the it's called Hypercatheum Spazan eight or something that was in
like twenty sixteen. I know that record. No, No, it's good.
Yeah, all their records, they reliably put out decent records. They
haven't done anything where you're like, wow, the classics, Yeah exactly.
It's probably ninety six was the last to send us record you could call a
classic. But they do come out every ten years, so maybe that's not
so bad, and they don't seem to they're not all that serious about it,
but they were so influential that whenever they play a punk festival, they'll
get pretty high up, which you know, if you're going to compare them
to something like Black Sabbath, think Black Sabage should always headline download even if
it had been over forty years since they've done, you know, a truly
great record. They won't headline those things if they're any bigger than that.
That seems about fair. I think actually see it from that I'm mentioned,
but like Billy Talent, to me, I think they're exactly in the short
position they were again, like they're a band who reliably when they come out,
put out a good record. They haven't powered a classic album since the
naughties, you can say, really, but they're still always good and they
and they you know, they come out, they play a decent festival slot,
they're there. They will always headline decent sized venues, And I think
that's kind of like like, yeah, I'm happy seeing Billy Talent in this
sort of like respected position they're in because they just you know, consistently put
out good, good material. Yeah, you've gone like the exact route that
my thinking went, because again, you think about bands at the top of
the tree you download headlines or whatever. Yeah, like evnterm Ford are a
good example where like they're not a stadium band. Does there like their level
of kind of I don't know, momentousness in terms of their like big songs
warrant them being like a stadium fucking food fighter sensation. Maybe not no,
But it's good that they're an arena band and it's good that they are firm
download headliners. That feels like where they should be, Like Slip not deserve
to be exactly where they be. I think Tool deserve to be round about
where they are. I went more for, like again the upper ends of
like Brixton or forum level type bands, and I think the ones that there
I went to like the two thousands, and I was thinking about Billy Talent
exactly, Like maybe the consistency of their career in terms of real high watermarks
hasn't quite warranted them being an arendea festival head on a band or whatever,
but it's good for where they are rise against. You know, I think
that there was a bit of band who are maybe slightly bigger in America,
but like them being a sort of Brixton level band or whatever. It's like,
yeah, that's about where you should be in terms of just like how
many great songs you have. And then that sort of school and that era
of bands, there was a lot of them that started coming to me.
So like Alectus on Fire, I feel like, you know, I would
maybe say bigger for them personally, but maybe maybe in terms of but again
you're thinking about in terms of again stuff like post hardcore and stuff like that
has slightly heavy elements in there. I don't know, again, that's the
fire terms that they haven't they haven't got those fucking like they're not MCR right.
It's like that feels like they should be rand about where they are really
thrice similarly, Coahin and Cambria, you know, again like highly popular but
also very proggy. They've gotten very far for a you know, a such
a nerdy band. I feel like the level of sort of hit that those
bands are making feels like roughly that kind of you know, Brixton High Forum
kind of level. So those are the bands I think I went for,
And then I started to think about maybe slightly more contentious ones or like you
know, I think like overall bullet what they kind of Deserve feels like it
evens out. You know. It's like at times you could go, ah,
they should have been a proper arena band, but then they've made shit
and you go, well, yeah, they are where they are now,
and that feels about right for what they've done. I think maybe this is
slightly more contentious, but I think while she sleeps now, I think roundabout
evens out. You know, I don't think you could argue really that they
should be massively bigger than they are based on the music that they have made.
