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Hello everybody, Welcome back to That's
No Matter, the old weekly rock and

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heavy Metal podcast. Welcome to a
slightly delayed by a handful of days reviews

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show, which does mean it was
very courteous of bringing the Horizon to surprise

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drop their album when we were already
underway with this confirmed review selection. We

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will come to it eventually, but
as it happens, the last couple weeks

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already, you've had some of the
year's most significant and high profile releases,

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so we're going to talk about those
instead this week. My name is Parenheish

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with me the usual gang for these
here occasions. Elliott Paisley is with us.

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Sam Dignon is also with us.
Sam, I understand you've just got

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back from visiting our Lord and Savior
George Miller with Yes. I mean,

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you know, it's funny because we
do tea enders horror and it's, you

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know, seemingly where most of the
metal movies would end up. But Fury

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Road, we all know is like
like peak heavy metal cinema, peak heavy

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metal cinema, and so it certainly
is you know, for us lot it's

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it's quite an event having you know, another one of those turn up.

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Yeah, No, one of my
most anti Spad movies of this year,

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not just because like the perfect human
being on your Taylor Joy, isn't it?

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But yeah, no, I just
go back from that. I am

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very hyped top after watching that.
It is wicked. I had a great

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time. Just I don't want to
like George, Can you do another one

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of them and not make us wait
ten years for it? Please? I

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need more piss Boy. I genuinely
like piss Boy, like short lived,

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but like what a role. Yeah, I'm gonna be thinking about the little

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boy who goes Bobby Knocker Forever,
Grotus, Scrotus, the brothers like God

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bless Mad Max Elliott. I presume
you've not seen the movies so far and

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you're just look at us like it
might as well be not Arabic. That's

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a loss. I'm gonna say that
Scrotus and Pisboy, thankfully are not Arabic

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terms. That is, yeah,
where we've all been at lovely stuff.

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Indeed we are going talking in today's
review show the new records from Not Loose,

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Kerry king Gate, Creeper, Paul
Bearer, Uncle Acid and the Dead

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Beats One Step Closer, Falter Camma
and anti Christ Seed Machine. I very

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briefly last week I went to see
Ashenspire on their you know, UK headline

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tour, which is, you know, nice for a band of you know

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what, I believe that kind of
stature, but you know, they were

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playing in a very strange venue in
Manchester called Satan's Hollow, which is basically

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a club where the stage is in
the middle of the room so you can

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like walk around and watch from like
behind the drum kit or something. It's

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very very strange, but you know, obviously not a huge gathering in that

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kind of place to see a really
like fucking bizarre, challenging band like ash

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Inspire. But they were fucking wicked. The vocalist was on crutches for whatever

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he's not had like a crutch and
they were still just like stomping about the

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place and like waving the crutch like
some kind of weapon. And you know,

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with the kind of essentially playing with
like a little band stand in the

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middle of the room, they were
able to sort of like walk up and

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down it. And there were parts
where like the sexophonist in his little shorts

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would just like wander off to over
at the bar somewhere. The bassis would

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walk in a different direction to a
different corner of the room, you know,

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the vocalist still. You know,
I'm pretty sure I got pushed at

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one point stumping around the place,
and you know, obviously something like a

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headline show, you know, if
it was a very small, you know,

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attendance. It was nice hearing like
that intro of the law of asbestos

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with like the kind of Hammadolsmo or
whatever it is, and hearing like a

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reaction from people who like, you
know know what that means something to you

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know, although maybe Cable Street again
was maybe the song that sort of stole

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the night this time that you know, I hope you like poverty breathing insert

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and the taste of leather off Britain's
boot fucking line was so big, Yeah,

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sensational bad. If you've not seen
Ash and Spire the start, you

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know they are a UK based band, so I'm sure the majority of you

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have the opportunities at some point.
We do have a rather rather good band

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on our doorstep right now. Sam, you were at a show that sadly

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did not come near me and I
did not manage to figure out if I

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could go to Rotherham or not to
see if you weren't the evil wizard they

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found. No, I was not, But honestly, it's watching you going

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too Smolder, I felt like,
you know, the dad in the Iron

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Claw who is like pushing his like
sons to go and be doing the best

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wrestling that they can because he has
not been able to like be you know,

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for Philly's wrestling Deathinay. We know
how that ends up though, Yeah,

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yeah, hopefully this won't go that
badly. But that's that's how I

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felt watching you guys down there get
to see this band. I really love

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Smolder. Yeah. Of the kind
of like heavy metal bands that you've brought

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in and brought into my life,
will say, Smaller have been one of

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the ones I've just so just taken
to. They were incredible. They were

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like so much fun for them,
as we're saying, like yeah and like

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like playing tiland rooms. They played
the Black Car in London, which actually

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had a decent turnou I don't think
it was sold out, but it was

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busy and there were like people down
the front to like get involved and sing

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along. But just what I want
from a heavy metal band, Smolder deliver.

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It is epic. It is righteous, and triumphant, but it's fun

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huge choruses. They closed with Sworderman
and when she's doing that, I sell

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my soul to the highest bidder.
It sounded even in this tiny room sounded

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huge. The two guitarists looked like
wizards at different stages of their life.

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One of them are you know,
wizardry, like gorgeous, lush a straight,

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long hair, the other big,
big like hair going men's like Chris

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Hemsworth at different stages of theurio So
yeah, you know what. The vocalist

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she is like heliusts because she's like
really into it, and then her like

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other points like dancing like a zombie
on stage, like I know, like

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just but she's so just evolving in
like great to watch. They're like good

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mix of songs off the two albums. They played for about just under an

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hour, but it felt like the
right amount where they could just power through

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a bunch of the songs of the
albums and some of the like slower doomier

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stuff, the faster bits, like
lots of head banging. It was like

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just really invigorating, like oh yeah, this is why heavy actually rules,

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and maybe metal corey shit like I'm
so coming around to you like, I'm

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just going back into heavy metal now
because bands like Smolder are doing it really

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brilliantly, and I'm like, I
hope people catch onto this band because like

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it means that sounds so big.
It should be in bigger rooms than the

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Black Car and it is. I
don't think it's super like hard to get

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into because it is catchy. There
is big vocal hooks, and it's not

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like super nerdy is heavy metal goes, it's pretty fucking nerdy. It is

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pretty nerdy, but you know it's
not like the full and nerdiest of power

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metal. Yeah, Like there were
things about them and being like this this

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could be palatable to people who like, like some haven't gone fully in on

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them more underground. Yeah, I
agree, But the only thing is,

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you know Sarah the vocalist, she
is so eccentric vocally, and she falls

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into that same category of you know, like bands like Keirathon Goal and stuff

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like that, where it's like,
yeah, these are brilliant cult bands,

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but I understand why not everyone heard
that and went, wow, that's my

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favorite singer. A really good voice
when she's bettering out those choruses, and

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I really extentingly that's when I said, when she's doing the zombie dance next

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the music video, but the entire
genre of a metalcore catching straight as I

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did not it's meant to come out, you know, I'm burning out on

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it. Well, we will have
some you know, various kinds of metal

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to come up on the review show
obviously today. A little bit in news

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beforehand. What I guess right now
is only a headline but maybe has potential

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to turn into big news, is
the US Department of Justice, along with

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thirty states in the United States of
America, are trying to break up the

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Live Nation ticketmaster kind of conglomerate,
essentially, you know, making a lawsuitcase

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suggesting that the Live Nation you know, conglomerate has a unhealthy monopoly on the

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entire live music industry and has been
lowering its standards. Live Nation responded with

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a letter which was basically just like, actually everyone loves us, and basically

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it seems like everybody who doesn't work
at Live Nation degrees and doesn't seem to

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like very much. But as stands
right now, obviously just a headline.

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But in terms of where that story
develops and if it goes into anything,

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obviously a lot of people will have
their eyes glued to the possible turnout of

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such a thing based on so many
stories and instances that we've all kind of

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discussed over the years about you know, kind of the process of going two

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gigs and you know, purchasing tickets
and that kind of thing in the in

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the modern era, so you know, keep your eyes peeled and and you

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know, interested in that one.
A couple of new songs. We start

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off with Sam's least favorite band and
also a band that you quite like.

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I like them a lot. Yeah, have have released a song together.

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I'm of course talking about, you
know, the unification of Germany and Japan.

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Electric Core Boy and Baby Metal have
released a song together which is called

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Rata Tatar. And seeing as I
lead in like that, I suppose I'm

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most interested in if if if one
of these outweighs the other one for you

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some So this is like when you've
got like the nicest dessert you can have,

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but you've always got it a bowl
of shit alongside it. I genuinely

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farmers have getting pulled in, like
like I'm in the Baby Metal course on

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this it's wicked, Like it's so
big that chorus and they're like, you

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know, really like bubbly baby meal
bits that are fun. It's just whenever

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the fucking electric cooal boy guy comes
in, his voice actively annoys me.

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Like both the singing and the screaming. There is about that now that I'm

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just like my walls immediately goarp and
I'm like, Nope, this is shit.

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I don't want this, And it
is just It's not the worst thing

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Electric cool Boy have done. It's
not the most grating, obnoxious like thing,

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but I just his clean vocals are
horrid. They are like so sickly

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and just terrible. And the screams
are that processed artificial metal core scream that

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like is catching a straight from me
in the smolder of you. So yeah,

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like, it hasn't made me like
Electric hall Boy anymore, hasn't made

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me like baby Metal wing he left, I would. I think it's worth

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saying I think this is when I
hear this, I think it's more of

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an Electric core Boy song than it
is a baby Metal song. I'd agree.

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I was, you know, discussing
this recently, I was like,

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baby Metal part of their entire brand
seemed to be that they constantly do co

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labs to people. It's almost like
a thing where like a band from every

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country has to do like an international
collab with baby Metal, whether it's Sabatan

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or you know whatever. And I
wonder again the process of who exactly is

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reaching out to who here? But
this seems to me like it is a

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call boy song that has had baby
Metal kind of you know, drafted onto

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it. Chorus. Yeah, and
you know that kind of like Ratata.

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It sounds a bit like that,
that kind of Eurovision song from a couple

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of years ago, kind of like
party feel. I think the baby Metal

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chorus is like, you know,
fun, but like it's not their their

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biggest catchiest one ever. It is
mainly based around that sort of like chanting

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thing. I think the song's all
right. I think a lot of the

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case with these sort of baby Metal
co lab with X songs, you can

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kind of pre imagine in advance what
it's gonna sound like, And part of

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me feels like there should have been
more like extra you know, like I

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it's a kind of standard party song, and I basically wanted like Scooter Jpop

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Mark loves it in like an an
also foregone conclusion of putting those two things

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together Elliott, you probably don't have
a dog in any of these fights,

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no, I saw. I weirdly
feel kind of the same about Electric Cool

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Boy and Baby Met. I both
have bangers, but the people who really

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advocate for both kind of baffle me. No offense Mark sort of that kind

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of extends to this. I'm kind
of taken about by how understated it is

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or how ambivalent I am towards it, because you know, there's some weird

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stuff in there, like that oh
in the moshpit, Yeah, quite like

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that. But I was kind of
surprised about how little there was that stuck

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with me, because when both these
bands are good, they you can't take

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away the fact that they like catch
you songs. Yeah, this is just

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kind of I don't know, it
feels like a bit of a b side.

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Yeah, The Big Tatara is essentially
that, and you could you could

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imagine that from just looking at the
title of the song. To be honest,

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I think it's another of those things
where it's just like, tell someone

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in twenty fifteen that Electric Cool Boy
and Baby Metal are going to do a

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collab song together and it's going to
be a big headline. They'd be like,

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what, how We also have a
new single from Head Automatica. It's

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their first single since two thousand and
six. Now, Sam, you were

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a slam dunk yesterday, which we're
not going to talk about here. We're

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going to come back to it because
we've got enough on our play. But

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I'm going to guess that you saw
Head Automatica. I did see Head Automatica,

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yeah, so I probably I would
guess that they would have played this.

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We have a new Head of Maca
song for the first time in nearly

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two decades. Considering Head Automatica are
like, you know, I think to

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most of the world, there are
one hit wonder right, like whether you

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like albums or not, whatever.
Most people in the world only know Beating

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Heart Baby, and that's what they
associate with them. And there is a

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certain super fucking like flashy would ridiculous
neon quality to that I was quite taken

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about. But how this is basically
a depeche Mode song, like big clanging

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keys, that kind of seedy bass. It's a very cool kind of assembled

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beat with the little horns, blasts
and stuff like that. And you know,

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I have a history of liking depeche
Mode influenced songs. In the twenty

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first century. I enjoy that aspect
of it. Yeah, so I heard

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this live. I heard this for
the first time live. I didn't know.

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I didn't I didn't know they put
out anything. But it's a new

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song and I was like, oh, it really stood out on the set

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as being something different. But I
was like, this feels really natural for

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where where a reunited much older head
Automatica would be with where like it felt

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a lot more natural when Daryl was
performing this. I won't go too much

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into the life thing, but yeah, I agree. Really depeche Mode like

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really dark, like sort of clanging
simps and all that, but really cool

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sounding. Really, I think it's
really good. Yeah. I think it's

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a really fun combination of star You
get sort that funky SYNTHI pop, that

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kind of industrial guitar that comes in
out every now and then it's sort of

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blaring horns and that big course and
loads of vocal eccentricities. It's funny that

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you got Depeche Mode, because the
first one that came to mind to me

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was Muse but really less just yeah, so I suppose that's a that's a

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success, but I kind of found
it a bit wandering, but I enjoy

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it. While it's kind of maybe
this is a weird comparison, but a

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bit like when Faith nor More came
back with Motherfucker and you're like, Okay,

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well we'll see what the all right, Yeah, see what the album

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is. I don't know, it
doesn't Maybe I'm more used to stuff like

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beating our baby. I was expecting
a kind of instantaneous super power. Yeah,

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kind of like, yeah, yeah, I've not even heard the second

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record, so I might be missing
something. I was more drawn to,

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like the kind of beating intermentation here
than I was, you know, Plumbo,

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So maybe there is something to that. But yeah, new head automatica

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significantly certainly for one of us here
who who apparently left slam Dunk curly.

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How very unsixer you you me at
six have announced what will be your final

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chance? You're watching dtours even their
their final tour in early twenty twenty five.

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It's in March. It goes through
until of course, a closing night

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at Wembley Arena, which is called
the final Night of Six, which is

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quite confusing because there's about, you
know, fifteen dates or something. It's

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play on the fact that the first
time they played Wembley Arena was called the

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Final Night of Sin because it was
the end of the Sinner's Never Sleeped Tour.

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Man Gospro Unit six Law Parents Law, I have to keep up with.

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No, there's not, but like
they're like they're like probably they're like

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most memorable sho ever was that when
they played Wembley and they sorted out super

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quickly, like because there's them that
they're like actual peak and heart their powers.

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So it's kind of like, let's
do that again. Yeah, well,

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Sam, you you better get on
that. If you you will,

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I will be. Don't worry.
I'm saddening didn't get to see the Unit

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six hearse, Yeah, that was
kicking around Slam. That wasn't it.

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I also just thought it was a
note that Palais Royale are also somehow playing

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Wembley Arena. I couldn't believe it. I thought I didn't know that's an.

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I saw a post for it at
Slam Dug and I was just like,

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Jesus Christ, what is going on? Every time I remember they still

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exist, it is like a jumps. Yeah. Well they were headlining the

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stage, but they were headlined one
of the smaller stages, so I was

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like, that's that's weird. I've
never met someone that likes them. Even

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people I know who like Paris and
things that are sort of similar, I've

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never one of them mentioned Palo Roal
well, they are clearly enough fans they

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get them into Wembley Arena at this
stage in their career. Bad Omens issued

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a statement this week that they are
going to be essentially canceling all of their

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kind of European festival run on grounds
of kind of mental health and that kind

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of thing which us for us is
mainly of notes that we are not going

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to get to see that really bizarre
download stage running order that was like was

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it mister Bungle into Highlights, the
Bungle Highlands into bad Omens. And I'm

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genuinely sad the bad Omens are pulled
out because I wanted that to happen.

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I wanted the experience of like people
waiting for bad Omens watching high Loan.

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So yeah, very sad. That's
a piece of doll history that we were

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sadly no longer going to be be
privy too. Taylor Swift, he may

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remember a couple of weeks ago that
I mentioned that we'd like watched like a

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live stream of the opening night of
the European Taylor Swift era's tour, specifically

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Paramore's opening set, and they didn't
play Misery Business, and the comments in

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the live stream were full of people
being like, what that's their only song.

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I can't believe it. And I
did think it was like bold to

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not play misery Business. A few
nights ago, Paramore debuted misery Business on

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this tour, saying that Taylor Swift
specifically had asked them to play it.

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I love that the word came from
higher up and be like, Okay,

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you're fucking my fans around. They
only know you're hit. You please play

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misery Business. And Hailey said from
the stage, is like, okay,

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so here's your goddamn break through.
It very funny. So Sam, as

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happens, you probably will see misery
Business after all. That's fine. I'll

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take whatever I get. I want
to see the burning down the house cover

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more than anything at the moment.
Yeah, but yeah, the word legit

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came from imagine pissing off the boss, Taylor Swift. If you don't play

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misery Business, very good stuff,
you are probably never going to see Steph

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Carpenter live with Death Tones outside of
the US ever again. By the sounds

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00:19:22,640 --> 00:19:25,519
of it, they have recruited.
They've I've already been playing you know,

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shows outside the US without him due
to the various reasons he doesn't want to

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leave the US. News now is
that they've recruited Sean Lopez from far And

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00:19:33,359 --> 00:19:37,519
who is also China Marino's kind of
partner in Crosses as well, in order

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to fill that role. But I
think what that looks like is, yeah,

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genuinely, if you are, for
example, us here in the UK

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and you're not traveling to the US
to see Deathtones, Steph Garment will not

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be present ever again for the rest
of their career. I think that's what

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we can probably assume is going to
be happening there. And Joey Bella Donna

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00:19:52,839 --> 00:19:56,559
has announced that he is going to
be going on tour doing do O tribute

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shows for some reason. Do you
have any interest in that? No,

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do Amthrex just want to be other
people like Scottian's doing Mister Bungle, Charlie's

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off being Vinnie Paul, and Joey's
got to do Deo. It's I don't

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know, it's I'm glad it's staying
in Florida. I like Joey Bella Donna

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as a singer. I've got a
lot of a lot of soft spot for

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him. But it is just very
amusing thinking about like one of the greatest

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singers of all time, Mona Jims
Dio being impersonated by the guy who wears

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00:20:27,480 --> 00:20:33,480
the head dress. It's a it's
a bold move to go out and do

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00:20:33,519 --> 00:20:34,319
that, but you know, fair
play, good luck to him, all

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right, Patreon. This week has
been a very big week for you know,

300
00:20:40,759 --> 00:20:45,319
people subscriber there who you know,
help help contribute to keep this podcast

301
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afloat because, as we said last
week, we went underway starting our brand

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new band special, which was the
first part of our special on Seple Surer.

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Ahead of you know that, I
think the general of the way of

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kind of career assessment and everything that
you're going to get with Sepultury this year,

305
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we wanted to be one of the
first ones in the door, and

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so we started out with a absolutely
mammoth undertaking. Even considering we are only

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going to be planning on doing the
you know, the first six albums of

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Sepulture prior to the split, it
is still so much content, so much

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00:21:22,519 --> 00:21:26,359
of a mamoth undertaking in this part
we did the thrash years of SEPULTURER,

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going from such like nineteen eighty five
to you know, the nineteen eighty five

311
00:21:30,599 --> 00:21:37,559
sorry up to around the kind of
Arise era. But what we managed to

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00:21:37,599 --> 00:21:42,000
squeeze into that like over four and
a half hours, not only breakdowns of

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00:21:42,640 --> 00:21:45,720
albums. I again, I've been
wanting to talk about on this show four

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00:21:45,839 --> 00:21:48,680
years, whether that be Morbid Visions
or a Rise, right, all of

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00:21:48,720 --> 00:21:53,720
these different things swirling around, and
I think particularly when by the time we

316
00:21:53,720 --> 00:21:56,400
were getting to you know, some
of the proper classic records like A Rise

317
00:21:56,440 --> 00:22:00,920
and so on, I think really
digging in the guts of them and kind

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00:22:00,960 --> 00:22:03,519
of you know, pulling out things
that you maybe haven't considered about those records

319
00:22:03,559 --> 00:22:07,319
and why they are actually so special. But we also preluded it with essentially

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like two hours of Brazilian scene metal
history, because you know, a lot

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00:22:12,720 --> 00:22:18,640
of people might only associate Brazilian metal
with Sepultura, but we had to make

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00:22:18,720 --> 00:22:21,039
kind of great pains to say that
they did not appear just sort of out

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00:22:21,039 --> 00:22:23,359
of nowhere in a vacuum. There
was a scene of you know, Brazilian

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metal bands around them, and so
this kind of doubled up as we haven't

325
00:22:26,240 --> 00:22:30,680
done a long time, which is
a kind of a scene spotlight special going

326
00:22:30,720 --> 00:22:34,039
in on a lot of the craziness
that was Brazilian metal in the mid eighties,

327
00:22:34,119 --> 00:22:41,200
from you know, police interactions with
human bones to you know, violent

328
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band feuds and maybe certain acts of
slam dunk of taken to heart in Weekend.

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00:22:47,359 --> 00:22:52,440
It was fucking glorious, wasn't it. Yeah, I mean the whole

330
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Brazilian history. It was like the
real eye opener for me kind of going

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into like how this all came about. Like obviously some just agreements on some

332
00:23:00,559 --> 00:23:04,720
of the earlier material we covered,
but worthwhile things to kind of like immerse

333
00:23:04,720 --> 00:23:07,720
yourselves in and then where by the
end it's just sort of like, ah,

334
00:23:07,759 --> 00:23:10,920
this is just perfect music, isn't
it? Like how could you not

335
00:23:10,960 --> 00:23:14,799
love this? Yeah, it's just
been one of the most like sumptuous and

336
00:23:14,880 --> 00:23:18,039
satisfying specials we've done, I think, almost comparable to do in the Allison

337
00:23:18,079 --> 00:23:22,000
Chains one. We're just going through
going this is just one of the best

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00:23:22,039 --> 00:23:26,160
bands ever and it's so so rewarding
sort of telling that story and getting to

339
00:23:26,200 --> 00:23:29,559
go back to everything again. Yeah, And like I said, in terms

340
00:23:29,559 --> 00:23:32,440
of like, you know, turning
up with you know, a lot to

341
00:23:32,440 --> 00:23:34,960
sink your teeth into. You know, we might not be delivering a big

342
00:23:36,000 --> 00:23:41,400
special podcast every single week, but
I think when we're turning up of the

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00:23:41,000 --> 00:23:45,720
girth as we had here, I
think you understand the kind of the process

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00:23:45,720 --> 00:23:48,920
that goes into these. I mean, just the script for the Secultary Special

345
00:23:48,960 --> 00:23:51,200
and all of that. Again,
Brazilian history going back to you know,

346
00:23:51,240 --> 00:23:56,920
the fucking sixties was you know,
something I'm quite proud of putting together.

347
00:23:56,400 --> 00:24:00,920
And so you know, sometime next
month in June, will come around and

348
00:24:00,960 --> 00:24:04,880
finish that Sepultaier Special with the following
you know, nineties years of Sepulcherer.

349
00:24:04,960 --> 00:24:12,599
But right now there is the period
when they were making their name with some

350
00:24:12,640 --> 00:24:18,880
of the you know, most fucking
extreme, essential, intense, fucking brilliant

351
00:24:18,920 --> 00:24:25,039
metal music ever made. Next week, this upcoming week, I suppose over

352
00:24:25,079 --> 00:24:27,799
the Patreon it's album club time.
We have got album clubs to do,

353
00:24:29,559 --> 00:24:33,480
returning this month, and I'm going
to tell you of them. Some of

354
00:24:33,480 --> 00:24:37,599
them we've sort of alluded to before. Some of them I am going to

355
00:24:37,640 --> 00:24:44,720
surprise the people sitting here with the
first of which is an album that has

356
00:24:44,799 --> 00:24:48,200
been mentioned and name dropped a couple
of times maybe over the course of this

357
00:24:48,279 --> 00:24:52,559
year so far on the podcast,
so I thought it would be worth doing.

358
00:24:53,599 --> 00:25:00,960
It is Motley Crue and an album
that goes by the name of Generation

359
00:25:02,160 --> 00:25:07,839
Swine. Like I mean, like
to be honest, you could pick any

360
00:25:07,880 --> 00:25:10,640
Moty Krahm and apart from maybe the
debut, and you get the same reaction

361
00:25:10,759 --> 00:25:12,319
with me, They're all shit.
Let me tell you, this is going

362
00:25:12,400 --> 00:25:15,000
to be one the handful of times
when I'm not going to be coming at

363
00:25:15,039 --> 00:25:18,599
you saying that's a stupid thing to
say. We are going to be on

364
00:25:18,680 --> 00:25:21,640
the same page for what they crew
for once with this particular discussion, and

365
00:25:21,880 --> 00:25:26,279
I can't wait. Then, Sam, you'll probably you know, you'll appreciate

366
00:25:26,279 --> 00:25:30,480
this one more. We are going
to do a little trip back to the

367
00:25:30,480 --> 00:25:37,680
early twenty tens and a landscape of
vibrant, keyboard laden metal core from overseas

368
00:25:38,279 --> 00:25:45,480
with a band called Cross Faith and
the Zion EP. Oh, yeah,

369
00:25:47,039 --> 00:25:48,839
which I might as well check right
now. Would you agree that that's like

370
00:25:49,480 --> 00:25:53,920
the kind of the point where they
were sort of the most spoken about.

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00:25:53,960 --> 00:25:57,599
I suppose it's the point where everyone
was pointing out them, saying they could

372
00:25:57,640 --> 00:26:00,960
be the next big thing in metalcore. Ye, yes, I think we'll

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00:26:00,960 --> 00:26:03,480
probably touch on maybe you know,
the records around it in the actual albums,

374
00:26:03,519 --> 00:26:08,319
but Zion as the sort of concentrated
essence of Cross Faith, I suppose,

375
00:26:08,599 --> 00:26:11,240
I know that is a band that
is close to your heart. So

376
00:26:11,519 --> 00:26:14,960
we're gonna give the opportunity to sort
of wax the ricle about that. In

377
00:26:15,039 --> 00:26:18,039
the punk corner, this is the
one that you know, as promised ahead

378
00:26:18,039 --> 00:26:22,519
of Outbreak, we are due talking
about Have Heart and their album songs to

379
00:26:22,599 --> 00:26:27,000
Scream at the Sun. And then
in the underground corner, I thought with

380
00:26:27,079 --> 00:26:30,160
the Separateury special, we've been thinking
towards the end of that, we were

381
00:26:30,160 --> 00:26:33,400
talking about you know, Morris Sound
and those years, and so I thought,

382
00:26:33,400 --> 00:26:37,880
you know, we're due are sort
of like yearly tripped back into the

383
00:26:37,880 --> 00:26:41,359
Morrisound early nineties years of death metal
and an album that I have been wanting

384
00:26:41,400 --> 00:26:44,400
to you know again, one those
that's been slightly the slot for a long

385
00:26:44,440 --> 00:26:53,279
time, Suffocation and their absolutely genre
defining debut album, Effigy of the Forgotten.

386
00:26:53,519 --> 00:26:59,079
So that is what is coming on
album Club this coming week. From

387
00:26:59,359 --> 00:27:06,640
ten out of ten to not turn
out, So patron dot com slash That's

388
00:27:06,680 --> 00:27:08,200
the Metal is the place to go
to get a hold of all of that,

389
00:27:08,319 --> 00:27:12,160
The hours of SEPULTURER, the album
Club Special, everything grieves that we've

390
00:27:12,160 --> 00:27:15,079
done. We've finished our you know, Alexas on Fire Special, which was

391
00:27:15,119 --> 00:27:18,319
also huge and bulky and very in
depth. So if that is your thing,

392
00:27:18,640 --> 00:27:23,279
you can find all of that over
there. Let us get underway with

393
00:27:23,880 --> 00:27:30,000
the reviews for March. And even
if we you know, we had tried

394
00:27:30,039 --> 00:27:34,039
to like last minute fit in the
Bring Me the Horizon album, it feels

395
00:27:34,039 --> 00:27:37,160
like it would just be a sort
of no brainer for lead review anyway that

396
00:27:37,559 --> 00:27:41,440
the new out from Not Loose,
which is called you Won't Go Before You're

397
00:27:41,440 --> 00:27:45,960
supposed to, would you know,
be front of the list. Not Loose

398
00:27:47,039 --> 00:27:51,759
have in the last ten years or
whatever it is, have gone from it's

399
00:27:51,799 --> 00:27:52,640
like an anime arc. You know, it's like first day we're like a

400
00:27:52,680 --> 00:27:59,000
novice metallic hardcore band among many.
Then they became legitimate contenders to now a

401
00:27:59,079 --> 00:28:02,279
state where you know, the release
this album the other week and the conversation

402
00:28:02,359 --> 00:28:04,839
around it, it feels, I
guess you know, it's pretty clear that

403
00:28:04,960 --> 00:28:08,279
like Turnstile a couple of years ago, or you know, Sleep tooken last

404
00:28:08,359 --> 00:28:14,640
year. This may well end up
being like the legitimate event release in heavy

405
00:28:14,680 --> 00:28:17,880
music of the whole year. Like, is there anything that comes to mind

406
00:28:17,920 --> 00:28:22,960
that has kind of had this much
expectation or hype around it in twenty twenty

407
00:28:22,960 --> 00:28:27,319
four other than Bring Me the Horizon
album? Maybe, but even that feels

408
00:28:27,319 --> 00:28:32,799
like it's kind of like the latest
Bring Me the Horizon record that's been delayed

409
00:28:32,880 --> 00:28:37,599
and long overdue. This has felt
like an actual release that everyone has had

410
00:28:37,599 --> 00:28:41,880
their eyes on the Like it's crazy
that Not Loose are that band, but

411
00:28:41,920 --> 00:28:45,319
it is has been exciting to see. But yeah, this feels like the

412
00:28:45,480 --> 00:28:48,960
at least the first major event release
of the year. Yeah. I think

413
00:28:51,119 --> 00:28:56,400
with those two other records using Turnstile
and Sleep, token has comparisons. The

414
00:28:56,480 --> 00:29:00,440
thing that's been interesting about those is
the kind of pop slash alternative crops that

415
00:29:00,519 --> 00:29:03,400
we've seen with those things. The
amazing thing about Not Loose is as they've

416
00:29:03,400 --> 00:29:08,640
gotten heavier and leaned in more on
like the beatdowns and the screeches and pig

417
00:29:08,680 --> 00:29:12,839
squeals. As we get on this
record, they've become more popular. I

418
00:29:12,839 --> 00:29:15,039
know. A big point has been
made about that, but this getting to

419
00:29:15,119 --> 00:29:19,039
number twenty three on Billboard and all
the songs having over a million streams,

420
00:29:19,079 --> 00:29:22,160
it's it's almost beyond those other two
and well, maybe not sleep Token,

421
00:29:22,200 --> 00:29:27,079
but certainly Turnstile, who seemed like
the natural crossover band of the moment.

422
00:29:27,680 --> 00:29:30,759
So you know, we don't need
much context. You know their trajectory so

423
00:29:30,880 --> 00:29:34,799
far, and you know the wave
of kind of a kine appreciation that they've

424
00:29:34,839 --> 00:29:37,519
received, you know, just in
the last couple of weeks with this album.

425
00:29:37,880 --> 00:29:41,000
I think the only context I necessarily
feel is the important to reaffirm is

426
00:29:42,000 --> 00:29:47,240
the different in approach between their prior
to releases to this one, because I

427
00:29:47,240 --> 00:29:49,160
do think they are fairly different,
a different shade of blue five years ago

428
00:29:49,480 --> 00:29:52,319
did their kind of you know,
the style of metanic hardcore they started at

429
00:29:52,319 --> 00:29:57,960
with noticeably bigger and better. It
was heavier, certainly than you know,

430
00:29:59,039 --> 00:30:02,079
laugh tracks and before, and that
was what really sort of set out the

431
00:30:02,079 --> 00:30:04,599
store for what, as you say, Earliert, has been the general word

432
00:30:04,599 --> 00:30:07,599
about not loose, which is they
are the rare band who seem to take

433
00:30:07,640 --> 00:30:12,000
a spike in popularity every time they
get more brutal. But I also think

434
00:30:12,000 --> 00:30:18,400
that album has easily the biggest set
of kind of like anthems and like actual

435
00:30:18,480 --> 00:30:21,759
hits they'd ever had, you know, like mistakes like Fractures and Still I

436
00:30:21,759 --> 00:30:25,440
Won the South, those kind of
songs. I think it's easily the best

437
00:30:25,480 --> 00:30:27,880
collection of like actual bangers. They're
like one of the any of these really

438
00:30:29,119 --> 00:30:32,680
sort of metallic hardcore bands has like
knocked out of like you know, the

439
00:30:32,720 --> 00:30:37,160
Tear in the Fabric of Life EP
was not exactly that. Instead, it

440
00:30:37,240 --> 00:30:44,440
kind of changed taps to create a
fluid, cohesively running horror themed EP that

441
00:30:44,680 --> 00:30:48,200
was you know, more concerned about
a really tightly put together experience and you

442
00:30:48,240 --> 00:30:52,279
know, again it was heavier and
it was terrifying, but by the nature

443
00:30:52,279 --> 00:30:53,880
of how it was put together,
that was the focus more than like singles

444
00:30:53,920 --> 00:30:59,279
necessarily, and it is very fascinating
to me. My first sort of reaction

445
00:30:59,400 --> 00:31:02,680
to you know, even seeing the
trappers on this record as well I was

446
00:31:02,680 --> 00:31:06,880
hearing it. The new album You
Won't Go For You're Supposed To is far

447
00:31:06,960 --> 00:31:11,880
more follow up to that EP in
its ethos than it is the last studio

448
00:31:11,960 --> 00:31:15,519
album A different shade of Blue.
Yeah, no, completely, it is

449
00:31:15,720 --> 00:31:19,039
is following that same kind of like
horror, theming, the esseeic like it's

450
00:31:19,160 --> 00:31:23,559
very dark and sinister. It is
again and now that for the most part,

451
00:31:23,680 --> 00:31:29,279
is sequenced to flow as one kind
of like continuous body of work,

452
00:31:29,400 --> 00:31:32,359
which has been hilarious when people react
to them and be like, oh my

453
00:31:32,400 --> 00:31:34,759
god, songs can seek together with
seamlessly. Oh wow, I'm like,

454
00:31:34,759 --> 00:31:38,039
like, didn't we have this conversation
on the last ep, Like it's what

455
00:31:38,039 --> 00:31:41,480
they're doing now, and I think
it's great, but is it definitely feels

456
00:31:41,519 --> 00:31:42,759
that that is the lane not close
want to move into that. They don't

457
00:31:42,759 --> 00:31:47,279
want to be soxietly. For the
bands who are getting massive, they're not

458
00:31:47,319 --> 00:31:51,799
trying to write hits anymore. They
are PRESI just trying to get in the

459
00:31:51,880 --> 00:31:57,799
league with like the big boys of
like darker, more challenging, atmospheric,

460
00:31:59,000 --> 00:32:02,400
like interesting music. Yeah, I
don't necessarily what I was expecting, because

461
00:32:02,480 --> 00:32:07,079
it does make sense that you know, they would make advancements that were then

462
00:32:07,400 --> 00:32:08,880
they wouldn't dispose of, they'd carry
that over. But I suppose again,

463
00:32:08,880 --> 00:32:12,079
when you want to think about in
terms of the full length albums, this

464
00:32:12,240 --> 00:32:15,000
is about six minutes longer than the
EP compared to being like over ten minutes

465
00:32:15,039 --> 00:32:19,000
shorter than the last album, and
you know, as you say, while

466
00:32:19,000 --> 00:32:22,279
there were certain folks online joking about
that or whatever, and it's like,

467
00:32:22,319 --> 00:32:24,759
you know, yeah, Jane Doe
exists or whatever. But this album does

468
00:32:24,799 --> 00:32:30,160
function far more like the overall contained
Sweet than it would do a conventional album.

469
00:32:30,200 --> 00:32:32,279
And it is fascinating to me that, as well as the often mentioned

470
00:32:32,319 --> 00:32:37,599
point of like this band this heavy
is getting so popular, following that approach

471
00:32:37,799 --> 00:32:40,440
is what is continually getting them to
be bigger and bigger, and that's what

472
00:32:40,519 --> 00:32:44,400
conventional wisdom would surely tell her to
do. The opposite. Well, yeah,

473
00:32:44,400 --> 00:32:46,079
because the things that's gotten compared to
I've seen a reason, I saw

474
00:32:46,079 --> 00:32:50,920
aew Cup compared to Far Beyond Driven, other compared it to Iowa, and

475
00:32:50,920 --> 00:32:53,519
again those the first thing you think
of is they got heavier than the last

476
00:32:53,559 --> 00:32:57,640
record and people were excited by that. They got bigger on the back of

477
00:32:57,680 --> 00:33:02,519
it. Has a band ever gotten
bigger by writing less coherent and that's not

478
00:33:02,559 --> 00:33:07,519
necessarily putting a critical lens, but
less conventional let's say songs. Has that?

479
00:33:07,839 --> 00:33:10,720
Has that ever happened before? I
don't know, yeah, because only

480
00:33:10,720 --> 00:33:15,519
there are points when those stand in
comparison albums, you know, do come

481
00:33:15,599 --> 00:33:20,960
to mind, but you're right and
that they don't function in the same way.

482
00:33:20,960 --> 00:33:24,079
This feels like a very not loose
thing to be doing. And there

483
00:33:24,119 --> 00:33:28,079
I think they are taking point as
more than from some other, even more

484
00:33:28,160 --> 00:33:32,400
underground bands, And I certainly think
that that kind of you know, detail

485
00:33:32,559 --> 00:33:37,880
and their craft is what's helping them
gain critical plaudits outside of just the metalcore

486
00:33:37,920 --> 00:33:40,720
bubble. For example, you know, when you're seeing places like Pitchfork and

487
00:33:40,799 --> 00:33:45,240
The Needle Drop giving them tremendous scores, I think it's that kind of thing

488
00:33:45,279 --> 00:33:47,519
that is kind of helping, you
know, set them apart and bring that

489
00:33:47,599 --> 00:33:52,799
level of appreciation. You know,
how well how far we'll go to agreeing

490
00:33:52,839 --> 00:33:53,960
in terms of, like, you
know, the nine out of ten scores

491
00:33:53,960 --> 00:33:57,000
across the board or whatever, we
will find out. But it is really

492
00:33:57,079 --> 00:34:01,960
novel to me having the most raved
about populist heavy record of the year be

493
00:34:02,119 --> 00:34:07,559
a tightly packed horror sweet with barely
any obvious singles that feels really fucking weird.

494
00:34:08,199 --> 00:34:12,920
And you know, I guess the
structure of the record that generally makes

495
00:34:12,920 --> 00:34:15,719
sense to talk about it sort of
fairly limley. Early first to start with

496
00:34:16,760 --> 00:34:22,239
genuinely like about as extreme and head
exploding as you could feasibly expect anything this

497
00:34:22,360 --> 00:34:27,800
widely popular to go. I g
I was like, there's gonna be a

498
00:34:27,840 --> 00:34:30,480
whole lot of people who are listening
to this album. The first thing they

499
00:34:30,480 --> 00:34:32,960
hear on this record is probably the
heaviest thing they've ever heard. I don't

500
00:34:32,960 --> 00:34:36,599
mean that to be patronizing, but
like, I mean, that's that agains.

501
00:34:36,599 --> 00:34:38,079
That's what people always say about sucking
people equal shit, right like when

502
00:34:38,119 --> 00:34:42,599
that blast comes in. Yeah,
but like but like that that's one thing.

503
00:34:42,719 --> 00:34:46,679
This is like just this last of
like harsh noise and like Brian just

504
00:34:46,679 --> 00:34:52,679
like screeching with like no actual kind
of like riff. It's just like buh,

505
00:34:52,960 --> 00:34:57,119
just like corrupting in your ears.
It's horrible. And I was kind

506
00:34:57,159 --> 00:34:59,440
of just like I would first listen. It was quite early the morning.

507
00:34:59,440 --> 00:35:00,480
I was just kind of like,
yeah, cool, what the fuck is

508
00:35:00,519 --> 00:35:05,119
going on? The first time I
listened to this, I was so I

509
00:35:05,280 --> 00:35:10,079
live directly opposite like across the road
from the bus stop I always have to

510
00:35:10,079 --> 00:35:14,760
go to to go anywhere, and
it means that if there's heavy traffic between

511
00:35:14,760 --> 00:35:16,480
me and the bus, it could
be a fucking nightmare if the bus pulls

512
00:35:16,519 --> 00:35:20,000
up opposite and I have to like
get across the other side of the road.

513
00:35:20,519 --> 00:35:22,719
That is exactly what happened the first
time I put this on in my

514
00:35:22,760 --> 00:35:24,679
headphones. As I was leaving the
house, right and so the bus pull

515
00:35:24,760 --> 00:35:28,559
up opposite, I had to catch
it. I had to run across the

516
00:35:28,639 --> 00:35:30,840
road to avoid traffic to get to
the bus, And as I started running,

517
00:35:31,039 --> 00:35:36,400
the beginning of this album kicked in
and I had to like adjust for

518
00:35:36,440 --> 00:35:39,599
a few seconds to make sure I
wasn't dead. I hadn't like been here

519
00:35:39,719 --> 00:35:44,519
from the road, because that's what
it kind of felt like, the most

520
00:35:44,599 --> 00:35:51,239
stressful possible circumstances to hear that in
Yeah It's I was really taken about by

521
00:35:51,239 --> 00:35:53,559
that bit because there's kind of impressience
set by the last ep. But when

522
00:35:53,559 --> 00:35:57,840
I came in, I just thought
it sounds like portrayal of Guilt, who

523
00:35:57,840 --> 00:36:00,320
are a sort of noisy hardcore back
and that even a lot of hardcore people

524
00:36:00,400 --> 00:36:06,599
seem to have trouble with. And
they've kind of taken that sound and kept

525
00:36:06,639 --> 00:36:10,039
all the things that make it uncomfortable
and ferocious, but they make it so

526
00:36:10,199 --> 00:36:15,719
loud and kind of blockbuster sounding that
the first time it hits you, you

527
00:36:15,840 --> 00:36:20,719
kind of do have to just sort
of stop and absorb the shock. Yeah,

528
00:36:20,760 --> 00:36:23,119
the level of you know, aggression
on show on this record really is

529
00:36:23,159 --> 00:36:27,440
something to behold. And thinking about
this record in terms of, like,

530
00:36:28,280 --> 00:36:30,159
you know, pushing at the limits
of how hard this kind of music can

531
00:36:30,159 --> 00:36:31,960
go. I think that's what a
lot of people are actually looking to not

532
00:36:32,000 --> 00:36:36,400
lose too as much as they are
sort of you know again writing big songs

533
00:36:36,440 --> 00:36:40,480
or whatever. And it is crazy
and you know, we're reviewing a record

534
00:36:40,599 --> 00:36:45,079
right at the end of this show, right that is absurdly fucking brutal,

535
00:36:45,239 --> 00:36:47,719
right, and like that is an
underground record not to lose and now so

536
00:36:47,840 --> 00:36:52,480
brutal that I'm here thinking people who
love this record to check out the last

537
00:36:52,519 --> 00:36:54,880
album we're going to review today from
Anty Croseed Machine and like at the very

538
00:36:54,920 --> 00:36:58,199
legs, they should dip their toes
in and see if it's their fancy.

539
00:36:58,280 --> 00:37:00,719
And that is what you all thought
to be having about like one of the

540
00:37:00,760 --> 00:37:04,519
current biggest bands in the world.
And I think again, the only other

541
00:37:04,519 --> 00:37:07,400
times you could think of that in
terms of that like Train of Four is

542
00:37:07,800 --> 00:37:12,599
Hey, you like Iowa, You
should check out Immolation and Diocide, and

543
00:37:12,840 --> 00:37:15,679
hey, you like the great seven
trend kill, you should check out Soilent,

544
00:37:15,719 --> 00:37:17,960
Green and Acid Buth. I guess
as much of the appeal of Not

545
00:37:19,000 --> 00:37:22,800
Loose right now is like almost on
a sort of like technical nerd level,

546
00:37:22,880 --> 00:37:28,800
or in terms of like the pushing
of the level of crushing in the production.

547
00:37:29,199 --> 00:37:31,480
You know, it feels like that's
almost like the appeal is how fucking

548
00:37:31,519 --> 00:37:36,519
cartoonsly and saying can we make that
sound? Interestingly, I think I'm right

549
00:37:36,559 --> 00:37:37,880
in saying that the producer on this
record, they've gone away from Will Putney,

550
00:37:37,880 --> 00:37:40,199
who's the sort of standard guy for
this, and they've worked with a

551
00:37:40,199 --> 00:37:45,360
guy who's worked with like Bear Tooth
and stuff like that, and that feels

552
00:37:45,360 --> 00:37:49,760
like it would not be the result
of this, and you know, like

553
00:37:49,840 --> 00:37:53,760
credit to him, because this isn't
like some of those record we review recently

554
00:37:53,760 --> 00:37:57,760
where like a legit band have gone
to the wrong producer who has tried to

555
00:37:57,760 --> 00:38:00,800
turn him with that sort of like
octane radio fold or whatever. At this

556
00:38:00,880 --> 00:38:06,280
point, the guitars have gotten so
low and gurgling and distorted, and you

557
00:38:06,320 --> 00:38:09,480
know, part of me is sort
of sympathetic to the argument that that's maybe

558
00:38:09,519 --> 00:38:14,519
not always the most conducive for rifts, because they can just become this kind

559
00:38:14,519 --> 00:38:16,800
of you know, soup, and
a part of me kind of misses like

560
00:38:16,800 --> 00:38:21,920
standard tunings and stuff. But when
like the groove in piece by piece is

561
00:38:21,960 --> 00:38:27,159
just sort of fucking wallop in its
trunk around and you know, the the

562
00:38:27,239 --> 00:38:29,599
intro of Suffocate, I do like
there's a little trace of the most like

563
00:38:29,639 --> 00:38:31,320
kind of like Swedish buzz Saw or
something like that. But then that main

564
00:38:31,440 --> 00:38:37,280
riff it really moves into They're a
band who you know, they've spoken a

565
00:38:37,280 --> 00:38:39,519
lot about kind of Gajira influence and
stuff like that, and I was picking

566
00:38:39,519 --> 00:38:43,079
that up on sort of like a
different shade of blue and stuff like forget

567
00:38:43,079 --> 00:38:45,840
your Name and stuff like that.
When they get that full trample, you

568
00:38:45,960 --> 00:38:50,039
like a buffalo feel that they get
going on something like that main riff on

569
00:38:50,079 --> 00:38:55,199
Suffocate. It's undeniably physical, like
it speaks to almost like you know,

570
00:38:55,280 --> 00:39:00,519
your your fucking internal organs more than
it does like your brain. It almost

571
00:39:00,559 --> 00:39:05,920
like bypasses all of your ears and
just goes down into some more primal part

572
00:39:05,960 --> 00:39:07,960
of you. Yeah, because I
mean, maybe get to this, but

573
00:39:07,960 --> 00:39:13,039
I kind of have sympathy for that
view that things being down tune to oblivion

574
00:39:13,079 --> 00:39:16,239
can kind of skimp on the I
want to say personality, but the ability

575
00:39:16,239 --> 00:39:21,239
to have sort of detail and things
that maybe make parts distinctive from one another.