It feels like they are a popular relevant where they are kind of level
heavy band, you know, of mice and men doing that thing of like
peeking and then going down. It feels like entirely Deserve really in terms of
where that whole story went, and then again heavy went back to like heavier
but still relatively mainstream bands have done Kills, which I could see the argument
that kills which should be bigger because they are so like then that the fucking
like metalcore taking over Grand zero band, and yet they are not like an
arena filling band. I feel like they that's the one where I could say,
possibly be bigger. But again, do you think is maybe if if
the if they like posted some of this, and if they carried on releasing
albums of that caliber, do you know they would have been able to hit
that level it Maybe Again, we do have an entire kill switching engaged band
special that's you know. Yeah, a few years ago on the Patron where
we were asking the kind of questions killswhich I think are one where you could
argue they should be bigger for the legs that they have. I went more
for like Lamb of God. You know, like Lamb of God are like
a Bloodstock headliner. They've got their own Well that's why I said Kills,
because I was thinking that the blood headliner. Yeah, but I think obviously
they're an extreme band with like almost entirely harsh vocals, and they are so
big and so definitively go yeah, that's good. I think, you know,
Gajira right now in a similar kind of vein. It's like, you
know, maybe they could go even further. But for a kind of progressive
death metal band, if that's when you say their roots are, being that
kind of equivalent sort of slot feels very very good and very right for them,
you know, Sugar, I think being so legendary in their kind of
slot deserved and one a marf deserve the success that they have gotten to kind
of be able to be take that into larger things. And also Saxon,
I think, yeah, I know Elliott keeps saying it, but I think
you know, special guests type slot at someone like a Bloodstock or a you
know, support, So I can't really Saxon, they're band. I think
Saxon deserves to be about where their place in history is any ripost know,
I just like I think it is the band that writes Denimon Leather where they
should be subheadlining Bloodstock. That does seem fair. The band that does every
other Saxon song should be part from Supercharger apart from Supercharger and maybe speak the
first good Saxon song in the line of fifty songs the exact same thing as
that one. Got what a laugh talking about that record was all right,
let's close this longer than average hyper last with a it must be said longer
than average release round up because we do, of course have some records that
came out last week when we did our reviews episode. There were actually plenty
of them. I think it was the first like majorly busy release week of
the year, and then we've got today's as well, So I am going
to go through this as efficient as I can, although we are going to
stop to have a look at a conversation on this first one, because going
back to January of twenty sixth, one prominent record that we did not discuss
on last week's review shows is the new record from Frank Carter and the Rattlesnakes.
It's called Dark Rainbow, and the reason I will actually just pause and
have a little bit of discussion about this is a bit of a stock takers
to where we kind of are with Frank cart and the rat Snakes, both
as individuals but also as a kind of community, I guess, because this
is the fall up to the last record, Sticky, which is twenty twenty
one if I remember correctly, and this record coming out, it's like Frank
Carter was a The Rattlesnakes on their earlier couple of albums felt so firmly a
T and M band, right, It's like, you guys listening fucking love
them and we're going to see every tour and they were such a consistent festival
presence or whatever, and obviously they are still are that in the again we're
just talking about being on the download poster and et cetera. But I was
shocked that this album came out, and in terms of my circle, which
it does extend to again somewhere like the T and M focus group for example,
and again seeing what you guys are listened to and into Frank Carter and
the Rats, a big fucking band by you know, most ways that we
measure it over here, and yet this album seems to be registering in a
different circle, I suppose than the one that I would usually expect from Frank
Carter and the history that we have all kind of had with that guy in
his music. So even again I listened to this record, I quite liked
it. I thought it was, you know, an improvement on the last
one. Again, the last one I did not hate, even though it
had some misguided things on it. I think overall it was fine for what
it was. But again, this repor coming out, I'm almost considering whether
like people particularly care about us even like doing like a long in depth review
or anything on this Frank cart and the Route Snake's album, Like this is
a genuine question. If you like you know, I want to know what
you guys like as a kind of rock community. Are Frank cart and the
rout Snakes still a really important band to you guys? And you know,
Sam Samon Eliot we were having a bit of a discussion in the group chat
the other day about this conversation, and we were wondering, I guess in
terms of like you don't want to say Frank Carter and the rout Snakes are
on as kind of downward slide because I don't necessarily believe that. I think
they are still a band who in terms of the venues they play and everything
are by all means, you know, they seem to be doing very very
well. But I do think again from the T and M kind of standpoint,
they seem to be slightly floating away. Yeah, I gain because like,
is this particularly a rock album? Like is it like for somebody you
know, he's been so as part of the punk and the rock sort of
scene. This is I think his furthest step out of it. So it
is it is quite a leap to take. I mean, again, not
too spoil as much in case you do with you, but I've enjoyed this
album. But yeah, I don't know if it's just gonna be one that
is like, is this are the T and M listens? Are they really
behind it? Do they want to know us to keep pushing Frank Carter?
I'm not too sure because it has been there. I've seen all kinds of
reactions to this one across the spectrum from what I have seen, so I've
not been able to gauge any kind of consistent feeling on it. See.