576
00:39:21,679 --> 00:39:24,400
But you know, there's no denying
it. It does inspire a certain

577
00:39:24,480 --> 00:39:30,000
rush. Like the album sounds explosive, and like I said, when those

578
00:39:30,079 --> 00:39:31,719
riffs come in, they're not the
sort of thing that you could play on

579
00:39:31,719 --> 00:39:36,320
an acoustic guitar to show someone a
song you've written, but as part of

580
00:39:37,079 --> 00:39:38,800
the greater whole with the production where
it sounds like a sort of state of

581
00:39:38,800 --> 00:39:45,039
the art rock record but just incredibly
heavy, and you know, with the

582
00:39:45,079 --> 00:39:50,639
syncopated drums and the sound manipulation and
all that stuff, they they do have

583
00:39:50,679 --> 00:39:57,480
an ability to sound punchy. To
put it mildly, there's not many people,

584
00:39:57,679 --> 00:40:00,559
even in extreme music, where it
sounds that kind of explosive on impact,

585
00:40:01,159 --> 00:40:05,079
yeah, and suffocate. It's I
don't know if you guys feel similar

586
00:40:05,119 --> 00:40:08,000
about this in terms of like the
law. It's weird to me that Poppy,

587
00:40:08,280 --> 00:40:13,519
who I first knew as this kind
of like weird internet aarg game YouTube

588
00:40:13,519 --> 00:40:15,800
girl, is now just sort of
like a like regular or was taken for

589
00:40:15,840 --> 00:40:20,159
granted piece of heavy music culture,
and when she'd pop up on her not

590
00:40:20,239 --> 00:40:22,360
the song like yeah that makes sense, you know, fucking really really strange.

591
00:40:22,880 --> 00:40:25,360
Yeah, she fits, And actually
I do agree because like, obviously

592
00:40:25,480 --> 00:40:30,519
she always had that kind of weird, like slightly unsettling thing, even when

593
00:40:30,559 --> 00:40:32,000
she was doing the more sort of
popping from its music, it was always

594
00:40:32,599 --> 00:40:37,400
a bit odd and creepy, and
that that essentially fits quite in the work

595
00:40:37,400 --> 00:40:40,280
We're not loosely going, but here
she's just you know, just screeching away

596
00:40:40,440 --> 00:40:45,800
and fits really naturally alongside Brian on
that song, creating just this like frantic,

597
00:40:45,880 --> 00:40:52,079
manic like sound. And it's kind
of perfect guest spot because to me,

598
00:40:52,119 --> 00:40:53,480
one of things with guest spots is
when it's it just feels like,

599
00:40:53,639 --> 00:40:58,239
hey we got Poppy. Look poppy, guys, Poppy's here. But you

600
00:40:58,280 --> 00:41:00,960
could listen to this the first time
and you'd recognize it was a different voice,

601
00:41:00,159 --> 00:41:04,239
but it doesn't feel like it encroaches
on it or it doesn't feel cynical

602
00:41:04,280 --> 00:41:08,280
in any way. It it's just
another mental voice sort of as part of

603
00:41:08,320 --> 00:41:15,400
this greater hole. And then the
fucking reggaeton breakdown. Discourse around that that

604
00:41:15,440 --> 00:41:17,119
we could drop was like, oh
God, can we just not just enjoy

605
00:41:17,280 --> 00:41:21,480
something that is like actually just a
bit different in like beatdowns, which are

606
00:41:21,480 --> 00:41:24,880
so overdone. I haven't say any
of its exhausting, but I was just

607
00:41:24,920 --> 00:41:30,000
like, ah, that's just a
really cool beatdown that actually like goes stupidly

608
00:41:30,039 --> 00:41:31,800
hard and stands out like yeah,
good or not loose. I mean,

609
00:41:31,920 --> 00:41:36,679
they're not the first heavy band ever
to use that rhythm, but it's a

610
00:41:36,960 --> 00:41:39,000
you know, it's an inventive piece
of like let's take something from somewhere else

611
00:41:39,000 --> 00:41:43,679
and kind of make it insane and
you know, the mush call of like

612
00:41:43,719 --> 00:41:45,559
the title you know, the song
right before it is you know, one

613
00:41:45,599 --> 00:41:49,760
of the record's biggest hooks. It
will be insane live for me. That

614
00:41:49,840 --> 00:41:53,559
kind of invention of you know,
an ear for detail and stuff like that

615
00:41:53,760 --> 00:41:59,079
in the songwriting and in the production
is it keeps refreshing it and it kind

616
00:41:59,119 --> 00:42:00,440
of keeps it, you know,
acting for the years. But because of

617
00:42:00,480 --> 00:42:04,159
what you were you know what we
were just saying, Elliott, a record

618
00:42:04,199 --> 00:42:07,719
like this could blur into sort of
sludge more than it does. You know,

619
00:42:07,800 --> 00:42:13,800
if if there wasn't that kind of
slight mad scientist element in the mix.

620
00:42:14,400 --> 00:42:16,760
You know, before the reggite on
breakdown underneath Poppies guest part, there's

621
00:42:16,800 --> 00:42:21,159
this cool little skip part in the
drums with this like production around it that

622
00:42:21,199 --> 00:42:22,840
feels like it's like it's hissing pistons
or something, and it's really cool sounding

623
00:42:23,320 --> 00:42:28,639
and don't reach me as another good
example where like the opening riff of that

624
00:42:28,800 --> 00:42:32,360
is just the most like stupid,
bone headed, smack you around the chops

625
00:42:32,360 --> 00:42:35,800
thing imaginable, and you know,
for the first minute was though, to

626
00:42:35,800 --> 00:42:37,320
be honest, it's just kind of
obnoxiously heavy and maybe not much else,

627
00:42:37,360 --> 00:42:42,480
but there's a real like there's an
evil kind of majesty in the rift that

628
00:42:42,559 --> 00:42:45,880
comes in around the minute mark,
I guess under what you call the chorus.

629
00:42:45,920 --> 00:42:49,480
It's almost like bolt throwery or something. And particularly following that though,

630
00:42:50,199 --> 00:42:52,800
there's that other cool like switch up
in the mid section with this almost like

631
00:42:52,920 --> 00:42:59,599
David Silvera type drum groove that comes
in and those like strange chirping kind of

632
00:42:59,800 --> 00:43:06,400
dude guitars and a moment like that
is what kind of gives the song real

633
00:43:06,599 --> 00:43:09,599
character, those like guitar bicks.
Was like, again, it sounds like

634
00:43:09,639 --> 00:43:13,320
the guitars are in pain at that
point with the way they're being played,

635
00:43:13,360 --> 00:43:15,599
and like that just kind of mangling
of guitar sounds is again one of the

636
00:43:15,599 --> 00:43:21,679
things it does just give this album
you have more character than just just a

637
00:43:21,719 --> 00:43:25,800
beatdown album. And it's like it
means they can just constantly keep it varied

638
00:43:25,880 --> 00:43:30,719
and change things up in a way
that is dark, oppressive, heavy,

639
00:43:30,840 --> 00:43:35,920
but not one note. Yeah,
And I mean the snare tone on Don't

640
00:43:35,960 --> 00:43:38,519
Reach for Me when that crunch is
in, it's just out of this world.

641
00:43:38,559 --> 00:43:42,840
I kind of miss when snare drums
sounded like snare drums, where some

642
00:43:42,880 --> 00:43:45,159
of them sound like pluggins now and
maybe maybe this is one, but it

643
00:43:45,280 --> 00:43:51,480
sounds like a slam snare if it
was the size of Australia. It's just

644
00:43:51,599 --> 00:43:53,920
it's so cacophonous and overwhelming. And
I mean, my fear of biting the

645
00:43:53,920 --> 00:43:59,159
record comes when you have Moss covers
All, which I've just realized in my

646
00:43:59,199 --> 00:44:01,519
nose is Moss covers All. That's
more appropriate. It does given the song

647
00:44:01,599 --> 00:44:06,559
that when that goes into take Me
Home as a one too, that's the

648
00:44:06,760 --> 00:44:08,480
where I said, that's like portrayal
of guilt and like you said, that

649
00:44:08,519 --> 00:44:10,400
would be exact when I thought about
that as well, that kind of weird

650
00:44:10,400 --> 00:44:15,199
guitar part. Yeah, yeah,
like those kind of evil, creeping spidery

651
00:44:15,840 --> 00:44:20,840
chords they're doing. And like we
say on what might be the populous metal

652
00:44:20,840 --> 00:44:23,960
record of the year, it's just
mad. But again in this, in

653
00:44:23,960 --> 00:44:29,119
the context of this, it makes
perfect sense. It sounds genuinely ferocious but

654
00:44:29,159 --> 00:44:32,719
still kind of blockbuster and elegant in
a weird way. Yeah, and most

655
00:44:32,760 --> 00:44:38,000
covers all and the following track that
kind of transitions with that again portrayer guiltish

656
00:44:38,079 --> 00:44:45,559
guitar line. Neither of those songs
really make any sense outside of the context

657
00:44:45,559 --> 00:44:46,559
of the album. There at the
heart. You know, you play either

658
00:44:46,559 --> 00:44:50,760
one of those songs on their own
and it's not it's not really like a

659
00:44:50,800 --> 00:44:52,360
song, to be honest, but
they are there at the heart of the

660
00:44:52,360 --> 00:44:58,920
record working together. Yeah, Like
once's like forty six second or so vortex

661
00:44:58,960 --> 00:45:01,840
of like rifts and Moss part,
and then the other is this again eerie

662
00:45:02,039 --> 00:45:07,840
unsettling, like where they really tap
into that like horror kind of like a

663
00:45:07,880 --> 00:45:10,400
cult cult vibe going on, and
it's like a really cool thing to have,

664
00:45:10,440 --> 00:45:14,639
like right in the middle of your
album, Yeah, and you know

665
00:45:14,760 --> 00:45:17,639
that they do, like when they
do go to sort of I don't want

666
00:45:17,639 --> 00:45:22,440
to say stock, but sort of
more well worn, predictable things. They've

667
00:45:22,480 --> 00:45:24,679
generally they've earned them because of sort
of those ways they brought you there.

668
00:45:24,880 --> 00:45:29,840
Like there's the triple triple at breakdown
at the end of Don't Reach Me dig

669
00:45:29,960 --> 00:45:30,360
It, and it's like it's a
trick that's been done, you know,

670
00:45:30,360 --> 00:45:32,679
so many times before, but when
they pull out the hat at the right

671
00:45:32,719 --> 00:45:37,000
moment like that, it does still
work. The Cart That Keeps You Awake

672
00:45:37,079 --> 00:45:38,559
is another song that's really emblematic of
what I'm talking about here, where there's

673
00:45:38,960 --> 00:45:45,119
that crazy like echoing percussion up and
down the riff at the start, and

674
00:45:45,159 --> 00:45:46,320
that's like that's one of those sounds
about like I want to see the fucking

675
00:45:46,360 --> 00:45:51,480
you know, like in studio footage
of what that sound is and how it's

676
00:45:51,480 --> 00:45:53,800
produced. You know, like it's
kind of quirky, but it's also like

677
00:45:54,000 --> 00:45:58,360
unsettling or it's like it's like someone
doing the cup song in Hell or something.

678
00:45:58,400 --> 00:46:01,840
It's just like intense and it really
makes the song and it makes it,

679
00:46:01,920 --> 00:46:06,039
you know, jump out. And
I think that paired with Blinding Faith

680
00:46:06,119 --> 00:46:07,880
sort of towards the end of the
record is really the point where that sort

681
00:46:07,880 --> 00:46:10,960
of like horror sound play gets taken
to the next level. Again, we

682
00:46:12,360 --> 00:46:15,360
spoke about the kind of the like
Mark Corbyn's score for The Witch sort of

683
00:46:15,440 --> 00:46:20,880
sticks clacking in the beginning of the
riff on that song. That's you don't

684
00:46:20,880 --> 00:46:22,480
hear that shit from your kind of
average metal core band. You know.

685
00:46:23,480 --> 00:46:25,639
The only other band that sort of
spring to mind is we've kind of praised

686
00:46:25,719 --> 00:46:29,679
Vain on their latest record for doing
you know, similar things, and maybe

687
00:46:29,719 --> 00:46:34,119
you think they still that hold that
particular horror atmosphere battern, but it's really

688
00:46:34,199 --> 00:46:37,000
encouraging seeing it done here by like
essentially the biggest band in the whole scene.

689
00:46:38,159 --> 00:46:43,480
Yeah, it's like like that's the
song where again there's just like nice

690
00:46:43,599 --> 00:46:47,119
details that actually do enhance the atmosphere
age. I think, like the Vain

691
00:46:47,199 --> 00:46:52,760
record, it's still maybe the scarier
of the two, but for the band

692
00:46:52,800 --> 00:46:57,559
who are so big and are but
getting so like praise people who wouldn't dare

693
00:46:57,599 --> 00:47:01,719
listen to anything else this kind of
like scaring horror influence. It's cool that

694
00:47:01,800 --> 00:47:05,360
like to be able to I think
it's just really fun called that Not Louse

695
00:47:05,360 --> 00:47:07,599
are just sneaking this sort of stuff
in to that crowd. I'm not going

696
00:47:07,679 --> 00:47:12,880
to complain about like that too much. I think Not Louse are bringing something

697
00:47:12,920 --> 00:47:15,000
that is like ohs to the masses, and that that's a that's a really

698
00:47:15,039 --> 00:47:19,679
good thing. I admire the shit
out of it absolutely. Yeah, And

699
00:47:19,719 --> 00:47:22,199
I think I mean, one thing
that I really like about this record,

700
00:47:22,239 --> 00:47:27,039
I'm glad it's still there is the
human element, which maybe Not Not LuSE

701
00:47:27,079 --> 00:47:30,039
have always had that, but I
think now they're able to match that with

702
00:47:30,599 --> 00:47:34,440
real prowess because this is clearly a
record that's made in the studio. You

703
00:47:34,440 --> 00:47:37,679
can imagine it being built from the
ground up. Something like the can't that

704
00:47:37,760 --> 00:47:40,679
keeps you awake? That chant is
just eye bulging and when the swinging riff

705
00:47:40,719 --> 00:47:44,920
comes in, it goes straight into
your brint and it's something that again it

706
00:47:44,960 --> 00:47:47,400
just hands like kind of push and
pull that the best bands have and being

707
00:47:47,440 --> 00:47:51,320
able to inject some of that it
adds to kind of danger, which I

708
00:47:51,360 --> 00:47:52,960
think makes the horror more convincing.
Yeah, that is that the track that

709
00:47:53,000 --> 00:48:00,280
has that fucking stomp, the fuck
around fire or whether that is wicked and

710
00:48:00,440 --> 00:48:05,760
again blinding faith. To me,
I think that the most insane head explode

711
00:48:05,760 --> 00:48:08,400
height a ship hyper ship moment on
the record is still that lead into the

712
00:48:08,440 --> 00:48:13,199
breakdown where over the course of about
three seconds they trade back and forth from

713
00:48:13,199 --> 00:48:17,960
the vocalist if you tell on each
line culminate orders that Yeah, it's so

714
00:48:19,159 --> 00:48:21,599
cartoony, but I love it.
It's just it's like the moment where like

715
00:48:22,400 --> 00:48:24,800
we have no more words to express
what is going on at this moment,

716
00:48:24,840 --> 00:48:30,239
You've just got to let out the
squeaze. Well, I get that.

717
00:48:30,400 --> 00:48:34,639
Weirdly, when I was thinking,
when is a heavier ban than this gotten

718
00:48:34,880 --> 00:48:37,079
so popular? Like you know,
you think things like pansa thing, things

719
00:48:37,079 --> 00:48:42,239
that slipknot. Maybe a more relevant
one would be ten to fifteen years ago

720
00:48:42,239 --> 00:48:45,559
when death core was getting big and
something like White someone like White che could

721
00:48:45,559 --> 00:48:49,159
have a top ten record and you
kind of think, well, those people,

722
00:48:49,199 --> 00:48:52,199
the kind of people that would appeal
to they still exist and they could

723
00:48:52,199 --> 00:48:55,880
take a pig squeal, and yet
they kind of just fell out of popular

724
00:48:57,320 --> 00:49:00,599
metal music for the best part of
a decade and then just all of a

725
00:49:00,599 --> 00:49:02,840
sudden, it's weird. It kire
as a single and I kind of forgot

726
00:49:02,880 --> 00:49:06,000
there was a big squirel and I'm
listening to this record. I'm already kind

727
00:49:06,000 --> 00:49:08,440
of absorbed in all the moving parts, and that comes in and it's just

728
00:49:09,800 --> 00:49:14,000
it's comical, but like you say, it just it's like the only thing

729
00:49:14,039 --> 00:49:16,840
they could do to elevate it even
more. Yeah, And it's interesting to

730
00:49:16,840 --> 00:49:21,559
me because when I was, you
know, going to write my notes about

731
00:49:21,599 --> 00:49:23,360
this and try and dissect it the
process of doing it, because it is

732
00:49:23,400 --> 00:49:30,159
such a fluid barrage of violence where
you pick out the details that really make

733
00:49:30,239 --> 00:49:35,280
tracks distinct. The approach of it
is how I approach reviewing records from someone

734
00:49:35,320 --> 00:49:37,360
like Full of Hell, for example, and it's like yeah, like yeah,

735
00:49:37,519 --> 00:49:39,360
the general effect is crazy and agro, but oh my god, there's

736
00:49:39,360 --> 00:49:42,880
a saxophone here, you know,
there's a cool noise part over here,

737
00:49:42,920 --> 00:49:46,639
et cetera. We're right now applying
that to a like thousands of tickets a

738
00:49:46,760 --> 00:49:52,480
night type band with like, like
we said, that's sort of the moth

739
00:49:52,559 --> 00:49:54,559
covers all take me homes Apart in
the middle and stuff like that, which

740
00:49:54,599 --> 00:50:00,000
is very novel. There is slaughter
House two on the record featuring Chris Motionless,

741
00:50:00,039 --> 00:50:02,199
which I had to remind myself what
slaughter House one was because I'm not

742
00:50:02,239 --> 00:50:05,119
emotionless. Some white fan I was
like, was that a knock those track?

743
00:50:05,119 --> 00:50:08,079
I don't remember. On release day
again, when we had this barrage

744
00:50:08,079 --> 00:50:12,280
of like praise for this record,
I did see a few people on Twitter

745
00:50:12,360 --> 00:50:15,960
kind of moaning that this like doesn't
fit the album or is somehow like noticeably

746
00:50:16,000 --> 00:50:22,639
worse than the rest of it.
I was kind of struggling to see the

747
00:50:22,679 --> 00:50:27,719
extremity of that thought. See this
still takes me out the album for a

748
00:50:27,800 --> 00:50:30,760
few minutes. It's it's the one
moment where again, like I mean,

749
00:50:30,800 --> 00:50:36,480
the song isn't terrible, but I
mean I've been you know, the most

750
00:50:36,639 --> 00:50:40,480
and white defender among us Chris on
this coming in. He is so aural

751
00:50:40,559 --> 00:50:45,599
less as a vocalist on this song, like compared to anyone else who's doing

752
00:50:45,679 --> 00:50:47,800
vocals on this album, who's like
that's Brian, that's Eyes, that's probably

753
00:50:47,840 --> 00:50:52,719
like you can just that's them.
Chris is part on this. It could

754
00:50:52,760 --> 00:50:57,719
be anyone. There is nothing,
there's no character, no aura, and

755
00:50:57,880 --> 00:51:00,320
like that like to me, isn't
the whole one the song. It just

756
00:51:00,320 --> 00:51:05,039
feels out of place on the record
to me, It doesn't feel like it's

757
00:51:05,079 --> 00:51:07,000
part of the atmosphere of the mood. It feels like the something they've had

758
00:51:07,000 --> 00:51:10,079
to put in because they did slaughter
House one. You know, that was

759
00:51:10,159 --> 00:51:15,920
Brian making a making most is White
drag out the best song they've written in

760
00:51:15,039 --> 00:51:20,960
a long time. This just feels
like kind of like an obligation where they

761
00:51:21,000 --> 00:51:22,519
have to, you know, or
you've got to put something that is going

762
00:51:22,599 --> 00:51:29,360
to pull in those octane core whatever
they're whatever we're labeling them now, that

763
00:51:29,440 --> 00:51:31,000
sort of crowd by having the Moses
and White song on there, and it

764
00:51:31,119 --> 00:51:34,199
like, I don't think it's a
terrible song, because you know, the

765
00:51:34,239 --> 00:51:37,719
k not loose bits are still really
good, but it does just feel kind

766
00:51:37,760 --> 00:51:39,840
of tacked into the middle of the
album and does it's the one time where

767
00:51:39,880 --> 00:51:45,000
it like the songs don't sink into
it. It kind of else see it

768
00:51:45,000 --> 00:51:49,519
take Me Home? Is it the
one before Yeah to Me Home finishes and

769
00:51:49,559 --> 00:51:52,599
then it's just into Slot House two. About any kind of sequencing, it's

770
00:51:52,639 --> 00:51:53,760
an odd moment of the record for
me. What's your take on that?

771
00:51:53,840 --> 00:51:59,320
Yes, I don't know. I
think it probably is my least favorite song

772
00:51:59,320 --> 00:52:01,039
on the record, even though it's
not a record where I think go it

773
00:52:01,119 --> 00:52:05,920
like because sort of ranking songs doesn't
seem like the right approach to it.

774
00:52:06,280 --> 00:52:10,039
I don't think it's like a particularly
noticeable dip. I think it's you know,

775
00:52:10,239 --> 00:52:13,320
on one end, it's kind of
a cool thing. Chris Motionless.

776
00:52:13,599 --> 00:52:15,360
I'm not a fan of him coming
on to this not loose record. Kind

777
00:52:15,360 --> 00:52:19,920
of a turn in the favor for
him coming on calling it slaughter House too,

778
00:52:20,440 --> 00:52:22,159
I think weirdly, and that's quite
a shallow thing. But that seems

779
00:52:22,199 --> 00:52:25,800
to be the more cynical aspect of
thing that kind of takes me out of

780
00:52:25,800 --> 00:52:30,199
it being a packed I think it
had a different name, I wouldn't really

781
00:52:30,239 --> 00:52:31,320
have a complaint. It would just
be my least favorite song in the record,

782
00:52:31,360 --> 00:52:37,639
and every record has to have one. But yeah, again, that's

783
00:52:37,719 --> 00:52:39,159
quite a shallow thing and it shouldn't
really massive. But whenever I see that

784
00:52:39,199 --> 00:52:42,960
slaughter House two come up, it
does feel a bit like it's a bit

785
00:52:42,960 --> 00:52:45,000
of a Matt Tuck move. I
really didn't mind it, you know,

786
00:52:45,079 --> 00:52:50,840
I think it is it's one of
sort of three or four standout tracks which

787
00:52:50,840 --> 00:52:53,960
you could release as singles. Right, But in terms of again the other

788
00:52:54,000 --> 00:52:58,480
ones being you know, Don't Reach
Me, Blinding Faith, et cetera.

789
00:52:59,039 --> 00:53:02,119
I don't think it's noticeably weaker than
those kind of songs. I think the

790
00:53:02,199 --> 00:53:07,239
riffs are about in powers everything else
I like for me, there's still those

791
00:53:07,239 --> 00:53:10,400
parts that have that again, the
kind of the detail that we've been describing

792
00:53:10,599 --> 00:53:14,119
in if this was just like a
full on if this was a track from

793
00:53:14,119 --> 00:53:16,480
like that ghost in Side record we
reviewed that just plopped in into this terrifying

794
00:53:16,480 --> 00:53:20,519
and not lose records, then yet
it'll be fucking bizarre. But there's still

795
00:53:20,519 --> 00:53:22,079
those kind of strange details that we're
talking about. There's kind of like weird

796
00:53:22,119 --> 00:53:27,320
sort of gadjira Art of Dying intro, sort of like metronome part in there

797
00:53:27,360 --> 00:53:30,800
for about three seconds. Obviously,
it has a chorus, which is one

798
00:53:30,800 --> 00:53:34,519
of the catchier moments on the record. I think it's a you know,

799
00:53:34,840 --> 00:53:37,039
he's not the first guest vocalist on
the record, which probably goes in his

800
00:53:37,039 --> 00:53:39,840
favor as well in terms of like
it's not that you've only had Bryan to

801
00:53:39,920 --> 00:53:43,320
the point and then suddenly there's this
other guy. I think it's about as

802
00:53:43,840 --> 00:53:45,639
good as Chris Motions has ever sounded, because he's on top of the band

803
00:53:45,679 --> 00:53:50,679
who Have Power. I really like
that the final twenty five seconds he does

804
00:53:50,719 --> 00:53:52,679
that kind of like that like one
mutilation under God, whatever the lyric is,

805
00:53:53,079 --> 00:53:57,679
and he sounds really cutting there,
and he kind of reminded me of

806
00:53:57,719 --> 00:54:01,039
Mitch Lucker, which made me wish
that Blucker was actually still around and doing

807
00:54:01,039 --> 00:54:04,920
that part honestly, but I think
he does, you know, an admirable

808
00:54:05,000 --> 00:54:09,840
job. I think it's one of
the more kind of like typical hardcore throwing

809
00:54:09,840 --> 00:54:13,599
the mic around moments, which was
sort of nice to have on this at

810
00:54:13,599 --> 00:54:16,000
one point in the record. It's
another thing that for me, stops it

811
00:54:16,079 --> 00:54:21,239
blurring together too much as a record, which, like I said, it's

812
00:54:21,360 --> 00:54:24,280
a record that is I think,
much less instantly memorable than a different shade

813
00:54:24,280 --> 00:54:28,480
of Blue Walls in terms of the
focus being the whole rather than sort of

814
00:54:28,480 --> 00:54:31,360
breakout tracks. This again I sort
of agree in terms of, like,

815
00:54:31,400 --> 00:54:34,960
you know, sort of having it
as be like a sequel song to another

816
00:54:35,000 --> 00:54:38,639
band's track is almost the more sort
of jarring element as opposed to when it

817
00:54:38,639 --> 00:54:40,920
comes in in the record. If
I wasn't looking at the track list as

818
00:54:40,920 --> 00:54:45,320
I'm listening to it, it wouldn't
really bother me in the slightest very much.

819
00:54:47,880 --> 00:54:52,159
It just it broke my immersion a
little bit the first time I was

820
00:54:52,760 --> 00:54:55,920
listening, and that did come down
to me again, like I agreefully because

821
00:54:55,920 --> 00:54:59,159
most of the probably does sound better
than he had done it on a lot

822
00:54:59,159 --> 00:55:02,400
of the more recent most some white
stuff, but because I was just like,

823
00:55:04,239 --> 00:55:07,519
she's like actually really threatening, imposing
voice that sound like they want to

824
00:55:07,559 --> 00:55:10,960
kill me, he didn't sound like
that, and it was just a kind

825
00:55:12,000 --> 00:55:15,119
of like, ah, the moods
slightly gone. But I get it.

826
00:55:15,159 --> 00:55:20,880
They probably do need to have some
songs that they can have as singles that

827
00:55:20,880 --> 00:55:23,079
can get put on the radio.
It probably is the compromise for getting a

828
00:55:23,119 --> 00:55:30,360
band this uncompromisingly heavy, doing this
weird artistic shit maintain the level they are.

829
00:55:30,400 --> 00:55:34,000
But it just feels I guess,
I guess probably is the whole Class

830
00:55:34,000 --> 00:55:36,719
two thing is the more cynical part
of it than the song itself. But

831
00:55:37,400 --> 00:55:40,159
it's the one moment on the record
that does kind of feel a little bit

832
00:55:40,280 --> 00:55:45,159
manufactured. Yeah, I mean there's
no fucking big you know again, octane

833
00:55:45,239 --> 00:55:47,000
clean chorus or anything slammed into it, which I would absolutely object to.

834
00:55:47,400 --> 00:55:52,199
Obviously, I think this will be
a very sort of individual thing, whether

835
00:55:52,199 --> 00:55:55,199
that sort of breaks through immersion as
you put it or not. As the

836
00:55:55,199 --> 00:55:58,920
person who doesn't like motion of white
White, you know, I didn't mind

837
00:55:58,920 --> 00:56:04,239
it sitting on the closer, you
know, uh moody bit of guitar melody

838
00:56:04,280 --> 00:56:06,239
for one of the first times on
the record, kind of a bit of

839
00:56:06,239 --> 00:56:07,760
a sort of higher on the threat
board blast rif at one point, which

840
00:56:07,800 --> 00:56:10,639
was kind of nice, sort of
uncommon to hear from not Loose, who

841
00:56:10,679 --> 00:56:15,639
are normally so again down tuned and
gurgling, works off a finale and the

842
00:56:15,719 --> 00:56:19,519
moment when it's done when it needs
to do, but then surprise punches you

843
00:56:19,559 --> 00:56:22,800
again for another further go is like
a you know, yeah, like another

844
00:56:22,840 --> 00:56:25,519
like a last like jump on the
record. I think you just have to

845
00:56:25,559 --> 00:56:28,840
admire this record, you know,
like personally, it's not going to be

846
00:56:28,840 --> 00:56:30,840
my favorite album of the year,
you know, but it is a extremely

847
00:56:30,960 --> 00:56:35,880
rare thing in an era when again, you know, we we've comple heavily

848
00:56:35,960 --> 00:56:39,320
complained about some of the newer faces
in metal feeling so detached from sort of

849
00:56:39,559 --> 00:56:45,519
what we personally resonate with about the
genre. One of the great populist bands

850
00:56:45,639 --> 00:56:50,320
of the moment, as we've said, is somehow crafting records in in this

851
00:56:50,440 --> 00:56:52,840
way and in terms of being the
band who again go and play Coachella and

852
00:56:52,840 --> 00:56:57,360
all these kind of things. The
way that they are basically insisting like no,

853
00:56:57,440 --> 00:57:01,000
the mainstream is going to pay attention
to us in this sort of Again,

854
00:57:01,039 --> 00:57:05,559
the kind of confidence of what they're
doing rather than too heavily tailoring themselves

855
00:57:05,719 --> 00:57:08,199
for anywhere else, I think it's
very cool. Yeah, I mean,

856
00:57:08,239 --> 00:57:12,280
I really like this record. Even
with my problems with the slot House two.

857
00:57:12,760 --> 00:57:15,960
This is gonna be like I would
be shocked if this is my top

858
00:57:15,000 --> 00:57:19,119
ten holm of the year because everything
else about this record I fucking love.

859
00:57:19,679 --> 00:57:22,599
And again I just really I get. I admire exactly what this record has

860
00:57:22,639 --> 00:57:29,280
achieved in I say, taking stuff
that we have mentioned Good Year and Converge

861
00:57:29,400 --> 00:57:34,880
and Code Orange and Vain and pick
any darker artistic, challenging band like I

862
00:57:34,880 --> 00:57:38,400
said, and you can serbviously not
always wanted to start to be seen alongside

863
00:57:38,400 --> 00:57:45,239
those and not just alongside the ghost
Inside or Terror like whatever hardcore medical band.

864
00:57:45,320 --> 00:57:49,960
And and that is what you really
got admire that they're taking that to

865
00:57:50,760 --> 00:57:52,920
as big crowds as they are,
and so that is a really exciting thing

866
00:57:52,960 --> 00:57:57,400
that has to be celebrated. Yeah, I think I don't think it feels

867
00:57:57,400 --> 00:58:00,239
like a stretch, and only a
couple weeks after it's been released, I

868
00:58:00,239 --> 00:58:04,360
think this does feel like a kind
of generational metal record. And that's not

869
00:58:04,400 --> 00:58:06,960
to say it's all of my favorites
the last few years or something like.

870
00:58:07,559 --> 00:58:09,800
I suspect it probably won't be in
my top twenty records of the year,

871
00:58:09,880 --> 00:58:13,360
just as a personal taste thing,
and to be honest, the work couple

872
00:58:13,400 --> 00:58:15,119
of times I listened to it and
thought, I think I'm getting to the

873
00:58:15,320 --> 00:58:20,639
breaking point of like beat down fetishism. It's starting to each dangerous levels.

874
00:58:20,880 --> 00:58:22,760
But then I kind of also thought, well, I'm being a bit of

875
00:58:22,800 --> 00:58:25,320
a little like Little Lord Fontleroy Goldilocks
here where it's like there's a band that

876
00:58:25,360 --> 00:58:30,400
we're comparing to full of Hell and
portrayal of guilt and good year, like

877
00:58:30,440 --> 00:58:34,360
you say, playing to thousands of
people, getting millions of streams, top

878
00:58:34,440 --> 00:58:37,599
thirty on Billboard, and I'm going, do we need this many beatdowns?

879
00:58:37,639 --> 00:58:38,760
It's like Jesus, like, you
know, well, I'm never gonna be

880
00:58:38,800 --> 00:58:43,079
happy if I keep living like that. And I do think this record is

881
00:58:43,639 --> 00:58:46,239
really good, and beyond that,
I also I'm just excited to see what

882
00:58:46,360 --> 00:58:49,960
Not Loose do next. Yeah,
there you go, Not Loose. You've

883
00:58:49,960 --> 00:58:52,559
already heard that record, I'm sure, but that is our take on it.

884
00:58:52,920 --> 00:58:58,039
Next up the other in very different
ways. But another very high profile

885
00:58:58,559 --> 00:59:01,960
metal release from the last couple weeks
comes from Kerry King. It's called From

886
00:59:02,079 --> 00:59:08,679
Hell I Rise, the long awaited
solo debut of the x and now amusingly

887
00:59:08,800 --> 00:59:14,559
again current Slayer guitarist, the timing
of which, of course, as we

888
00:59:14,599 --> 00:59:17,000
have discussed, is very funny.
But Slayer reunion aside, I still think

889
00:59:17,039 --> 00:59:21,559
this record has basically as much relevant
as it did before that confounding announcement,

890
00:59:21,760 --> 00:59:27,679
because it is the first creative work
in nine years from any of the key

891
00:59:27,840 --> 00:59:32,920
creative forces of Slayer and continues to
represent the only creative work we are getting

892
00:59:32,920 --> 00:59:36,079
out of the Slayer camp. I
think that's particularly of note, not only

893
00:59:36,119 --> 00:59:37,920
a Slayer not you know, gonna
come back and release records, as we've

894
00:59:38,000 --> 00:59:42,920
discussed, but you know, Slayer
isn't one of those cases where they all

895
00:59:42,960 --> 00:59:45,519
splintered off and started their own ventures. You know, Tom doesn't seem to

896
00:59:45,559 --> 00:59:47,639
have any interest in making any music, because presumably it would mean he would

897
00:59:47,639 --> 00:59:52,239
then be officially unretired. Jeff is, of course dead. Gary just has

898
00:59:52,280 --> 00:59:55,239
gone back to Exodus, which doesn't
really count. Paul is in this band,

899
00:59:55,320 --> 01:00:00,639
you know, if you had any
interest at all in like what project

900
01:00:00,719 --> 01:00:02,320
is going to carry on the creative
mantle of where Slayer are in their later

901
01:00:02,440 --> 01:00:06,920
years, Kerry King is the only
member doing it. And thus again this

902
01:00:07,079 --> 01:00:12,320
is the first Slayer adjacent record in
nearly ten years. Now, I know

903
01:00:12,440 --> 01:00:15,079
that that doesn't mean the world to
everybody, and that has some level of

904
01:00:15,159 --> 01:00:21,840
notability, right yeah, I think
I mean again, Militaneous as Repentless feels

905
01:00:21,840 --> 01:00:23,039
crazy. That album doesn't feel like
it was that long ago, but you

906
01:00:23,159 --> 01:00:25,079
kind of go, like, no, shit, it was it was that

907
01:00:25,199 --> 01:00:30,199
long ago. Fuck. But again, I like Slayer a lot. I'm

908
01:00:30,239 --> 01:00:34,400
not going to say I was like
desperate to hear from Kerry King, but

909
01:00:34,440 --> 01:00:37,079
I'd be interested to hear what,
you know, one of like the main

910
01:00:37,119 --> 01:00:43,679
guys from Slayer is doing with a
new sort of output. Yeah, and

911
01:00:43,840 --> 01:00:46,360
you know, I'm not going to
go comparing this to Slayer all too much,

912
01:00:46,400 --> 01:00:50,639
like it is sort of a different
thing, but by the end of

913
01:00:50,719 --> 01:00:53,480
Slayer, he was kind of the
central creative force anyway, So part of

914
01:00:53,519 --> 01:00:59,159
my curiosity was going, this could
have been the thirteenth Slayer record, Like,

915
01:00:59,199 --> 01:01:01,280
if they'd kept it to this could
have been more or less the same

916
01:01:01,320 --> 01:01:05,679
collection of songs. And it's funny
when Slayer split off, I wasn't thinking,

917
01:01:05,760 --> 01:01:07,719
oh no, no more Slayer albums
because so as I'm not keen on

918
01:01:08,280 --> 01:01:10,960
really any of them past God hates
us all. But you know, a

919
01:01:12,000 --> 01:01:15,559
few years later I did find myself
kind of having an appetite for that sort

920
01:01:15,559 --> 01:01:21,039
of thing again. And Kerry King
does have a certain songwriting style that I

921
01:01:21,119 --> 01:01:23,360
don't think you can mistake for anyone
else. Yeah, and I've seen,

922
01:01:23,559 --> 01:01:28,320
you know, quite a lot of
sneeriness from people about this Kerry King record

923
01:01:28,519 --> 01:01:30,800
in a way I just don't think
is necessary. It almost creams to me

924
01:01:30,880 --> 01:01:32,760
of sort of like you know,
trying to assert how cool you are and

925
01:01:32,840 --> 01:01:36,400
how metal you are by not caring
about new Kerry King. You know,

926
01:01:36,559 --> 01:01:38,239
Oh, I listened to more underground
bands than Slayer. All right, good

927
01:01:38,280 --> 01:01:42,119
for you. I like Slayer fuck
off, you know, and I know

928
01:01:42,239 --> 01:01:45,440
what this record is. I'm not
blinded Slayer are around who were not massively

929
01:01:45,519 --> 01:01:50,519
significant to the world creatively in their
last years. This is now a fraction

930
01:01:50,679 --> 01:01:53,079
of the people again who are involved
in those records. I'm not gonna like

931
01:01:53,440 --> 01:01:58,280
mainstream metal press this discussion by going
all Kerry King is back and he's showing

932
01:01:58,360 --> 01:02:00,360
the kids how it's done with his
best record in twenty years. You know,

933
01:02:00,440 --> 01:02:04,440
I know this record is not going
to be as relevant as the record

934
01:02:04,480 --> 01:02:06,960
we've just done, or the next
record we're going to review after this,

935
01:02:07,039 --> 01:02:10,039
etc. But I also just don't
see the need to dismiss this album because

936
01:02:10,079 --> 01:02:14,199
of that. You know, like
Slayer were really important to me up to

937
01:02:14,320 --> 01:02:16,239
the end. You know, Kerry
King, even if he's the guy who

938
01:02:16,480 --> 01:02:19,840
people want to say didn't write any
of the best player songs, which is

939
01:02:19,880 --> 01:02:21,920
another thing that people love to say. Whatever, Like, his works are

940
01:02:21,960 --> 01:02:27,840
important to me, and with a
reasonable realistic level of expectation, I'm interested

941
01:02:27,880 --> 01:02:30,079
to hear what he makes. You
know, I don't think that's so wrong.

942
01:02:30,719 --> 01:02:32,519
And you know, with all of
that in mind, I like this

943
01:02:32,639 --> 01:02:37,119
record. I think it is for
the most part, fine too, pretty

944
01:02:37,159 --> 01:02:40,800
good. In its best moments,
it's excellent, so and in the kind

945
01:02:40,840 --> 01:02:45,440
of field of you know veteran artists
at his level with those realistic expectations,

946
01:02:45,480 --> 01:02:49,239
and it's about as good about the
average as most of them tend to have.

947
01:02:51,079 --> 01:02:52,400
Yeah. I mean, like I
said, I went into this with

948
01:02:53,079 --> 01:02:57,119
the expectation of, oh, you
know, some new Kerry King songs.

949
01:02:57,440 --> 01:03:01,360
I love his work in Slayer.
I'm curious. Maybe it's the lowered expectation

950
01:03:01,400 --> 01:03:04,480
that you don't there's not much weight
around it in the same way that there

951
01:03:04,519 --> 01:03:07,719
is when you're getting a new Slayer
album. But I really enjoyed this.

952
01:03:07,199 --> 01:03:10,719
I think this is much better than
I expected it to be. Not that

953
01:03:10,760 --> 01:03:14,119
I thought it was gonna be terrible, but I've gone back to this a

954
01:03:14,199 --> 01:03:17,159
lot more than I thought I was
going to. And maybe this is mainstream

955
01:03:17,159 --> 01:03:21,679
metal pressing it, but I probably
liked this as much as anything you've done

956
01:03:21,719 --> 01:03:24,119
since God It's us All. Not
as much as that record. But I've

957
01:03:24,159 --> 01:03:29,800
put this on and I think the
batting average is certainly higher than Christ's Delusion,

958
01:03:30,679 --> 01:03:36,440
probably higher than Repentless as well.
I think this is totally up to

959
01:03:36,519 --> 01:03:39,159
the standard that I would hope a
Kerry King Solar record would be. Yeah,

960
01:03:39,159 --> 01:03:43,159
I will flip that in the kind
of sense that like I've said a

961
01:03:43,159 --> 01:03:45,880
couple times before, the obvious barometer
for this record in terms of a sister

962
01:03:45,960 --> 01:03:50,159
record that I think you creatively you
can realistically compare it to, is Repentless,

963
01:03:50,280 --> 01:03:53,719
because Repentless is the final Slayer record
that Kerry King wrote ninety percent of

964
01:03:54,079 --> 01:03:58,840
Jeff Annerman having passed away poor bost
Office on drums for that one, Dave

965
01:03:58,880 --> 01:04:00,679
Lombardo, you just left the band, and the production is quite similar between

966
01:04:00,679 --> 01:04:03,360
the two records as well, So
I think comparing it to any other record,

967
01:04:03,920 --> 01:04:06,440
even the likes of Weld Painting Blood
or whatever, I think he's just

968
01:04:06,559 --> 01:04:10,840
less accurate for those reasons, Like
Repentless is the bar it's the comparison.

969
01:04:11,519 --> 01:04:13,880
I happen to really love Repentless.
I mean, I love Worldpay of Blood

970
01:04:13,880 --> 01:04:17,079
even more. I think that's the
most underrated of that era of Slayer records.

971
01:04:17,599 --> 01:04:20,719
But I really liked Repentless, and
you know, the world was fairly

972
01:04:20,800 --> 01:04:25,440
dismissive of it at the time.
But considering the circumstances around that record,

973
01:04:25,559 --> 01:04:28,559
I think Kerry King did an excellent
job of inheriting the writing duties. I

974
01:04:28,639 --> 01:04:31,119
think it sounds great as a record. The performances from Gary and Paul and

975
01:04:31,199 --> 01:04:35,199
particularly Tom are really strong on it, and it produced a bunch of really

976
01:04:35,239 --> 01:04:38,920
catchy songs, the very best of
which I believe being the title track,

977
01:04:38,960 --> 01:04:42,599
which as the set opener all along
the final Slayers of touring for me fully

978
01:04:42,760 --> 01:04:45,480
entered like Slayer classic territory. With
all of that in mind, I don't

979
01:04:45,480 --> 01:04:48,320
think this is as good as Repentless, which if you don't give a shit

980
01:04:48,360 --> 01:04:53,400
about Repentless anyway, removes you from
engaging with this record, I imagine.

981
01:04:53,559 --> 01:04:56,239
But if you did like Repentless,
if you have any soft spot for the

982
01:04:56,320 --> 01:04:59,719
latter years of Slayer, I would
say this is a quite nice successor to

983
01:04:59,840 --> 01:05:02,000
it, I think for a solo
album, like to take it away from

984
01:05:02,079 --> 01:05:04,559
just comparing it to Slagh for a
second, for a solo album, with

985
01:05:05,519 --> 01:05:09,920
you know, all due respect.
Like an aging metal artist, I was

986
01:05:09,920 --> 01:05:12,599
surprised by how tight it was.
There was only a couple songs which I

987
01:05:12,679 --> 01:05:16,199
thought you could describe as fillourish,
and they weren't noticeably bad we embarrassing.

988
01:05:16,239 --> 01:05:18,199
I don't think krey King was ever
going to take any big swings where you

989
01:05:18,239 --> 01:05:20,920
go, what are you thinking?
That was a massive error, Like the

990
01:05:21,000 --> 01:05:26,360
worst this record is is a couple
of songs that just haven't stuck with me.

991
01:05:26,719 --> 01:05:29,639
But you know, again, he's
never going to do a big indulgent

992
01:05:29,639 --> 01:05:33,239
odyssey. But there's very little fat
here, I think. I think for

993
01:05:33,280 --> 01:05:36,639
a guy who's been away for nine
years, as we say, a lot

994
01:05:36,639 --> 01:05:41,360
of metal bands end up being a
bit more lucy goosey with the scissors as

995
01:05:41,400 --> 01:05:44,920
they get older, and here,
I think he's done a very good job

996
01:05:44,960 --> 01:05:49,440
of keeping it sharp to the point, delivering on what he promised. Yeah,

997
01:05:49,599 --> 01:05:54,800
I do agree with that. Like, compared to some sort of solo

998
01:05:54,920 --> 01:05:59,239
albums from kind of leisure of metal
artists that we've discussed recently, I don't

999
01:05:59,280 --> 01:06:02,519
think this is embarrassing and terrible,
and I didn't. It's like I can

1000
01:06:02,559 --> 01:06:08,119
see that this follows on quite nicely
from Repentless. I quite like Repuptless,

1001
01:06:08,480 --> 01:06:12,599
but I still found myself kind of
shrugging my way through this album, which

1002
01:06:12,960 --> 01:06:15,440
I don't want to give this album
a kicking because I don't think like there's

1003
01:06:15,440 --> 01:06:18,960
anything to gain from it. I
don't think it's a bad record anyway,

1004
01:06:18,960 --> 01:06:23,079
and I think like for the most
part, Kerry King can still like dude,

1005
01:06:23,119 --> 01:06:26,480
can still crank out rifts like it's
nothing and like He's I think really

1006
01:06:26,519 --> 01:06:30,559
good on this album. I just
think as a whole, I found myself

1007
01:06:30,599 --> 01:06:35,360
kind of just not really caring or
connecting with it massively. The vocals weren't

1008
01:06:35,400 --> 01:06:38,840
doing much for me. I was
kind of like, it's not much personality.