The thing that struck me is the almost total lack of reaction that I've seen,
because I've not really followed Frank Carter all that much, or at least
since the Ratle Snaket one. I think I think they're okay. I think
the first two records are all right, and I like this again, without
spoiling too much, I like this about as much as those. The thing
that the thing that's weird about this is it feels like it's been quite a
sharp up and down for Frank Carter, Which is why I don't want to
say, you know, they're on a down or whatever, because the last
down people really seem to care about, you know, I was twenty nineteen.
It wasn't really that long ago. In that context, The thing that's
all about this is he's it seems to be moving away from rock music,
but I don't really see where it's landed. Because my sort of circle people
who are into music, a lot of those people are more maybe indie focused,
and they might have spoken about Frank Carter a couple of years ago when
he had that really kind of star making turn at reading and that sort of
thing. I've not heard them say a word about this so and I'm just
struck by how quiet it's been. Yeah, that was my feeling as well.
And again it's like I'm trying to I know that Frank Carter, like
dedicated fans who were like absolutely looking forward with this record are out there,
but I personally haven't seen them, and I'm trying to look around and like
find where they are. And you know, again, I think when we
spoke about this privately, I think one of the most the thing that I
kind of settled on the most is the idea of this record is almost like
an exact opposite of the last record, Sticky, which was just so like,
you know, fun and we're gonna dance and it's gonna be this kind
of OIOI dance punk thing, and then now he's doing this much more introspective
record again. And I from a creative standpoint, I respect that kind of
you know, variety and the kind of like, yeah, okay, I've
done that and now I'm gonna go over here and do something else. And
I admire that, and I can see where this is all coming from from
someone like Frank. But I wonder again if people, if someone was really
into Frank Cart and the Restakes one of the first two records, and then
they've been taken this place they didn't like was something like sticky, and then
right after that he goes and does something that again, it's not just a
return to the comfy zone of what frankin the Routestates was, but something completely
different again, whether people are sort of losing the thread of like what Frank
Cart and the Rat Snakes is. And maybe that's why the kind of like
real investment from like again, the heavy rock world feels like it has dipped
quite significantly over the last couple of years. So that was just sort of,
you know, some airing some open thoughts about the Frank Cart and the
Rats' next record. I would be curious about what you guys actually do make
of not just the album whether you like it or not, because like I
said, I think it's quite good, but more about a sort of a
long term you know, what's going on with Frank cal Ratsnakes and where that
how invested maybe you are last week can Going back to the releases, we
did also have much more I think comfy fair. Alkali and Trier released their
record Blood Hair and Eyeballs. That one we probably will talk about some more
later. Degree that's just what level of Alkaline Tria are we talking with that
one? He had The Infernal Sea with a record I cannot entirely pronounce called
hell Fenlick, but that is the you know, bit of a UK black
metal institution at this point. I really have loved this band. Their first
record, I think it's fucking brilliant. They haven't been able to really match
that one for me, but I did enjoy you know, both the follow
up to the record and this one as well. There's some cool, you
know, like English folk stuff going on inside that. Continuing on with black
metal, there's all Harbor and sacrifice, much more long form, chilled out,
kind of atmospheric fair. There was unsouling with Vampiric's Spiritual Drain, which
is a really cool kind of it's quite a cool record. This it mixed
again like heavy oppressive, like death metal and stuff like that, but with
the kind of goth elements. Then there was a whole bunch of grind type
stuff. There was NOL with as spoken, one of the most sort of
seen as very horrid grind bands in the world at the moment. Elie,
I bet you're a NOL fan. I've missed this. I didn't know this
was out. Oh well, you can go and find that. There's a
kind of more sludgy fare in the form of Eye Flies with the self titled
record, which is a band that I believe members are full of hell and
so and are involved with. We have a self tuted record from Junta,
who are a New York based band but are very kind of, you know,
sort of Hispanic Spanish speaking leaning, very rowdy crossover type stuff. Like
I say, going into we have actually Death Killer with total destruction of the
entire universe is interesting. This is it's a it's sort of anonymous. It's
a member of Grave Pleasures, I can tell you that much. It's not
that one who does everything it's another membor of Grave Pleasures, but it's like
a solo project of If you like igor and stuff like that, like really
fucking maximalist, over the top, take a blow torch to your head,
like industrial metal type stuff. If you like things like when when when gost
is that his most ravenous or slip knot and stuff like that, then that
is out there. We had a whole bunch of like kind of prog metal
and post metal and stuff like that. Mountain Caller released Chronicle two Hypergenesis,
more post metally type fare. We had a band called Guts with a H
in their goots perhaps are called Regeneration. This was I saw shared around quite
a lot. There was an EP from a or I guess, an album
from a band called Slower. The EP is called Slower. That is in
fact a pun because what this is is do metal versions of Slayer songs.
If you want to hear war ensemble. But it's like eleven minutes long with
a fucking like fuzz tone sam is mel thing. No, it's it's not
bad, you know. It feels that they have actually made an effort to
reinterpret the songs. It's kind of it's it's basically it's a doom metal record
where occasionally go, oh yeah, that's that's the Antichrist that I'm listening to.
Back on the prog stuff, there's Calligular's Horse with Charcoal Grace. There's
also Madam Mortem with Old Eyes New Heart moving into again the kind of more
cleaner end of death metal and death cord and stuff like that. We have
Vitriol with Suffer and Become Cognizance with Phantasine. There was a live album from
Whitechapel, one of their records where they were playing the Valley the kind of
showcasing that. So there's Live in the Valley some other stuff at the back
of that record as well, and then in the form of again some EPs
and mini albums and stuff. There was dream State Still Dreaming. There's the
Kay and Nashi EP of course that we spoke about in depth earlier. The
Three Faces of Beauty, a violent misinterpretation of Morgan Montgomery definitely record you get
this to that one. There was the Military Gun EP Life under the Sun.
There was also a surprise Yazoo EP Hard to Reach, which I believe
included a couple of like unreleased old songs that kind of deal then to today's
releases, not quite as jammed, still a fair few to talk about.
Enterprise Earth, one of the leading most popular kind of death core bands,
released a record called Death Colon and Anthology, which I think is a really
funny helpum name. We reviewed their previous one and it was so fucking like
long and epics for what a death cor record was aiming for. And I
wonder if they're still going down. I know they've always led on the proggiest
side of it, but that was like too much. Maybe more of that
here, I don't know, being as an ocean a back with Death Can
Wait, which is a band that I have actively not cared for for the
entire time I've been aware of them, But I do know that right now
on tour, Jamilla from Ithaca is filling in as their like vocalist for this
tour, so that could be interesting to see, I suppose if you want
to see a really boring hardcore band fronted by a good personality, yeah yeah,
maybe that'll spice up. But then the album is out reconciler art for
our sake. This is a record that you're proably gonna want to check out
if you're into your kind of like Heartland Honk and that kind of you know,
fest style punk rock and stuff like that. This band have released them
quite well like material in the past. Now this is not a typo.
There are two albums out today called Shame from different bands. One of them
is the band Meth, which is noisy, horrible hardcore type stuff, and
the other one at Utopia I believe is more of like a tech metal type
there. But yeah, in my notes here, just making sure this is
not a typeo. Both of albums are called Shame. There was a record
from a kind of like post metal but with a slightly sort of like chuggy
metalcore type thing in there called Metaphysicize Myrath, the Tunisian prog metal masters their
record Karma. I seem to have a sort of phantom memory of me reading
this out in a hyperblast one of these reviews round ups, like September last
year or something. I don't know if the record got delayed or something,
but I remember reading it out and it didn't happen, and here it now
is. So there you go. Heavy metal, striker, overpower, death
metal, black metal. We've got necro wretch swords of Dajawl. We have
Dwarro Delf, which is name taken straight out of Tolkien, so you can
probably imagine what the vibe is there. The Fallen Leaves, we have some
proper stinky, horrible gory slam metal stages of decomposition with raptures of psychopath that.
Remember that band. I remember enjoying one of their records when I was
deep in my slam phase like ten years ago, so it's nice to see
they're still kicking around. And then finally some EPs for you. We have
the band Ghoul with Noxious Concoctions, which is a great name, and Persephone
with that Lingui Ignota part one ep that we were laughing just about the title
of some time ago. There you go. That is your epic not so
hyper Hyperblasts for today. Thank you so much, proper full length podcast for
you guys. I hope you appreciate it. Next week we will be back
with another Hyperblasts, but we will hopefully sure for that one, but we
will also be announcing in that hyperblast what our next special is going to be
on the TNM Patreon, so if you want to go and sign up over
there, you can check in on our nail special the Allison chains one,
etc. Well prepping for the next thing that we are going to announce to
you next week, So cheers very much, we will see you there.
Goodbye. Don't cry too hard about the loss of you know who. Bye bye