1009
01:06:40,320 --> 01:06:42,760
It didn't feel just super genuine to
me a lot of the time,

1010
01:06:44,000 --> 01:06:45,440
which was I was I was contassomone
because I was like, I wanted to

1011
01:06:45,599 --> 01:06:48,639
like this album more than I do
because I'm like, again, I don't

1012
01:06:48,679 --> 01:06:50,760
want to be the one being like, oh look at me, you know,

1013
01:06:51,280 --> 01:06:55,119
saying I don't like the new Kerry
King solo record. Look how cool

1014
01:06:55,159 --> 01:06:58,840
I am? And I'm so out
of intert of that mainstream shit. But

1015
01:06:58,960 --> 01:07:03,320
it just yeah, I just was
like, I don't think this is terrible,

1016
01:07:03,639 --> 01:07:08,159
but I would kind of farth this
in along the lines of like inoffensive

1017
01:07:08,280 --> 01:07:11,519
radio metal stuff that I don't really
care for. I think that's reasonable.

1018
01:07:11,519 --> 01:07:14,000
I would certainly say that. You
know, you say you don't want to

1019
01:07:14,000 --> 01:07:15,199
give this record a kicking, I
don't think the record deserves a kicking,

1020
01:07:15,280 --> 01:07:16,920
you know, I think there will
be a lot of people who like you

1021
01:07:17,000 --> 01:07:19,760
to sort of go. I'll probably
never listen this again. And that's that's

1022
01:07:19,800 --> 01:07:26,440
perfectly fine, you know, But
does that translate into like actively needing to

1023
01:07:26,519 --> 01:07:29,400
shit all over the terrible Kerry King
record? Like No, I think that's

1024
01:07:29,440 --> 01:07:34,480
an is like being overly harsh to
it seems performative to me, is what

1025
01:07:34,599 --> 01:07:39,159
it is, you know, and
this is Kerry King doing what he's done

1026
01:07:39,239 --> 01:07:43,239
for you know, at least like
twenty odd years. The intro track sounds

1027
01:07:43,280 --> 01:07:45,280
like, you know, the one
on Repentless in terms of how it functions.

1028
01:07:45,840 --> 01:07:48,000
And then Where Irain does what the
tatle tracker Repentless does, which is

1029
01:07:48,079 --> 01:07:51,280
kind of picks up that bat and
charges forward with it. That obviously makes

1030
01:07:51,320 --> 01:07:55,159
it very familiar. Aren't new tricks
by a long shot. I happen to

1031
01:07:55,199 --> 01:07:57,679
have an affinity for those kind of
tricks. And I think Where Orain is

1032
01:07:58,000 --> 01:08:00,119
a ripper tune, one of the
better ones on the record. And you

1033
01:08:00,159 --> 01:08:03,800
know, Elliott you mentioned, I
do think that there's a very distinct phrasing

1034
01:08:03,880 --> 01:08:06,760
to how Kerry King writes his rifts, you know, for like all of

1035
01:08:06,840 --> 01:08:12,360
how there is so much Slayer influence
in the world today carried on by bands,

1036
01:08:12,599 --> 01:08:15,359
I think there is a while there's
obviously a comfort zone that Kerry King

1037
01:08:15,399 --> 01:08:18,960
operates him. You do know it's
him. And I enjoyed hearing that again

1038
01:08:19,000 --> 01:08:24,399
and hearing those kind of riffs and
where I rain going forward that and then

1039
01:08:24,439 --> 01:08:26,720
that you know, from Hell,
I arise, right, rain fire from

1040
01:08:26,760 --> 01:08:28,960
the sky. It's like you know, metal bingo cards, but it fucking

1041
01:08:29,560 --> 01:08:31,880
it works and I like it.
You know, you've got Mark from Death

1042
01:08:31,920 --> 01:08:34,520
Angel is the vocalist on this here. We'll talk about in a moment.

1043
01:08:34,520 --> 01:08:38,920
I suppose Phil Dammill is, you
know, the guitarist and the lead guitarist,

1044
01:08:38,960 --> 01:08:43,119
and then he's got you know,
just solos are perfectly performed, really

1045
01:08:43,159 --> 01:08:48,039
good opener. Residue again are inherits
a sort of very specific mantle of Repentless

1046
01:08:48,159 --> 01:08:53,960
songs because they are Kerry King songs, which are the more deliberately paced,

1047
01:08:54,119 --> 01:08:56,800
seething groove songs. I'm thinking,
like again, if you know that record

1048
01:08:56,920 --> 01:08:59,760
very well, but songs like Cast
the First Stone or Pride in Prejudice,

1049
01:09:00,600 --> 01:09:02,800
most people have probably forgotten those songs
I have just mentioned, and I don't

1050
01:09:02,800 --> 01:09:05,039
think this is as good as those
examples, so I do get it,

1051
01:09:05,119 --> 01:09:08,800
but you know, I think it's
it's pretty cool. The breakdown part is

1052
01:09:08,840 --> 01:09:12,399
pretty rad. It's heavy. Mean, I mean that was thinking when you're

1053
01:09:12,399 --> 01:09:15,760
saying like there's a recognizabit to Kara
King drift, like a Kerry King breakdown

1054
01:09:15,840 --> 01:09:17,039
is one of you kind of go, yeah, you can really tell that,

1055
01:09:17,119 --> 01:09:19,840
And like again when kay King hits
one, you kind of go like,

1056
01:09:19,920 --> 01:09:21,920
ah, yeah, no, that
is a Kerry King breakdown. They

1057
01:09:23,000 --> 01:09:27,119
kind of groove in a different way
slightly, and that to feel school like,

1058
01:09:27,199 --> 01:09:30,319
yeah, Residue, is that that
slower, more evil kind of groover.

1059
01:09:30,640 --> 01:09:32,880
I like, I think the first
couple of songs I wasn't minding this,

1060
01:09:33,039 --> 01:09:35,319
you know. I think Idle Hands, which was the latest thing well

1061
01:09:35,479 --> 01:09:39,439
that actually in the album, I
think really quite good. Actually, the

1062
01:09:39,439 --> 01:09:42,600
Idle Hands to the Devil's Work is
like there's a you know, proper hook

1063
01:09:42,640 --> 01:09:45,199
to sing along too. I think
it's a decent sort of opening run that

1064
01:09:45,359 --> 01:09:49,079
kind of shows you what the album
is going to all be about, like

1065
01:09:49,600 --> 01:09:55,319
really fast kind of raging stuff,
slower stompya groovy stuff, big fresh hits.

1066
01:09:55,399 --> 01:09:59,359
But I think much of that is
that they ran out of steam fairly

1067
01:09:59,399 --> 01:10:01,199
quickly. For me, I can't
not even I think there's a slight dip

1068
01:10:01,279 --> 01:10:04,319
sort of in the maybe the third
quarter. I think it ends strong again.

1069
01:10:04,359 --> 01:10:09,800
I think this weird discourse that started
that Kerry King didn't write any good

1070
01:10:09,880 --> 01:10:14,319
songs. It was all Jeff like, you know once he's it's just daft,

1071
01:10:15,000 --> 01:10:17,439
yeah, And it's like, maybe
he didn't write the most iconic riffs

1072
01:10:17,760 --> 01:10:21,319
all of them. Maybe his songs
were less sort of atmospheric, which I

1073
01:10:21,359 --> 01:10:24,960
know is a big part of the
appeal with Slayer. But I think Kerry

1074
01:10:24,960 --> 01:10:27,760
doesn't get enough credit for the way
he writes vocal phrases. And I'm not

1075
01:10:27,800 --> 01:10:29,600
trying to take credit away from Mark, who I think, you know,

1076
01:10:29,640 --> 01:10:31,399
I think does a good job on
this record. But for me, one

1077
01:10:31,399 --> 01:10:33,840
of the main appeals to it,
beyond the rifts and stuff, was knowing

1078
01:10:34,600 --> 01:10:39,119
Kerry King, who knows how to
write a catchy vocal pattern are kind of

1079
01:10:39,159 --> 01:10:45,880
percussive on the money phrasing of a
lyric that I think is one of the

1080
01:10:45,880 --> 01:10:47,600
shining things across this record. And
Idle Hands you've mentioned it is one of

1081
01:10:47,600 --> 01:10:51,520
the best examples that Idle Hands do. The Devil's work that coming in on

1082
01:10:51,600 --> 01:10:57,800
the four four iff like it really
does feel like a great Slayer moment,

1083
01:10:57,840 --> 01:11:00,079
and I cherished that. One of
my favorite moments on the record comes right

1084
01:11:00,119 --> 01:11:03,880
at the end on the on the
title track, when it's from Hell I

1085
01:11:03,960 --> 01:11:09,359
watch Religion die and that riff comes
in again. It's just it's a sort

1086
01:11:09,399 --> 01:11:13,359
of thing that it's not big,
it's not clever, but Kerry King doing

1087
01:11:13,439 --> 01:11:15,680
that just there's just a place in
my in my soul for that. And

1088
01:11:15,800 --> 01:11:18,920
him doing that again, even if
it's not as good as he's done it

1089
01:11:19,000 --> 01:11:24,159
before. I kind of didn't realize
how much I missed it. Yeah,

1090
01:11:24,279 --> 01:11:29,560
I I I'm totally on the same
page in that exact same regard Mark from

1091
01:11:29,600 --> 01:11:31,319
Death Angel, you know, the
vocalist on this. I think again the

1092
01:11:31,880 --> 01:11:34,800
people sort of who are interested in
the project, but they don't want to

1093
01:11:34,880 --> 01:11:39,199
throw Kerry King any bones that go. Oh, I'm excited because Mark from

1094
01:11:39,239 --> 01:11:42,039
Death Angel, the vocalist on this, I think he does a very admirable

1095
01:11:42,159 --> 01:11:44,239
job. I do. I have
to say, my favorite bits on this

1096
01:11:44,359 --> 01:11:47,119
record are the bits where I can
basically close my eyes and detach myself enough

1097
01:11:47,159 --> 01:11:49,680
that I can imagine in my head
Tom A Ray are singing the parts,

1098
01:11:49,920 --> 01:11:54,840
because right, and that's not you
know, to do disrespect to Mark,

1099
01:11:55,319 --> 01:11:59,560
He's just he's stepping into very specific
shoes that have been molded over like thirty

1100
01:11:59,600 --> 01:12:01,279
to forty because of exactly what you're
saying about how they write, the vocal

1101
01:12:01,279 --> 01:12:05,840
phrasing and stuff like that. The
songwriting and the guitar riffs are so recognizable

1102
01:12:05,920 --> 01:12:10,239
as like you know, Slayer coded
because it's Kerry King. It's only natural

1103
01:12:10,319 --> 01:12:14,159
that you very heavily associated with Tom's
voice as well. And again, Idle

1104
01:12:14,199 --> 01:12:16,800
Hands, I think is a full
on banger, you know, like easily

1105
01:12:16,840 --> 01:12:21,199
a standout tune. It's basically if
you offered me a Kerry King record that

1106
01:12:21,239 --> 01:12:25,319
picked up where Repentless left off,
that is exactly what I want to hear

1107
01:12:25,479 --> 01:12:29,439
essentially. And that chorus where the
kind of like where do I get in

1108
01:12:29,520 --> 01:12:34,119
line into questionable divine is peak like
I can essentially fill in for myself tom

1109
01:12:34,199 --> 01:12:39,399
Ara, that chorus, you know, and it does make my heart sing,

1110
01:12:39,600 --> 01:12:42,479
you know. And the part where
you mentioned again about do the Devil's

1111
01:12:42,520 --> 01:12:45,439
work and the kind of punch comes
in exactly on that moment. It makes

1112
01:12:45,479 --> 01:12:48,119
my nod head, makes my nod
head, makes my head nod sort of

1113
01:12:48,279 --> 01:12:54,600
very you know, instinctively. And
again it is it's like so many years

1114
01:12:54,640 --> 01:12:57,640
of built up listening to Slayer.
It's like, I know, it's like,

1115
01:12:57,720 --> 01:13:00,680
yeah, you can know how they're
gonna go, but it's satisfying you

1116
01:13:00,840 --> 01:13:03,960
want them to do the thing.
That's why we love Slayer and that's why

1117
01:13:04,039 --> 01:13:08,319
I love Kerry King's writing. I
think Residue is maybe one of the songs

1118
01:13:08,319 --> 01:13:10,920
where Mark does put a bit of
his more sort of distinct delivery into it.

1119
01:13:10,960 --> 01:13:13,520
You know, there's the kind of
like just like Residue, he sounds

1120
01:13:13,560 --> 01:13:17,520
good on that. There's a bridge
part in Idle Hands as well. That

1121
01:13:17,760 --> 01:13:21,119
is kind of a key part of
what I was saying about Kerry King's like

1122
01:13:21,159 --> 01:13:24,920
distinct rift writing, because there's a
part where he does this kind of you

1123
01:13:25,000 --> 01:13:28,640
know, it's this very straight ahead
brutal thrash, but then he just like

1124
01:13:28,760 --> 01:13:30,960
puts this rift in there that's like
super eighties you know, it's super like

1125
01:13:31,039 --> 01:13:33,920
heavy metal flair in there, but
while keeping the aggression and you go,

1126
01:13:34,039 --> 01:13:38,119
yeah, like obviously, Kerry King, I think, you know, post

1127
01:13:38,319 --> 01:13:42,359
Seasons in the Abyss and then certainly
Postcard States at All, there is that

1128
01:13:42,399 --> 01:13:47,000
sort of more like again sort of
like big American outdoor festival feel to Slayer

1129
01:13:47,079 --> 01:13:51,199
rifts as opposed to like, you
know, the speed metal maniacs rifts,

1130
01:13:51,680 --> 01:13:56,079
but you can always hear that,
you know, this is a guy who

1131
01:13:56,119 --> 01:13:59,920
loves Judas Priests sort of route in
there that I do love and you don't

1132
01:14:00,039 --> 01:14:02,800
always get from, you know,
some of the later generations of thrash acts.

1133
01:14:02,840 --> 01:14:06,600
I think for me, if I
was gonna sort of talk about a

1134
01:14:06,600 --> 01:14:10,520
point where the record sort of falls
off of me, it is post idle

1135
01:14:10,560 --> 01:14:13,680
hands for a few songs. There's
a few tracks there that kind of don't

1136
01:14:13,720 --> 01:14:16,279
stand out to me. Trophies are
the Tyrant Crucifixation, which is the title

1137
01:14:16,319 --> 01:14:20,319
already used by both Day Aside and
Power Trip, and then Tension, which

1138
01:14:20,359 --> 01:14:24,039
is kind of a strange first draft
of a song. It feels like it

1139
01:14:24,079 --> 01:14:27,119
takes a whole song to build up
with, kind of an odd choice for

1140
01:14:27,199 --> 01:14:30,960
someone like Kerry King. I think
those songs fine, not massively inspired,

1141
01:14:31,159 --> 01:14:34,920
but it does then get space spiced
up for me again when Everything I Hate

1142
01:14:34,920 --> 01:14:40,000
about You comes in, which has
some of that like undisputed attitude, hardcore

1143
01:14:40,039 --> 01:14:43,800
punk type flavor coming back in,
and I like on this when you get

1144
01:14:43,840 --> 01:14:45,039
like you know, if it's all
Kerry King. It's all very slighter esque,

1145
01:14:45,079 --> 01:14:47,399
but when there's a very slight deviation
like oh shit, there's a bit

1146
01:14:47,399 --> 01:14:51,840
of that flavor rejuvenates it for me. Yeah, No, I feel it's

1147
01:14:51,880 --> 01:14:56,960
that free someone you just mentioned that. That's where I felt myself kind of

1148
01:14:56,960 --> 01:14:59,880
going like I've got nothing from this, like trophies to the Times, Like

1149
01:15:00,640 --> 01:15:02,479
this is like there's a group that
I was like, oh, this could

1150
01:15:02,560 --> 01:15:05,359
just be a like a Lamb of
God B side. It's a decent rip,

1151
01:15:05,399 --> 01:15:08,359
but it doesn't really do much.
But do you agree with what I'm

1152
01:15:08,359 --> 01:15:10,680
saying in terms of like when Everything
I Hate about You comes in and it's

1153
01:15:10,680 --> 01:15:13,279
like a one minute forty two punk
song or whatever. One of my favorite

1154
01:15:13,279 --> 01:15:15,279
songs on the record is the one
I was kind of like, does it

1155
01:15:15,600 --> 01:15:18,039
again because it's just a short punk
and I was like, you can actually

1156
01:15:18,039 --> 01:15:21,720
feel the conviction and the writing and
the attitude where like it reminded me the

1157
01:15:23,079 --> 01:15:25,800
obviously, But when we were talking
about the Corey Taylor record and there was

1158
01:15:25,840 --> 01:15:30,600
that hardcore song tacked in like kind
of like three quarters away from that,

1159
01:15:30,680 --> 01:15:33,159
and it sounded so fake and force
and all just like I don't buy it

1160
01:15:33,199 --> 01:15:36,560
for one second, like no,
actually, but because that's one who kind

1161
01:15:36,560 --> 01:15:41,560
of knows has some kind of no
on like punk and hardcore, and it

1162
01:15:42,279 --> 01:15:45,960
punches, it doesn't dilute the aggression
or anything. There is actual conviction to

1163
01:15:45,000 --> 01:15:46,800
it, and it was kind of
oh that that's got the blood pumpkin a

1164
01:15:46,800 --> 01:15:50,640
little bit again. A couple of
songs afterwards dip off again for me a

1165
01:15:50,680 --> 01:15:54,039
bit like I mean, that's it. It's kind of like good start,

1166
01:15:54,199 --> 01:15:59,079
and then the odd song after that
kind of like catches my attention, like

1167
01:15:59,159 --> 01:16:01,920
the title track to close, like
everything I hate about you, but there's

1168
01:16:01,960 --> 01:16:03,920
nothing. There's nothing I would looking
down and go like, oh you know

1169
01:16:04,000 --> 01:16:10,039
that that's terrible. Yeah, I
kind of going back to the trophies at

1170
01:16:10,039 --> 01:16:12,680
the time. And this is a
bit conspiratorial, but I know there was

1171
01:16:12,680 --> 01:16:15,600
that rumor going around that philan Selma
was going to join, and that's one

1172
01:16:15,640 --> 01:16:18,880
of the songs that sounds like you
can imagine philan Selma doing that more than

1173
01:16:18,960 --> 01:16:23,079
my I don't. Again, I'm
not saying that's what was planned, but

1174
01:16:23,159 --> 01:16:26,399
it's the only time where I think
Mark does a good tom A Riyah.

1175
01:16:26,479 --> 01:16:29,079
I don't think he does a great
Philanselmo. So when that's happening, it

1176
01:16:29,159 --> 01:16:31,880
kind of feels a bit I don't
know, sort of ill fitting crucifixation.

1177
01:16:32,079 --> 01:16:34,760
I you know, it's a bit
wandering. It doesn't make ample use of

1178
01:16:34,760 --> 01:16:39,479
its slightly longer run time. I
do again going back to the percussive vocal

1179
01:16:39,520 --> 01:16:44,199
patterns. That's the Dad the Dead
again. Kerry King has done that before,

1180
01:16:44,399 --> 01:16:45,560
but I'm just I'm a sucker for
that. I think there's a few

1181
01:16:45,600 --> 01:16:48,159
other songs on the track list that
stood out. Toxic. You know,

1182
01:16:48,279 --> 01:16:54,880
it's not the most genius song,
but I feel like Mark seems to almost

1183
01:16:54,880 --> 01:16:57,840
absorb the personality of Kerry King and
gives it the conviction the song like that

1184
01:16:57,960 --> 01:17:00,880
needs Toxic. I like the kind
of sort of odd ball raining blood type

1185
01:17:00,920 --> 01:17:04,439
intro, even though the kind of
the lyrics I just like boomer thrash folder

1186
01:17:04,520 --> 01:17:09,159
purely two fists. I was gonna
mention is it sounds a bit like anthracked

1187
01:17:09,159 --> 01:17:12,359
bizarrely at the start, but then
it really goes into its pummeling like almost

1188
01:17:12,399 --> 01:17:15,520
like New York hardcore type groove,
and I thought that was really fucking cool.

1189
01:17:15,039 --> 01:17:17,159
Yeah, Like it's it's not that, but it's a lot of fun.

1190
01:17:17,279 --> 01:17:20,720
That's another on that again, just
call my attention as like being something

1191
01:17:21,119 --> 01:17:25,720
pretty fun by just again having a
kind of maybe case that I'm like all

1192
01:17:25,720 --> 01:17:27,479
the songs that sound a bit of
hardcore, the ones that I like,

1193
01:17:27,560 --> 01:17:30,880
I really like that one actually,
but it is it is hard hitting and

1194
01:17:30,279 --> 01:17:34,560
got a lot of attitude and yeah, like there's there's a cool groove every

1195
01:17:34,600 --> 01:17:36,239
now and then on that song that
you're goin to go, oh yeah,

1196
01:17:36,279 --> 01:17:40,199
that that gets your body moving quite
naturally. Yeah, I think, you

1197
01:17:40,239 --> 01:17:43,560
know, generally this kind of thing, I'm always gonna happily go with it.

1198
01:17:43,640 --> 01:17:45,680
It's just the songs that stand out
versus the ones that are a bit

1199
01:17:45,720 --> 01:17:47,159
stock. Again, I think the
most stock ones are those sort of like

1200
01:17:47,239 --> 01:17:49,119
ones and sort of like that three
run in the middle, but I think,

1201
01:17:49,119 --> 01:17:51,560
you know, the final run I
do think is fairly strong. You

1202
01:17:51,600 --> 01:17:56,479
know. Rage has that kind of
cool traptor belt type thrash ripping, you

1203
01:17:56,479 --> 01:18:00,159
know, almost like you know,
Lamb of God contractor type thing. And

1204
01:18:00,199 --> 01:18:02,520
there's one crazy riff in there around
the two minute thirty mark that's about four

1205
01:18:02,600 --> 01:18:06,319
seconds long. Legit sounds a bit
like Pig Destroyer. It goes really hard

1206
01:18:08,159 --> 01:18:10,439
and then shrapnel at the end as
well gets like a kind of cool like

1207
01:18:10,520 --> 01:18:15,960
double bassed tank groove going Yeah,
I think you know a good you know,

1208
01:18:15,159 --> 01:18:17,720
eight to ten now of like the
what thirteen tracks or whatever it is,

1209
01:18:18,000 --> 01:18:21,800
I think are pretty damn strong.
And again I know what this is

1210
01:18:21,920 --> 01:18:26,399
like, you know. I I've
got friends who know what a Slayer obsessive

1211
01:18:26,479 --> 01:18:29,720
and latter day output apologist I am
as well, who would probably be expected

1212
01:18:29,760 --> 01:18:31,439
me to have this in like my
top twenty or something if this was a

1213
01:18:31,479 --> 01:18:36,119
Slayer album. Personally, I would
say it's easily worse than every one of

1214
01:18:36,159 --> 01:18:40,600
them, bar Diabolis and Musica,
which even then has a couple of standoutrages

1215
01:18:40,640 --> 01:18:43,039
like this one does. And there
is again, there's the odd review of

1216
01:18:43,119 --> 01:18:45,920
this out there that's like if the
best thing he's done since God hates us

1217
01:18:45,920 --> 01:18:47,880
all or fucking seasons in the Abyss
or whatever. And I, personally,

1218
01:18:47,920 --> 01:18:54,239
I don't understand that at all,
because that to me seems more like hearing

1219
01:18:54,319 --> 01:18:58,359
something with refreshed ears after some distance
and maybe pining for something a little bit

1220
01:18:58,399 --> 01:19:00,880
more because you sleep walk through the
last years of Slayer and took their records

1221
01:19:00,920 --> 01:19:04,720
for granted. Because there are elements
that made Slayer special, whether it be

1222
01:19:04,800 --> 01:19:09,199
the input of Jeff Hanneman, particularly
the star presence of tom Araya that it

1223
01:19:09,319 --> 01:19:14,039
doesn't have, and instead it is
a slightly further sanded down extension of what

1224
01:19:14,079 --> 01:19:15,560
their final album was. So that's
where I think I would put it in

1225
01:19:15,640 --> 01:19:18,960
the Slayer canon. But if you
look at all of his peer group,

1226
01:19:19,000 --> 01:19:23,119
you know, the Last Testament album, the Last Exodus, the Last Overkilled,

1227
01:19:23,119 --> 01:19:26,000
the Last Death Angel, you know, the Megadeth, most of the

1228
01:19:26,079 --> 01:19:29,039
Metallica, this is as good as
any of them. And you know,

1229
01:19:29,079 --> 01:19:30,720
I know that that's not necessarily been
a golden era for that sort of brand

1230
01:19:30,760 --> 01:19:33,479
of thrash classics, but I think
those are all, in my opinion,

1231
01:19:33,840 --> 01:19:38,560
respectable, if not in sendiary albums. And I think you know, shy

1232
01:19:38,680 --> 01:19:42,159
of the pure goal that creators seem
to put out and the very best bangers

1233
01:19:42,159 --> 01:19:44,760
on the Metallica album, you know, your lux of turners. I think,

1234
01:19:44,800 --> 01:19:46,680
you know, like idle Hands and
everything I hate about you take the

1235
01:19:46,720 --> 01:19:50,000
Pepsi challenge with just about any of
you know, actually looking at it that

1236
01:19:50,079 --> 01:19:53,199
way, I mean, you are
right, I would take this over any

1237
01:19:53,199 --> 01:19:58,680
of like the latter Megadeth albums.
Yeah, I think because there is at

1238
01:19:58,760 --> 01:20:02,399
least, you know, a respectabiliity
and like a fairly Again, there's nothing

1239
01:20:02,399 --> 01:20:04,239
on the same we're looking going to
go like, ah, you shouldn't have

1240
01:20:04,279 --> 01:20:09,479
done that, carry that that that's
made you look a bit daft and completely

1241
01:20:09,479 --> 01:20:13,079
out of touch. There's nothing.
There's nothing cringe on this album, like

1242
01:20:13,159 --> 01:20:17,680
outside of you know, stock like
lyrics that are just like all angry about

1243
01:20:17,760 --> 01:20:21,600
something. There's a little bit of
that on there, but that's about as

1244
01:20:21,680 --> 01:20:26,560
cringe as it gets. And again, isn't that every older fresh band at

1245
01:20:26,600 --> 01:20:30,199
this point, You can't really knock
this out for that. But yeah,

1246
01:20:30,359 --> 01:20:34,159
I think this is again the standards
song of this are as good as like

1247
01:20:34,520 --> 01:20:39,640
latter day fresh bands from the eighties
for the most part. Get so yeah,

1248
01:20:39,680 --> 01:20:42,479
you don't know why job there?
Yeah? I think you know,

1249
01:20:42,640 --> 01:20:46,079
talking about is it the best Kerry
King associated record since two thousand and one

1250
01:20:46,159 --> 01:20:49,439
or whatever, like I'm want to
come down hard and say it definitely is

1251
01:20:49,560 --> 01:20:55,520
or is. I think with each
of those Slayer records there's each one has

1252
01:20:55,520 --> 01:20:59,840
a kind of overriding problem. But
I sort of struggle with and maybe that's

1253
01:21:00,319 --> 01:21:03,880
sort of fogging my judgment slightly because
I listened to this, and outside of

1254
01:21:03,880 --> 01:21:08,239
a couple more Fillery tracks, I
don't really have an overriding issue, and

1255
01:21:08,359 --> 01:21:14,199
I think that's quite rare for like, again, these aging metal artists where

1256
01:21:14,520 --> 01:21:16,880
you always think, are the production's
bad or it's too flowery too, there's

1257
01:21:16,920 --> 01:21:21,159
way too many songs or the performances
to start there. And you know,

1258
01:21:21,319 --> 01:21:25,439
Kerry King, he only had to
answer to himself this time, and he

1259
01:21:25,560 --> 01:21:31,199
sounds fired up and motivated and energized, and I just like the sound of

1260
01:21:31,239 --> 01:21:35,119
that. Next up we go to
maybe one of the more sort of the

1261
01:21:35,840 --> 01:21:40,760
current examples of what could be a
you know, really big metal release.

1262
01:21:41,039 --> 01:21:44,920
It comes from Gate Creeper. The
record is Dark Superstition, and there has

1263
01:21:45,000 --> 01:21:46,439
been quite a lot of eyes on
this Gate Creeper album. I think,

1264
01:21:46,479 --> 01:21:49,880
like in general, Gate Creeper have
been almost slow and steadying it when it

1265
01:21:49,960 --> 01:21:53,000
comes to like the death metal race, you know, because they've been doing

1266
01:21:53,039 --> 01:21:55,680
it for like a decade. Like
I really like their Deabuy Adamson or in

1267
01:21:55,720 --> 01:21:59,279
Deprivation when that came out. But
while they've always been made one of the

1268
01:21:59,319 --> 01:22:01,880
first few names you mentioned when it
comes to like active crop of death metal

1269
01:22:01,920 --> 01:22:06,119
bands, they've never necessarily been the
most absolute, like acclaimed one. I

1270
01:22:06,159 --> 01:22:12,159
remember when they did that Unexpected Reality
EP in twenty ny one with the two

1271
01:22:12,279 --> 01:22:14,880
sides that one was grind and one
was like full doom. I remember there

1272
01:22:14,920 --> 01:22:16,439
was sort of like a renewed level
of buzz around them because it was actually

1273
01:22:16,479 --> 01:22:18,279
like, you know, hey,
this band are actually like capable of like

1274
01:22:18,399 --> 01:22:23,319
quite a lot. But ever since
I saw them alive at Bloodstock last year

1275
01:22:23,399 --> 01:22:27,439
and they played certain tracks off of
this album, I remember thinking, Huh,

1276
01:22:27,520 --> 01:22:30,720
I'm actually like quite excited for the
Gatecreeper record in a way that I

1277
01:22:30,880 --> 01:22:33,880
wasn't necessarily expecting. I don't know
if you guys have the same feelings about

1278
01:22:33,880 --> 01:22:39,279
this record as me, but this
album makes me feel like the warmest things

1279
01:22:39,640 --> 01:22:44,079
in a way, I am so
happy to have materialized. So I'm not,

1280
01:22:44,239 --> 01:22:46,840
you know, the mellow deaf love
out of the bunch, but I've

1281
01:22:46,960 --> 01:22:50,640
kind of been really here for this
twenty twenty four melow Death revival thing that's

1282
01:22:50,680 --> 01:22:57,239
going on with these so younger bands
doing it. This album makes me feel

1283
01:22:57,279 --> 01:22:59,880
like like I could take on the
whole world. This is this is my

1284
01:23:00,000 --> 01:23:02,720
my favorite thing Gatekeeper have done by
such a long way that shift of Melow

1285
01:23:02,720 --> 01:23:06,880
Death has been like it's unlocked of
magic in them that like they are ristal

1286
01:23:06,960 --> 01:23:10,600
this and made me pull the way
like Parkway Drive and shit like that does

1287
01:23:10,680 --> 01:23:14,119
and just gave me pumped up and
make you more like fight everyone. I

1288
01:23:14,159 --> 01:23:16,159
mean, Gate Creeper. You're exactly
right about them being slow and steady,

1289
01:23:16,199 --> 01:23:19,600
because they don't really have a standout
thing where you go, oh that they're

1290
01:23:19,640 --> 01:23:23,920
the something banned do I mean the
way that Blood Incantation do or Pissed Grave

1291
01:23:24,119 --> 01:23:27,159
or even two Mold or whatever.
They've just sort of slowly gotten better.

1292
01:23:27,600 --> 01:23:30,479
And you could either look at this
in a sort of the marketing way or

1293
01:23:30,560 --> 01:23:35,960
just how it makes me feel.
But they've really plugged the gap because that

1294
01:23:36,119 --> 01:23:43,199
kind of red blooded metal, which
I mean, there's loads of great stuff

1295
01:23:43,199 --> 01:23:45,520
happening in the underground, the stuff
that sounds big league. It's been a

1296
01:23:45,600 --> 01:23:48,279
while since an album of that kind
that's kind of captured my imagination, and

1297
01:23:48,399 --> 01:23:50,800
you know, Melo Death is exactly
right. But I would even extend it

1298
01:23:50,840 --> 01:23:55,439
to things like it's been a long
time since I've loved the Machine Head record

1299
01:23:55,880 --> 01:23:59,760
or Lamb of God haven't put out
a brilliant album in fifteen years, been

1300
01:24:00,079 --> 01:24:03,359
over decades since the last brilliant kill
Switch record for my money, and you

1301
01:24:03,399 --> 01:24:06,279
know, we need Not in Flames
kind of came back in a way,

1302
01:24:06,399 --> 01:24:11,560
but not really. I'm just not
all that king. Lot of the bands

1303
01:24:11,600 --> 01:24:16,239
that ape them gate creeper on this
record, and I honestly wasn't expecting it.

1304
01:24:17,279 --> 01:24:21,640
They've by injecting some big melodies,
writing some instantly identifiable riffs, and

1305
01:24:23,279 --> 01:24:27,960
some more kind of coherent song structures. They're scratching an itch that I kind

1306
01:24:28,000 --> 01:24:32,640
of forgot I wanted scratched hasn't been
for a while. I'm so grateful that

1307
01:24:32,760 --> 01:24:36,520
someone's doing it. This album is
quite a rare thing to me in that

1308
01:24:36,640 --> 01:24:41,199
I feel like it's the first thing
we've had in a while which I would

1309
01:24:41,199 --> 01:24:45,920
describe as like a blockbuster death metal
album, because like death metal as a

1310
01:24:45,000 --> 01:24:48,279
genre, inherently it's pretty underground,
and most of the records that have come

1311
01:24:48,319 --> 01:24:53,119
out in recent years that really get
acclaimed are sort of like modern classics,

1312
01:24:53,319 --> 01:24:55,760
are slightly more challenging, which again
does tend to be the stuff I sort

1313
01:24:55,760 --> 01:24:58,479
of prefer, you know, blood, plantation, spectral voice, et cetera.

1314
01:24:59,159 --> 01:25:02,680
Yeah, but there was a time
in the nineties when record like Covenant,

1315
01:25:02,880 --> 01:25:08,479
you know, and then threw to
Slaughter with the Soul and Clayman were

1316
01:25:08,560 --> 01:25:12,640
like actual legit big metal records that
had a certain populism to them even though

1317
01:25:12,640 --> 01:25:15,119
they were undeniably death metal. And
you know, I'm thinking about, you

1318
01:25:15,199 --> 01:25:17,840
know, the era of kind of
headbangers ball music videos, which Gate Creeper

1319
01:25:17,880 --> 01:25:20,399
have sort of lovingly tried to recreate
with some of their own image here and

1320
01:25:20,520 --> 01:25:24,840
you know, Morbid Angel and Death
and so on would have like music videos

1321
01:25:24,840 --> 01:25:29,000
on TV and the song sounded good
there. If this Gate Creeper album with

1322
01:25:29,159 --> 01:25:30,560
these songs had come out in the
mid nineties, it would have sold by

1323
01:25:30,560 --> 01:25:33,800
the truckload. And like, I
can't even tell you how much this is

1324
01:25:33,840 --> 01:25:36,399
the best Gate Creeper record. Like
it reminds me of a weird way of

1325
01:25:36,479 --> 01:25:40,439
the last year's Green Lung album,
just in the way that, like Green

1326
01:25:40,520 --> 01:25:44,399
Lung had two albums under the belt
that they were already fairly good in the

1327
01:25:44,479 --> 01:25:46,319
kind of thing they were doing,
but the third one just brought this like

1328
01:25:46,560 --> 01:25:51,800
zest and this magic that made the
songs just feel way fucking bigger and the

1329
01:25:51,920 --> 01:25:55,880
warmth that we kind of spoke about
them with Skyrocketed as a result. I

1330
01:25:56,039 --> 01:25:59,279
liked Gate Creeper before this. I
remember reviewing their twenty nineteen album pretty positively

1331
01:25:59,319 --> 01:26:00,600
on this podcast, and I don't
want to down those records because I still

1332
01:26:00,600 --> 01:26:03,760
think they are good. But this
album's existence is one of those cases where

1333
01:26:03,760 --> 01:26:09,119
you now think about those records smaller
in hindsight, and you are right are

1334
01:26:09,119 --> 01:26:12,479
going to you both said twenty twenty
four is turning out to be the year

1335
01:26:12,520 --> 01:26:14,960
that Melodeth came back with a vengeance. You know, we've already heard it

1336
01:26:15,000 --> 01:26:16,640
with the apon Stone album, which
we all liked very much, but that

1337
01:26:16,800 --> 01:26:21,319
to me sounds like a bunch of
hardcore kids kind of lovingly evoking something in

1338
01:26:21,399 --> 01:26:26,279
a sort of scrappy way. This
Gay Creeper album just sounds like they are

1339
01:26:26,319 --> 01:26:29,760
the fucking business with it, you
know, like the way Dead Star boots

1340
01:26:29,800 --> 01:26:34,439
off this record in the very first
seconds with again a riff that is straight

1341
01:26:34,560 --> 01:26:38,399
up of the tier of how in
Flames would start their records in the mid

1342
01:26:38,479 --> 01:26:43,640
nineties with just like the most brilliant, stirring melody that immediately sucks you in,

1343
01:26:43,960 --> 01:26:47,640
and that is a legit fucking song, you know, like the way

1344
01:26:48,079 --> 01:26:51,359
the rifts progress. You've got the
meaner, more Stockholm inspired riffs in the

1345
01:26:51,439 --> 01:26:56,159
verses, but it gives way to
a proper death metal chorus it. You

1346
01:26:56,199 --> 01:26:58,960
know, it's like death metal to
be played on big stages. It feels

1347
01:26:59,399 --> 01:27:03,399
so fucking looking good and so confident
in its size and scope. That's it

1348
01:27:03,560 --> 01:27:08,279
is, like I again, like
just because asking the games member was that

1349
01:27:08,479 --> 01:27:11,640
was that ep where it was like
grind and doom. So I wasn't expecting

1350
01:27:11,800 --> 01:27:15,399
Gabble to go so blockbuster, but
they fit it so naturally. It feels

1351
01:27:15,439 --> 01:27:23,279
like they've been like destined to just
make big festival stage metal music and they

1352
01:27:23,680 --> 01:27:28,039
think and again that opening on Dead
Star it is huge. You've got this

1353
01:27:28,319 --> 01:27:32,680
big, stomping, lumbering rift,
but you've got these melodies that like color

1354
01:27:32,720 --> 01:27:39,159
it and just make it so uplifting
and just invigorating. The opening rift on

1355
01:27:39,319 --> 01:27:41,319
the Black Curtain is the one for
me. That why I just kind of

1356
01:27:41,359 --> 01:27:44,640
went, oh my god, how
bands again just not doing these rifts all

1357
01:27:44,680 --> 01:27:48,720
the time. There's magic to it. There's so many moments like that on

1358
01:27:48,800 --> 01:27:51,319
the record. Going back to Dead
Stark with you, it almost sounds like

1359
01:27:51,439 --> 01:27:56,640
only for the week, but with
a bit of a hardcore energy to it.

1360
01:27:56,960 --> 01:28:01,439
It just it crunches in the most
satisfying way and oblivion almost like a

1361
01:28:01,520 --> 01:28:04,880
mono math makes me sick of it
all, Like it's just got these insane

1362
01:28:05,039 --> 01:28:09,399
two step parts, but the main
riff could be off once sent from the

1363
01:28:09,439 --> 01:28:13,079
Golden Hall, and it's such an
exciting and world combination of things. And

1364
01:28:13,720 --> 01:28:16,479
to be honest, as much as
I liked Caught in the Treads, which

1365
01:28:16,520 --> 01:28:19,680
we'll get to, when The Black
Curtain came out as a single and I

1366
01:28:19,800 --> 01:28:23,039
wasn't gonna listen to it, and
so I think I think it was you

1367
01:28:23,159 --> 01:28:28,279
parents saying like, oh, it
sounds like Paradise Lost, what how?

1368
01:28:29,520 --> 01:28:34,079
And not even fucking like Gothic or
lost Paradise, Paradise Lost full draconian times

1369
01:28:34,800 --> 01:28:41,680
and it just sounds incredible. It's
so catchy that that peeled back the Black

1370
01:28:41,720 --> 01:28:45,560
Curtain say my Name, Tear through
the Veil is almost wrestle metal. But

1371
01:28:45,640 --> 01:28:49,680
I think it's because so much like
aggressive metal, it's kind of maybe reluctant

1372
01:28:49,680 --> 01:28:54,079
to be that chest puffy and gay
creep. I just listened to that song

1373
01:28:54,119 --> 01:28:55,880
and think, how are they going
to slot this into a set? It

1374
01:28:56,000 --> 01:29:00,479
just sounds so much more magnificent than
anything they've done before this. Yeah,

1375
01:29:00,920 --> 01:29:04,199
Dead Star, I mean it's a
shame it's not a cover of the Mew

1376
01:29:04,319 --> 01:29:08,520
song, which weirdly is one of
the best new songs. And I can

1377
01:29:08,560 --> 01:29:12,840
actually hear that riff working really well
in like a definite context. But it's

1378
01:29:12,880 --> 01:29:16,640
amazing the first riff in Oblivion,
like again, how it kind of slips

1379
01:29:16,640 --> 01:29:21,399
into those punky d beats. That's
really like Stockholm death Metal ninety ninety one.

1380
01:29:21,520 --> 01:29:25,680
There's a bit of a death metal
like tor element to this record where

1381
01:29:25,720 --> 01:29:30,279
they draw together the different bits of
heritage is like Stockholm, Gothenburg, Florida

1382
01:29:30,079 --> 01:29:34,920
on that again, the melody side, superstitious vision. The main riff is

1383
01:29:35,039 --> 01:29:39,600
just like genuinely anthemic and it rocks. Yeah, it's like you want to

1384
01:29:39,640 --> 01:29:42,399
punch the air to that. And
as well as that, like nineties blockbuster

1385
01:29:42,479 --> 01:29:45,199
death metal era, there was also
you know, the early two thousands when

1386
01:29:45,239 --> 01:29:47,920
bands like Art Jenemy were really significant. And you know, while we have

1387
01:29:48,039 --> 01:29:51,119
so much death metal right now that
is buzzy and popular, it's very rare

1388
01:29:51,159 --> 01:29:55,640
that a band cut through to evoke
that kind of like you know, again,

1389
01:29:56,600 --> 01:29:59,760
slightly higher ambition in terms of like
what they're aiming to to really get

1390
01:29:59,800 --> 01:30:02,119
a ross and I really love that
in this And they apparently worked in the

1391
01:30:03,159 --> 01:30:08,520
kind of pre production stage of this
record with fred Etesby from Dismember on this

1392
01:30:08,680 --> 01:30:11,479
record, which is maybe what you
could sort of attribute part of the step

1393
01:30:11,560 --> 01:30:15,079
up too and some of it again
that Swedish melody or whatever. I'd exactly

1394
01:30:15,359 --> 01:30:16,960
you know, I'd be curious to
know kind of what exactly he contributed in

1395
01:30:17,079 --> 01:30:20,079
terms of the you know, the
very classic Swedish death metal lot of this

1396
01:30:20,159 --> 01:30:24,119
record is. And you know,
you could maybe say that this record is

1397
01:30:24,199 --> 01:30:26,079
just kind of an air to dis
member in that sense. You know,

1398
01:30:26,199 --> 01:30:30,000
it's massive killing capacity for the modern
era. But the way they've applied that

1399
01:30:30,079 --> 01:30:33,399
flavor to these other principles I think
is what brings out Again. It's like

1400
01:30:33,439 --> 01:30:38,039
they are trying to write the biggest, most universally classic death metal songs that

1401
01:30:38,079 --> 01:30:41,600
they can feasibly write. And the
Black Curtain I cannot fucking get over.

1402
01:30:42,000 --> 01:30:45,479
That is the gate creeper song they
have written for me, because as well

1403
01:30:45,479 --> 01:30:48,600
as Stockholm death metal and as well
as Gothenburg melodic death metal, they take

1404
01:30:48,640 --> 01:30:53,399
a trip to Yorkshire there, and
you know, we were saying a while

1405
01:30:53,399 --> 01:30:56,119
ago how fucking cool it is to
add Paradise Loss to the list of bands

1406
01:30:56,159 --> 01:30:59,920
that death metal loving hardcore kids could
maybe get into after boltfur and in two,

1407
01:31:00,640 --> 01:31:02,600
I am in awe at how well
they pulled that off. Like,

1408
01:31:02,800 --> 01:31:06,239
I won't say it is as good
as anything that Paradise Lost have made in

1409
01:31:06,279 --> 01:31:09,880
recent years, because Paradise Lost are
actually one of the bands who are like

1410
01:31:09,960 --> 01:31:12,399
still at the top of their game, and their last record is like as

1411
01:31:12,439 --> 01:31:15,399
good as basically anything they've ever done. But considering how often a Paradise Lost

1412
01:31:15,439 --> 01:31:17,800
track will still end up being one
of my favorites of the year, the

1413
01:31:17,880 --> 01:31:23,560
Black Curtain is like totally worthy and
of that quality. The main guitar riff,

1414
01:31:24,000 --> 01:31:26,800
and you know, I can practically
hear fucking nic Home singing over it.

1415
01:31:26,960 --> 01:31:30,479
But that steady, steady, like
four to four groove that comes into

1416
01:31:30,479 --> 01:31:34,159
it, with that emotive, doomy
core progression, that stuff is just so

1417
01:31:34,520 --> 01:31:40,600
my shit. Like I love those
elements so much. When you can make

1418
01:31:40,920 --> 01:31:44,760
what feels like a hit song out
of those like gloomy elements, it's one

1419
01:31:44,760 --> 01:31:47,600
of my favorite things in the world. And the chorus when that doomy peace

1420
01:31:47,600 --> 01:31:55,600
still lead line the dim comes and
like moves under chases vocal delivery. It's

1421
01:31:55,720 --> 01:32:00,279
fucking exquisite. I think this might
be the thing that unlocks Paradise Lost for

1422
01:32:00,359 --> 01:32:03,680
me at this point, because I
mean, like, like so good that

1423
01:32:03,880 --> 01:32:08,920
and super Dis's visions. I was
like, like this is made to like

1424
01:32:09,239 --> 01:32:14,279
get Bloodstock festival bouncing up and down
and just headbanging like mad. It's it's

1425
01:32:14,359 --> 01:32:17,920
like the level of like anthemic songwriting. I'm just like they're so they seem

1426
01:32:17,920 --> 01:32:23,000
to fit so natural it whilst again
having this kind of doomed quality to it

1427
01:32:23,119 --> 01:32:26,159
that that still feels you can kind
of link that back to some of their

1428
01:32:26,239 --> 01:32:29,079
past. They've not like completely a
band of whether before. They've just gone,

1429
01:32:29,159 --> 01:32:32,479
how can we make this sound blockbuster? And it's just gonna like draw

1430
01:32:32,560 --> 01:32:36,760
on Paradise Lost or or any like
Arch Enemy anything like that, And it

1431
01:32:36,920 --> 01:32:44,720
just it's happened to so naturally create
sound that just just sounds good to listen

1432
01:32:44,800 --> 01:32:46,720
to. It. It just it
just let everyone put this album on and

1433
01:32:46,800 --> 01:32:49,840
they never expected to get something from
a gay keep record but just just lifts

1434
01:32:49,920 --> 01:32:54,079
my spirits. Like it's like crazy
that they've done this. Yeah, and

1435
01:32:54,239 --> 01:32:57,399
you know it, there is certainly
a case of sort of spot of the

1436
01:32:57,439 --> 01:32:59,880
influence. It's not shy about that, but I think it's one of those

1437
01:33:00,159 --> 01:33:02,720
where like if you are death metal
literate, shall we say, it's really

1438
01:33:02,840 --> 01:33:08,479
fun hearing and recognizing the different place
they brought together and there's there's classic amorphis

1439
01:33:08,840 --> 01:33:12,800
in there, a chilling aura,
has this really like terminal spirit disease era

1440
01:33:12,920 --> 01:33:15,960
at the gates of brittle quality that
feels like it's going to like freeze the

1441
01:33:15,000 --> 01:33:20,479
tips of your fingers off with yeah, and the pacing of the record takes

1442
01:33:20,520 --> 01:33:24,840
you to kind of a different place
within the broad church that is death metally

1443
01:33:24,960 --> 01:33:28,880
like Masterpiece of Chaos is even just
like the way that song rolls off the

1444
01:33:28,960 --> 01:33:30,159
tongue, you know it's going to
be like a twisted one. And again

1445
01:33:30,239 --> 01:33:32,239
the intro is a bit of peace
Villa in there, but it's more like

1446
01:33:32,520 --> 01:33:36,960
they've taken that back to those bands
earlier, more nightmarest records as opposed to

1447
01:33:38,000 --> 01:33:41,000
more commercial ones that you have on
the Black Curtain. And it's as a

1448
01:33:41,079 --> 01:33:45,920
track list it was never allowed to
get boring for me. M yeah,

1449
01:33:45,000 --> 01:33:48,840
because I mean I kind of I
would have been happy with the stuff they

1450
01:33:48,840 --> 01:33:50,720
were doing on Dead Start and Blue
and if they did an album of that.

1451
01:33:51,039 --> 01:33:55,720
It's been so long since I've had
stuff of that type and of that

1452
01:33:55,920 --> 01:33:59,159
quality that they could have wrote up
on that. But, like you say,

1453
01:33:59,840 --> 01:34:03,000
just this kind of tour de force
of then going into Paradise Lost and

1454
01:34:03,600 --> 01:34:08,199
into the sort of overlooked out the
Gates stuff, and then closing on Tears

1455
01:34:08,359 --> 01:34:12,399
Fall from the Sky, that out
and out kind of mournful doom metal,

1456
01:34:12,640 --> 01:34:16,479
which again it's like you've already taken
a swing on this record and several and

1457
01:34:16,560 --> 01:34:19,960
then your greatest swing comes at the
end, and it's that much of a

1458
01:34:20,039 --> 01:34:23,960
hit. I think that might not
even be the weirdest part of the record

1459
01:34:23,960 --> 01:34:29,039
for me, because the way they
started doing this like desert goth death metal,

1460
01:34:29,479 --> 01:34:32,720
it's like so cools the direction a
fucking Swedish style death metal band from

1461
01:34:32,760 --> 01:34:38,079
Arizona who are also doffing the cap
to him and the Sisters of Mercy.

1462
01:34:38,319 --> 01:34:42,640
The way they do on the Flesh
Habit, fucking wild lush bass sounds on

1463
01:34:42,720 --> 01:34:45,880
that line, Yeah, and that's
not me reaching You can hear that in

1464
01:34:45,000 --> 01:34:47,079
that song, and I wouldn't be
surpribed that as like, you know,

1465
01:34:47,199 --> 01:34:49,520
Edge of Sanity influence in there as
well, but like I mean, fucking

1466
01:34:49,560 --> 01:34:54,479
superstitious. Vision has got this cowbell
break under that, like sludgy death and

1467
01:34:54,560 --> 01:34:56,680
roll riff, and it's like,
yeah, fucking go on, like let's

1468
01:34:56,680 --> 01:34:59,840
go for this death metal that loves
to rock, you know, and Chasers

1469
01:35:00,039 --> 01:35:03,920
connunciation is very raw and powerful,
but totally like the track Tears Fromthan's Guy,

1470
01:35:04,359 --> 01:35:08,039
I never saw that coming from Gate
Crooper, who, like again I

1471
01:35:08,119 --> 01:35:11,279
once associated with essentially HM two pedals
and kind of hardcore, you know,

1472
01:35:11,359 --> 01:35:14,359
inspired death metal. One of my
absolute favorite bands of all time are I

1473
01:35:14,439 --> 01:35:18,039
Die Bride and the sorrowful melodies all
over that song. It almost feels like

1474
01:35:18,079 --> 01:35:23,079
there's a it's almost like a direct
rearrangement of the song Seeer Me and the

1475
01:35:23,159 --> 01:35:27,520
kind of timeless melodies that you have
in that track, And the most famous

1476
01:35:27,520 --> 01:35:30,079
form of that track is maybe the
piano version that opens turn loose the Swans

1477
01:35:30,359 --> 01:35:34,680
and hearing those kind of flavors,
you know, reinterpreted from death tone into

1478
01:35:34,760 --> 01:35:39,359
piano as my dyn Bride did,
and then back into a more modern type

1479
01:35:39,399 --> 01:35:42,159
of death metal as Gate Group are
done. Here. It just makes me

1480
01:35:42,359 --> 01:35:45,359
very happy. I mean, I
love that songs closer, and I think

1481
01:35:45,399 --> 01:35:48,720
like one of the read is most
of them songs are so compact and so

1482
01:35:48,920 --> 01:35:54,680
kind of like tightly packages being me
leitely punchy. So when they do really

1483
01:35:54,800 --> 01:35:58,279
kind of like expand out in the
song and have this like longer form like

1484
01:35:58,600 --> 01:36:00,960
certingly something that's over form and it's
long on the record like this really like

1485
01:36:01,159 --> 01:36:06,199
sorrowful doomy song again just stands up
more as a completely different flavor they hadn't

1486
01:36:06,239 --> 01:36:11,119
tapped into it. And again coming
off the back of Mistakes Mistaken for Dead,

1487
01:36:11,159 --> 01:36:14,800
which is just the shortest, like
most violent song on the record,

1488
01:36:15,319 --> 01:36:19,159
that that push and Paul and just
the way each song has its own really

1489
01:36:19,239 --> 01:36:23,159
distinct character, and again you can
sort of say that as a tour of

1490
01:36:23,199 --> 01:36:25,880
all of death metal, I just
think it just sort of shows that like

1491
01:36:26,000 --> 01:36:29,079
they're they're wanting the songs to sort
of stand up by themselves, so you

1492
01:36:29,119 --> 01:36:32,039
can't really see any song as interchangeable, and it just keeps the album really

1493
01:36:32,840 --> 01:36:35,479
constantly engaging, where I never feel
like I'm just kind of like, ah,

1494
01:36:35,720 --> 01:36:38,720
that's an album track, I can
just skip. I don't need that

1495
01:36:38,840 --> 01:36:43,079
every song to me here stands out
in some way or another. Yes,

1496
01:36:43,319 --> 01:36:45,199
it's funny you're saying that. Parently
you were going to Green Long earlier,

1497
01:36:45,199 --> 01:36:48,159
because that was one of the things
we all said about that record is that

1498
01:36:48,239 --> 01:36:51,800
each song had a distinct identity that
couldn't be swapped out for another, that

1499
01:36:51,840 --> 01:36:57,680
therefore none of them felt like filler
and putting this record on that whole playlist

1500
01:36:57,720 --> 01:37:00,439
thing that people often criticize records for. I look at this and just think,

1501
01:37:00,720 --> 01:37:01,520
if I don't listen to the whole
thing, what am I in the

1502
01:37:01,560 --> 01:37:04,800
mood for. Do I want sort
of euro festival metal I can get it

1503
01:37:04,880 --> 01:37:10,279
here? Do I want mournful stuff
from Yorkshire that's here too. Do I

1504
01:37:10,359 --> 01:37:13,720
want like the kind of stuff that
Gate Creeper were doing before. There's that

1505
01:37:13,800 --> 01:37:16,239
as well, and some of the
best they've ever done it. And you

1506
01:37:16,319 --> 01:37:19,279
know, say, with a lot
of trends where you know, everything comes

1507
01:37:19,319 --> 01:37:24,880
with a response, and you know
it always seems to come across along at

1508
01:37:24,920 --> 01:37:27,520
the right time. You know,
in the mid twenty tens, early twenty

1509
01:37:27,600 --> 01:37:30,840
tens, a lot of popular death
metal was very clean, very precise,

1510
01:37:30,000 --> 01:37:34,279
very technical. Then we've had this
kind of wave of filth that we've been

1511
01:37:34,359 --> 01:37:39,960
enjoying. I kind of would like
to see a bit more melody in there,

1512
01:37:40,119 --> 01:37:44,720
because you know these bands, when
you hear the Rift of Swim coming

1513
01:37:44,800 --> 01:37:48,680
in on clay Man, it feels
incredible for a reason. And if we

1514
01:37:48,760 --> 01:37:56,079
could kind of partner that with the
hardcore, filthy down in the in the

1515
01:37:56,439 --> 01:38:01,159
filth stuff that's just like perfecffect metal. And then Caught in the Treads is

1516
01:38:01,159 --> 01:38:03,159
about as good as any cluss at
this member zone, you know what I

1517
01:38:03,239 --> 01:38:08,600
mean, it's fucking I'll court in
the Treads is huge months the main riff

1518
01:38:08,840 --> 01:38:14,640
and that you know, slamming anvil
drum beat has that pure fist pounding festival

1519
01:38:14,720 --> 01:38:16,800
power. If you are wanting death
Metals songs that you can shout along to,

1520
01:38:16,840 --> 01:38:19,039
you know, like again you got
to think about by one shout on

1521
01:38:19,159 --> 01:38:24,479
that is like you've got to think
about like a central hook that will catch

1522
01:38:24,520 --> 01:38:27,760
the ear of like any random metal
family listens to it, whether they have

1523
01:38:27,880 --> 01:38:30,119
the reference points through all these various
touchtones or not. And every time that

1524
01:38:30,199 --> 01:38:33,640
tankers On one by one comes in, I get really fucking excited because it's

1525
01:38:33,680 --> 01:38:38,079
just so huge and like thirteen year
old me would have fucking loved that,

1526
01:38:38,279 --> 01:38:43,159
And you know, it's this record
has spoken to many things that I love

1527
01:38:43,640 --> 01:38:45,479
and are close to my heart in
a way that feels like it's kind of

1528
01:38:45,560 --> 01:38:49,720
reinterpreting them for like a modern death
metal audience. You know, like there

1529
01:38:49,840 --> 01:38:55,039
is so much old school inspired sort
of death metal around today. It is

1530
01:38:55,079 --> 01:38:58,319
an ear of real kind of overcrowding
for it, and I think you really

1531
01:38:58,399 --> 01:39:00,359
need to be special to kind of
stand up the crowd, and a lot

1532
01:39:00,359 --> 01:39:02,079
of death metal is kind of divided
as a result. You know, there

1533
01:39:02,119 --> 01:39:03,880
are people who just sort of fold
their arms any more, sort of like

1534
01:39:03,920 --> 01:39:08,199
hard correridjation and stuff or whatever.
But again, I'm confident that in another

1535
01:39:08,239 --> 01:39:13,199
era this record would have just fucking
slam dunked it because the songs are fantastic.

1536
01:39:13,239 --> 01:39:14,880
I mean, maybe I'm alone here, but this has ended up being

1537
01:39:15,000 --> 01:39:17,760
like probably my favorite record that's come
out this month, and compared to historically

1538
01:39:18,119 --> 01:39:20,840
how much I've liked Gatecreeper Versus like
a lot of the other bands we are

1539
01:39:20,880 --> 01:39:25,279
reviewing, that's a real fucking feet
and a real like coup for Gay River

1540
01:39:25,359 --> 01:39:28,920
this time. No, it's absolutely
up there with me as well as just

1541
01:39:29,039 --> 01:39:31,760
like one of the real standouts.
And I quite liked Gay Creep before that.

1542
01:39:31,800 --> 01:39:34,359
Again, of the modern death metal
bands because they there has been more

1543
01:39:34,359 --> 01:39:38,159
hard coread Jason, I guess as
well that I kind of found them a

1544
01:39:38,199 --> 01:39:41,760
bit easier to get into. This
is just them. This is just such

1545
01:39:41,800 --> 01:39:45,600
a level up moment of like I
would recommend this album to people who don't

1546
01:39:45,720 --> 01:39:47,239
like death metal almost because I'm like, no, if you like metal,

1547
01:39:47,600 --> 01:39:49,960
do you like big metal, do
you like Kilters and Gay's, Lamb of

1548
01:39:50,000 --> 01:39:54,760
God, any of those bands,
get on this because this is like Parkway

1549
01:39:54,840 --> 01:40:00,319
Drive fans, if you like the
Laddee Parkway Drive albums, songs like uh

1550
01:40:00,560 --> 01:40:08,840
like the Black Curtain and the stipilin
Vision, they are so in line with

1551
01:40:09,000 --> 01:40:14,159
that kind of like stuff on reverence
and that kind of like big bouncing metodiff

1552
01:40:14,159 --> 01:40:17,840
influence metalcore. It's just that,
but just a bit harder edged and it

1553
01:40:17,920 --> 01:40:21,119
feels I'm like, this needs,
this needs to be heard by more people

1554
01:40:21,119 --> 01:40:25,439
and take Gay Groeper up. That's
our next level. I think this is

1555
01:40:25,760 --> 01:40:29,239
almost I mean, I think it
is my favorite thing we're talking about this

1556
01:40:29,319 --> 01:40:32,439
month, because, like I said
earlier, it's a thing that not only

1557
01:40:32,520 --> 01:40:36,399
did. I kind of almost get
to the point of expecting for that it's

1558
01:40:36,439 --> 01:40:40,880
to never be scratched again. But
I certainly think things gonna be Gate Creeper

1559
01:40:41,079 --> 01:40:44,479
that came along and did it well. I get so excited about a huge,

1560
01:40:44,880 --> 01:40:50,199
melodic, kind of festival metal record, and yet still in touch with

1561
01:40:50,279 --> 01:40:54,520
the things that made gate Creeper exciting
and interesting in the first place. It

1562
01:40:55,159 --> 01:40:59,760
the amount they've stepped up is kind
of hard to get my head around.

1563
01:41:00,079 --> 01:41:01,560
I've listened to this track like a
dozen times. I still don't quite understand

1564
01:41:01,560 --> 01:41:04,720
how much better it is there were
they were than where they were even recently.

1565
01:41:06,199 --> 01:41:10,199
You know, like you're saying,
like Parkway Drive, kill Switch,

1566
01:41:10,319 --> 01:41:12,880
Lamb of God, all of those
bands. I think we can kind of

1567
01:41:13,000 --> 01:41:16,039
say that for most of their best
work is likely behind them. You know,

1568
01:41:16,239 --> 01:41:18,880
I don't want to be would be
downer, but it's likely true.

1569
01:41:20,520 --> 01:41:26,439
Gate Creeper. I've gone from being
kind of not by any means ambivalent but

1570
01:41:26,640 --> 01:41:30,159
thinking they were good to just going, how are they fucking halfway down on

1571
01:41:30,560 --> 01:41:38,520
the Damnation lineup? This should be
four offane? Ah? Yeah. Again,

1572
01:41:38,560 --> 01:41:40,479
it went from a battles Oh,
they'd be quite cool to see and

1573
01:41:40,560 --> 01:41:42,920
now it's like, I almost don't
care who they're clashing with. I would

1574
01:41:42,920 --> 01:41:45,760
just want to hear these songs.
Yeah, speaking of a doom and sad

1575
01:41:45,840 --> 01:41:48,760
shit though coming off of you know, some of the differens on the Gate

1576
01:41:48,800 --> 01:41:51,279
Creeper record, we are now going
to se actually talking about a couple of

1577
01:41:51,319 --> 01:41:56,279
albums from some of the more notable
names in doom that came out of late,

1578
01:41:56,640 --> 01:42:00,399
starting with some of the saddest guys
of them all, Pall Bearer their

1579
01:42:00,479 --> 01:42:06,960
album Mind Burns Alive. I think
Paul Bearer are in a fairly interesting chapter

1580
01:42:08,039 --> 01:42:12,239
of their career in terms of being
a band who have genuinely been one of

1581
01:42:12,279 --> 01:42:15,760
the most significant metal bands in the
last fifteen years. Like that statement might

1582
01:42:15,840 --> 01:42:16,960
take some of you by surprise if
you haven't thought about them in that way,

1583
01:42:17,000 --> 01:42:19,880
but Paul Bearer are one of the
definitive metal bands of the twenty tens

1584
01:42:20,199 --> 01:42:24,479
in terms of shaping the direction of
it much in a way that Aboud like

1585
01:42:24,560 --> 01:42:26,800
Death Heaven Are. I mean,
I'd like to do an album club about

1586
01:42:26,800 --> 01:42:28,560
this at some point, or one
of their first couple of albums. But

1587
01:42:28,640 --> 01:42:32,159
like the Underground massively changed after Paul
Beher came out with Sorrow and Extinction in

1588
01:42:32,319 --> 01:42:35,399
terms of the kind of doom metal
that was being played, and then by

1589
01:42:35,439 --> 01:42:39,560
the time A Heartless they had taken
that to this sort of like new and

1590
01:42:39,760 --> 01:42:42,720
broader place that managed to get a
ton of people who don't really know the

1591
01:42:42,800 --> 01:42:45,000
kind of bee that they started playing
out, you know, doing in on

1592
01:42:45,479 --> 01:42:49,680
what they were. Elliott, what's
your assessment on Paul Bearer's place within recent

1593
01:42:49,760 --> 01:42:54,800
metal history. I mean, you've
basically just read my notes, like probably

1594
01:42:54,880 --> 01:42:58,800
the standout doom metal band of the
last decade fifteen years or so. I

1595
01:42:58,880 --> 01:43:02,000
mean, the run of three saw
an Extinction, Foundations and Burdens to Heartless.

1596
01:43:03,560 --> 01:43:06,840
It's about as good as any run
of metal records in that time period,

1597
01:43:06,920 --> 01:43:12,560
and I could pick a different favorite
every day. It's just I think

1598
01:43:12,560 --> 01:43:16,479
it's almost hard to say precisely what
their direct contribution is, but just it

1599
01:43:16,600 --> 01:43:21,399
almost did feel like a borderline overnight
phenomena where, at least in the places

1600
01:43:21,439 --> 01:43:27,960
I was looking do metal went from
being all about how kind of cavernous and

1601
01:43:28,079 --> 01:43:31,359
frightening you could be, and then
within a couple of years it was like,

1602
01:43:31,560 --> 01:43:35,520
oh, we love David Gilmore and
Alice in Shane's and he's kind of

1603
01:43:35,840 --> 01:43:42,920
there was a beauty and a classiness
and an elegance that not to say it

1604
01:43:42,920 --> 01:43:45,600
had never been in the genre,
but it kind of came to the fore,

1605
01:43:45,880 --> 01:43:47,319
you know why. I think it
was really healthy for its sort of

1606
01:43:47,479 --> 01:43:51,680
artistic and commercial growth. Yeah,
it's on a maybe a smaller scale than

1607
01:43:51,720 --> 01:43:55,840
you might, you know, be
thinking, but I think Paul Bear are

1608
01:43:55,880 --> 01:44:00,439
a band who changed the sound of
metal, Like if you're trying to really

1609
01:44:00,479 --> 01:44:03,159
be sort of academic about it,
they deserve that credit, I think,

1610
01:44:03,720 --> 01:44:08,479
and Paul Bearer's first three albums for
that reason, I think are all clear

1611
01:44:08,560 --> 01:44:14,600
classics of like Underground twenty tens metal
and New Paul bar albums were genuinely significant

1612
01:44:14,640 --> 01:44:16,600
events for that scene in a similar
way to again the way like Death Heaven

1613
01:44:16,600 --> 01:44:20,880
album releases are in the twenty twenties. I think it's got to be said,

1614
01:44:21,079 --> 01:44:25,760
I think Paul Bearer have stopped writing
records that are particularly accessible to people.

1615
01:44:26,600 --> 01:44:29,479
And I don't mean they've started writing
bad records, because I don't believe

1616
01:44:29,520 --> 01:44:31,760
that, but they've gotten more kind
of obtuse, and I think they've found

1617
01:44:31,800 --> 01:44:38,079
themselves circling certain rabbit holes more in
the way that like Foundations of Burden and

1618
01:44:38,199 --> 01:44:42,199
Heartless War records that like Blue People
Away, Paul Bear Aer Right Now and

1619
01:44:42,319 --> 01:44:46,000
making records are so obviously first and
foremost for them, and they don't seem

1620
01:44:46,079 --> 01:44:48,600
massively interesting, whether people like them
or not. And I think that that

1621
01:44:49,319 --> 01:44:53,560
it's resulted for a bound who were
really important in the twenty tens, in

1622
01:44:53,640 --> 01:44:58,039
a certain split in their fan base
between people who like really go with them

1623
01:44:58,079 --> 01:45:00,359
on these things, and then there
are number people who like openly decry them

1624
01:45:00,359 --> 01:45:05,920
as having lost the sauce. I
mean, I wouldn't go as far as

1625
01:45:05,960 --> 01:45:10,039
to say they've lost the source by
any means. I'll admit I wasn't so

1626
01:45:10,199 --> 01:45:13,720
taken with Forgotten Days, which felt
like a bit of a quite a common

1627
01:45:14,680 --> 01:45:17,359
sort of sentiment. I really like
the heavier mournful tone of it. I

1628
01:45:17,439 --> 01:45:20,119
think, you know, like you
say, it kind of went to be

1629
01:45:20,159 --> 01:45:26,000
a bit more abtuse I don't think
the songs were as quite a spellbinding on

1630
01:45:26,119 --> 01:45:28,319
that record as I had been previously, and I don't think it was helped

1631
01:45:28,359 --> 01:45:31,199
by a pretty bad mix. In
my estimation, it feels like a rite

1632
01:45:31,199 --> 01:45:34,000
of passage where if you're a stone
of slash doom metal band. You have

1633
01:45:34,159 --> 01:45:40,640
to release an album that doesn't sound
that good for whatever reason, and it

1634
01:45:40,720 --> 01:45:43,760
was frustrating because I do think there's
there's great stuff in there. I just

1635
01:45:43,800 --> 01:45:47,039
don't think as a record it's certainly
not as good as the first three.

1636
01:45:47,600 --> 01:45:50,359
And a few years later, I
still haven't gone back to it. My

1637
01:45:50,479 --> 01:45:55,399
position on that has sort of softened, but I was stop short of saying

1638
01:45:55,399 --> 01:45:58,600
they've lost the magic. But it
was the first time Paul Bearer put out

1639
01:45:58,600 --> 01:46:02,079
of a record that I didn't think
was exceptional. Well, I think these

1640
01:46:02,159 --> 01:46:05,880
two. I think Forgotten Days was
like the moment of adjusting because it was

1641
01:46:05,880 --> 01:46:09,319
the first time it happened. I
like that album. I think it was

1642
01:46:09,439 --> 01:46:13,319
much heavier and it was much more
emotionally bleak than Heartless, which I think

1643
01:46:13,399 --> 01:46:15,560
alienated a certain amount of people who
are just like newly discovered them last time

1644
01:46:15,600 --> 01:46:19,479
out. Mind Burns Alive has gone
in a very different direction to Forgotten Days.

1645
01:46:19,520 --> 01:46:24,039
It's almost run in the opposite direction, and maybe that does mean that

1646
01:46:24,039 --> 01:46:27,279
there will be an amount of people
who didn't jive with Forgotten Days who will

1647
01:46:27,359 --> 01:46:30,399
like this one more. I think
again, this coming after Forgotten Days,

1648
01:46:30,399 --> 01:46:32,359
I think I can kind of put
the two together and say like, yeah,

1649
01:46:32,359 --> 01:46:36,079
this is now a different era of
Pallbearer, neatly divided by the turn

1650
01:46:36,119 --> 01:46:40,960
of the decade, where they are
just being far less crowd pleasing than they

1651
01:46:41,079 --> 01:46:44,199
used to be, and they were
already a fairly patients requiring band. And

1652
01:46:44,239 --> 01:46:46,319
they're not hate breed we're talking about
here, Sam, if you ever like

1653
01:46:46,359 --> 01:46:51,279
Paul Bear that much, Heartless I
four was pretty good when everyone was raving

1654
01:46:51,319 --> 01:46:56,239
about it. I never felt compelled
to go much beyond that because I listen

1655
01:46:56,239 --> 01:46:58,600
to one was like, oh,
this is you know what, it is

1656
01:46:58,880 --> 01:47:01,760
really impressive really for me though,
So I was gonna like that's where they've

1657
01:47:01,840 --> 01:47:04,039
kind of sat for me as a
band. I've gone. I'm sure they

1658
01:47:04,079 --> 01:47:10,119
are greater what they do. I
can totally see why people rave about this.

1659
01:47:10,960 --> 01:47:14,600
It just didn't It's just not something
I would reach for, Okay,

1660
01:47:14,920 --> 01:47:16,680
And as I said, I think
these the last two Poor Bear records are

1661
01:47:17,079 --> 01:47:20,960
very much in the category of like, you know, as said for them,

1662
01:47:21,119 --> 01:47:26,640
and they are not particularly interested in
sort of making it that easy for

1663
01:47:26,760 --> 01:47:29,520
the listener. I guess it would
be the most obvious way of saying it.

1664
01:47:30,079 --> 01:47:32,199
Forgotten Days was like a pretty emotionally
taxing record to get through. Mine

1665
01:47:32,199 --> 01:47:36,199
Birds Alive is also that to a
degree, but where Forgotten Days showed that

1666
01:47:36,279 --> 01:47:41,640
in much more sort of overtly heavy
ways, you know, proper doom songs,

1667
01:47:42,279 --> 01:47:45,279
Mine Bird's Alive is exploring the more
delicate textures of the idea for the

1668
01:47:45,319 --> 01:47:49,159
most part, and Forgotten Days was
not immediate per se, but it did

1669
01:47:49,239 --> 01:47:53,960
have some immediate, big riffs.
This album you can only really engage with

1670
01:47:54,000 --> 01:47:57,119
it on the level of like,
got to take the time to just like

1671
01:47:57,279 --> 01:48:00,800
immerse yourself in it. It's the
quietest Paul Bear record by a mile,

1672
01:48:00,079 --> 01:48:02,479
which again is like, how much
does your average metal head want to engage

1673
01:48:02,479 --> 01:48:05,880
with this? I suppose, you
know, we'll see. I admire what

1674
01:48:05,960 --> 01:48:10,880
Paul Bear are doing right now an
awful lot. This is, you know,

1675
01:48:11,159 --> 01:48:14,279
not the most I have fallen for
one of their records by any means.

1676
01:48:14,439 --> 01:48:17,560
I do think it is artistically interesting
to engage with for one of our

1677
01:48:17,840 --> 01:48:23,239
more important underground bands. I think
when they get it really right, I

1678
01:48:23,319 --> 01:48:26,520
think you can absolutely see why Paul
there are at their best are just magic.

1679
01:48:26,720 --> 01:48:30,840
I think Where the Light Fades is
a really wonderful song. I think

1680
01:48:30,840 --> 01:48:34,760
it's a great opener in terms of
just like like enticing you into the record.

1681
01:48:34,920 --> 01:48:39,760
It's really delicate. There's like that
kind of very soft source over the

1682
01:48:39,880 --> 01:48:44,640
vocals and like that like warped guitars, and it kind of says like a

1683
01:48:44,720 --> 01:48:47,399
vinyl that's kind of on its last
legs at times when it's playing. But

1684
01:48:47,560 --> 01:48:54,000
it is like really molodgiculy simple,
but it is very warm sounding as an

1685
01:48:54,039 --> 01:48:58,520
opening track. I had think with
this record, but I felt a lot

1686
01:48:58,520 --> 01:49:00,560
of someone was like, Okay,
it's do the quiet thing for so long

1687
01:49:00,760 --> 01:49:04,439
and then it is going to build
up and you're gonna hit that either big

1688
01:49:04,520 --> 01:49:09,439
doom real or big emotional crescendo,
and all of that sounds great and they're

1689
01:49:09,479 --> 01:49:13,680
really good at it, and I
kind of got that from the first track,

1690
01:49:13,760 --> 01:49:17,199
and it felt like eight track after
was doing just maybe a slight variation

1691
01:49:17,239 --> 01:49:21,760
on that, but wasn't doing much
else to like grab my attention and stand

1692
01:49:21,800 --> 01:49:25,359
out in a way. I think
like weather like Face might be the best

1693
01:49:25,520 --> 01:49:27,439
on it, just because it's like
the first time you hear that and it's

1694
01:49:27,520 --> 01:49:30,560
like that sounds amazing, But then
I didn't get much else from the record

1695
01:49:30,600 --> 01:49:34,039
beyond that it sounds like, I'm
gonna be the most positive about this,

1696
01:49:34,239 --> 01:49:39,920
which I was surprised by because I
agree that it's not, you know,

1697
01:49:40,199 --> 01:49:42,920
a record that I've fallen for in
the same way that I had the first

1698
01:49:43,000 --> 01:49:45,479
three. I do think it's an
improvement on Forgotten Days. For one.

1699
01:49:45,680 --> 01:49:48,319
I think the sound of it is
excellent. I think you get that straight

1700
01:49:48,319 --> 01:49:51,399
away on where the Light Face we
had as a single. But one of

1701
01:49:51,439 --> 01:49:55,439
the things I took comfort in on
was straight away was just going, oh

1702
01:49:55,600 --> 01:49:58,640
that's that's a nice sound. It
puts me to ease almost. It's like

1703
01:49:58,640 --> 01:50:01,239
listen to a Brian Eno record.
Yeah. The way it comes on is

1704
01:50:01,319 --> 01:50:04,920
fucking beautiful, like little descending riff
at the start. It's like floating on

1705
01:50:04,920 --> 01:50:09,079
a cloud. You know, it's
really lovely. Yeah, it's funny you're

1706
01:50:09,079 --> 01:50:11,840
saying, you know, it's not
going to be They're not going sort of

1707
01:50:11,920 --> 01:50:15,520
popular things and giving people what they
want. I think i'd suspect this isn't

1708
01:50:15,560 --> 01:50:19,439
conscious, but it kind of sounds
like Paul Bear and moving more towards that

1709
01:50:19,560 --> 01:50:23,439
case scope thing, which again was
kind of buzzy, sort of eight to

1710
01:50:23,520 --> 01:50:27,000
ten years ago. Seventies. Prog
has always been in influences but they were

1711
01:50:27,000 --> 01:50:30,560
a long stretch of this record that
almost sound like Porcupine Tree and Pink Floyd

1712
01:50:30,640 --> 01:50:33,479
and you know, like I just
said, Brian Eno, and I think

1713
01:50:33,520 --> 01:50:38,359
it really suits them. I can
understand why over the course of a record,

1714
01:50:38,800 --> 01:50:40,520
if you're not looking for that sort
of thing, it might get a

1715
01:50:40,560 --> 01:50:45,039
bit sort of tiring or feel slightly
what's the word, you know, maybe

1716
01:50:45,079 --> 01:50:48,800
that doesn't excite you all that much. But just as the sound of it

1717
01:50:49,359 --> 01:50:53,439
for me, I was sort of
immediately pleasing and as a patient, sort

1718
01:50:53,479 --> 01:50:57,640
of mellow way to start the record, I think it's an excellent opening salvo.

1719
01:50:58,000 --> 01:51:01,279
Yeah, it's a phenomenal rog doom
ballad essentially, and it is you

1720
01:51:01,359 --> 01:51:04,399
know, it's unusual move to start
a recording. Obviously, when we got

1721
01:51:04,439 --> 01:51:05,840
it as a single, we were
like, oh man, this is quite

1722
01:51:05,880 --> 01:51:10,279
a you know, a soft leading
to the record. Turns out it's basically

1723
01:51:10,319 --> 01:51:13,840
the most immediately accessible track on the
record. But man, is it beautiful.

1724
01:51:13,840 --> 01:51:15,520
And it's really the song craft I
think speaks for itself. You know,

1725
01:51:15,600 --> 01:51:18,840
when it reaches that feel my head
going under part of the back end

1726
01:51:19,079 --> 01:51:24,239
and the instrumentation really starts coming together
with a purpose. It is pure goosebumps,

1727
01:51:24,239 --> 01:51:27,039
I think, and it is evidence
of why Paul there are really special

1728
01:51:27,079 --> 01:51:30,119
band, but that kind of prog
BALLADERI. And again the reference points you're

1729
01:51:30,119 --> 01:51:33,800
talking about there maybe, like you
know, are the thing, and maybe

1730
01:51:33,840 --> 01:51:39,079
I'm not totally plugged into all of
that, but that is like the record

1731
01:51:39,159 --> 01:51:43,560
essentially, the title track immediately hits
you with the Paul bear a low end,

1732
01:51:43,600 --> 01:51:45,560
which I think is nice to receive
at that point. You know.

1733
01:51:45,600 --> 01:51:47,239
I think Sam I sympathized to what
you said to a degree, but I

1734
01:51:47,279 --> 01:51:50,840
don't think it's it's strictly accurate.
I think I don't. Yeah, as

1735
01:51:50,920 --> 01:51:55,119
in there are little variations like like
the charchup beginning with the riff before you

1736
01:51:55,199 --> 01:51:57,880
get to the quiet bit, Like
yeah, that song. I think it

1737
01:51:57,960 --> 01:52:00,720
was important to do that at that
point, you know, and instead of

1738
01:52:00,800 --> 01:52:05,399
just resetting to exactly where you were, and when it does then goes subdued

1739
01:52:05,439 --> 01:52:09,159
about two minutes in. That's real. That one sounds to me like kind

1740
01:52:09,199 --> 01:52:12,840
of like you know, like like
Earth or something like really stripped back kind

1741
01:52:12,880 --> 01:52:16,319
of desert drone post rock stuff where
there's kind of like almost whispered day dreamy

1742
01:52:16,560 --> 01:52:20,199
vocals, which is kind of a
new texture for Paul Behra. The record

1743
01:52:20,279 --> 01:52:24,520
is very again, it's very emotionally
rue. I think Brett has one of

1744
01:52:24,600 --> 01:52:29,239
the most maybe not perfectly polished,
not for everybody, but very emotionally honest

1745
01:52:29,359 --> 01:52:32,079
voices in Doom and that like my
mind is ignited hook in that song,

1746
01:52:32,680 --> 01:52:36,199
really fucking dejected. I really like
that song as well. There's a guitar

1747
01:52:36,319 --> 01:52:40,279
melody that comes in after the five
minute mark, which maybe normally where a

1748
01:52:40,319 --> 01:52:42,840
solo would be, but it almost
is like a fucking U two melody or

1749
01:52:42,840 --> 01:52:45,359
something. It's just like this big, huge, hummable lead and that does

1750
01:52:46,760 --> 01:52:51,079
jump out of the record and it
makes it that bit more kind of affirming.

1751
01:52:53,680 --> 01:52:56,199
Yeah, definitely, I think it's
funny when you you too. The

1752
01:52:56,239 --> 01:53:00,159
one that came to mind for me
was Stephen Wilson. He's not really doing

1753
01:53:00,199 --> 01:53:01,840
this sort of thing anymore, so
I'm more than happy for Paul Bear to

1754
01:53:01,880 --> 01:53:05,720
slot into that, you know,
pick up that baton. And I think

1755
01:53:05,720 --> 01:53:10,960
the melodic side of things is definitely
one of the things that's kind of gone

1756
01:53:11,039 --> 01:53:13,039
up again after the last round.
I think that was one of the things

1757
01:53:13,079 --> 01:53:15,399
the last album lacked, and maybe
that was I think that's probably fair I

1758
01:53:15,439 --> 01:53:17,680
think the last album has better riffs
than this, but this one has better

1759
01:53:18,119 --> 01:53:23,800
melodies. Yea nature of what the
records are aimed to do. Yeah,

1760
01:53:23,800 --> 01:53:28,239
And I think maybe if someone isn't
so keen on Paul bet in the last

1761
01:53:28,239 --> 01:53:30,279
couple of because it's a bit frustrating
that you have to fill to choose between

1762
01:53:30,319 --> 01:53:33,079
the two albums now for one one
rather than getting both, which we're so

1763
01:53:33,239 --> 01:53:36,920
used to. But I think on
some of my Signals kind of sounds like

1764
01:53:38,000 --> 01:53:41,560
Warning but more of the kind of
forty whats Son a lot of refrain,

1765
01:53:41,640 --> 01:53:44,640
which is a sort of small but
meaningful difference, and that's been going around

1766
01:53:44,640 --> 01:53:45,960
my head quite a lot, which
I couldn't say about really any of the

1767
01:53:46,039 --> 01:53:50,000
songs on the last record, And
I don't think there's many of the sort

1768
01:53:50,039 --> 01:53:57,439
of doom metal bands working today who
I think without having really catchy song structures,

1769
01:53:58,399 --> 01:54:00,439
just like melodies that sort of happens
to your brain. The thing with

1770
01:54:00,600 --> 01:54:03,399
the signals is, uh, you
know, you mentioned the refert boors that

1771
01:54:03,399 --> 01:54:05,760
I was going to come to.
But the other thing, as well as

1772
01:54:05,840 --> 01:54:11,560
prog stuff, is signals the beginning
sounds like Midwest emo and like, you

1773
01:54:11,640 --> 01:54:15,319
know, that kind of voice,
cracking somber. The intro is like a

1774
01:54:15,359 --> 01:54:17,600
super stripped down, intimate recording of
just a vocal acoustic guitar that could totally

1775
01:54:17,640 --> 01:54:19,960
be off a nineties EMO record,
couldn't it. And it's like, in

1776
01:54:20,079 --> 01:54:25,439
a way the process record I think
it is in Ethos. It's as sunny

1777
01:54:25,479 --> 01:54:28,159
Day real Estate as it is Candle
Mass. You know, does that feel

1778
01:54:28,279 --> 01:54:31,560
accurate every on that song? Yeah, I can see it on that song.

1779
01:54:31,560 --> 01:54:34,520
I don't know if that carries through
to every track, but I see

1780
01:54:34,520 --> 01:54:38,560
what you mean. We're like that
that night Easy Mo Midwest kind of like

1781
01:54:38,640 --> 01:54:40,720
I mean, it's that quiet interesting, you know, when we were speaking

1782
01:54:40,720 --> 01:54:43,079
about tenderness to it, like yeah, you know we did the album probably

1783
01:54:43,119 --> 01:54:45,960
not American Football, and we're talking
about how kind of quiet and like almost

1784
01:54:45,079 --> 01:54:51,039
uneventful in the bedroom it is.
This is like a again doom balladeering sort

1785
01:54:51,039 --> 01:54:55,399
of equivalent. And you know it's
funny because again, Paul Bearer, they

1786
01:54:55,439 --> 01:54:59,199
seem to be going through something right
now that I've mainly read about underground metal

1787
01:54:59,239 --> 01:55:00,439
bands doing in the histor, which
is like the way a lot of those

1788
01:55:00,479 --> 01:55:04,800
bands from the nineties that started off
heavy ended up floating down different territories away

1789
01:55:04,840 --> 01:55:08,560
from metal, and there were certain
schisms and fan bases. You know,

1790
01:55:09,319 --> 01:55:11,479
you listen to this record, and
maybe this will end up being the softer

1791
01:55:11,560 --> 01:55:14,239
thing that Paul Bearer ever make,
but I hear it, and I wouldn't

1792
01:55:14,239 --> 01:55:17,920
be totally surprised if they ended up
in a couple decades leaving behind metal entirely.

1793
01:55:18,159 --> 01:55:21,520
And you know, I was thinking
about like Anathema's trajectory in terms of

1794
01:55:21,600 --> 01:55:25,680
going from like peacefill Doom to like
you know what we're talking about with Gate

1795
01:55:25,720 --> 01:55:29,640
Creeper to a full on you could
take them home to your mum, like

1796
01:55:29,680 --> 01:55:32,000
Pink Floyd prog rock band. And
then I remembered another even more comparaison of

1797
01:55:32,079 --> 01:55:34,800
his comparison point, which is what
you've mentioned, which is when Paul Bearer

1798
01:55:34,840 --> 01:55:39,720
broke out, they were sort of
seen as being like the spiritual successes to

1799
01:55:39,800 --> 01:55:43,680
Warning, and now they're almost against
that forty What Sun kind of trajectory,

1800
01:55:43,840 --> 01:55:45,319
And like, I'm not in theory
against it, because I mean, for

1801
01:55:45,319 --> 01:55:47,520
a start, I love forty What
Sun, but also I like this record.

1802
01:55:47,600 --> 01:55:51,439
I do. It's just interesting to
sort of gauge it happening in real

1803
01:55:51,560 --> 01:55:55,279
time, you know, and maybe
sort of having to move around in my

1804
01:55:55,359 --> 01:55:59,920
brain where Paul Bear are sit.
Yeah, it's funny because Daybreak, which

1805
01:56:00,000 --> 01:56:02,720
which is probably the only song on
the record that I'm not all that keen

1806
01:56:02,800 --> 01:56:06,680
on in Isolation, I kind of
thought, there's that so soft, it's

1807
01:56:06,680 --> 01:56:11,560
barely their quality that King Crimson had
in the seventies, where you go,

1808
01:56:12,399 --> 01:56:14,800
at some point you go is what's
even are they still recording? Is the

1809
01:56:14,840 --> 01:56:17,640
song still going? But American Football, weirdly enough, is the more accurate

1810
01:56:17,680 --> 01:56:23,000
comparison, Like the sort of thing
we just go, what's the structure here?

1811
01:56:23,039 --> 01:56:26,239
What does this actually look like down
on paper? Because it's almost it's

1812
01:56:26,239 --> 01:56:30,079
almost all about the band interplay,
And I think that song's maybe slightly too

1813
01:56:30,159 --> 01:56:32,359
long, and the rest of the
album doesn't really it's not wild or heavy

1814
01:56:32,439 --> 01:56:35,760
enough to warrant that kind of respite. But I totally agree with what you're

1815
01:56:35,760 --> 01:56:43,359
saying about how if this proves to
be another step of Paul Bear moving away

1816
01:56:43,399 --> 01:56:47,239
from Mesel, I kind of like
the middle ground they're sitting in now.

1817
01:56:47,960 --> 01:56:50,680
Yeah, Like I said, it's
not my favorite of their records by any

1818
01:56:50,760 --> 01:56:55,600
means, but I'm glad they're doing
something different. They're rather trying to go

1819
01:56:55,760 --> 01:56:59,239
back and capture what those albums were
doing for sure, and there are hints

1820
01:56:59,279 --> 01:57:03,079
of the oil again. The central
hook in Signals that still has that kind

1821
01:57:03,079 --> 01:57:08,039
of the old, you know,
warning Paul Bever emotional heft to me,

1822
01:57:08,800 --> 01:57:12,279
but it does go into again some
all out prog rock territory at times.

1823
01:57:12,520 --> 01:57:16,079
Endless Place is the ten and a
half minute centerpiece on the record. Not

1824
01:57:16,239 --> 01:57:19,119
the most immediately gripping song on the
record. To me, it's super unhurried,

1825
01:57:19,159 --> 01:57:25,079
and I think for the first stretches
of it, among the more indulgent

1826
01:57:25,119 --> 01:57:27,960
material they've written, I think I
really do like the back end when the

1827
01:57:28,000 --> 01:57:30,520
saxophone surl comes in, and that
is like such an exquisite addition to the

1828
01:57:30,560 --> 01:57:35,720
record that it really makes that song. Yeah. I think the last record

1829
01:57:35,880 --> 01:57:40,800
was maybe worn one of their darker
ones, but I think it's you don't

1830
01:57:40,800 --> 01:57:45,119
get much of Paul berar A being
menacing, and I think having that flavor

1831
01:57:45,159 --> 01:57:47,880
here, like the saxophone, it's
not sort of soothing and you know,

1832
01:57:48,479 --> 01:57:53,239
evangelical or the sort of things that
you'd imagine Paul Bert could do it sez

1833
01:57:53,319 --> 01:57:57,439
phone. Yeah, it's kind of
like alien and I think you're right about

1834
01:57:57,439 --> 01:58:01,079
the openings of this song being a
bit unhurried. It's not really getting going

1835
01:58:01,079 --> 01:58:06,439
at any point, but because it
ends in such a strange place, almost

1836
01:58:06,479 --> 01:58:12,560
forgive that slow start. Yes,
Seah, I was like tapping out of

1837
01:58:12,640 --> 01:58:15,000
endless place until the saxophone came in
and I was like, ah, cool,

1838
01:58:15,079 --> 01:58:18,880
Okay, so this is what you've
been building to. But the the

1839
01:58:18,920 --> 01:58:23,640
two ten minute songs on this were
a little bit a touch two page that's

1840
01:58:23,640 --> 01:58:27,279
testing for me. There's some really
amazing melodies. I think the sound of

1841
01:58:27,359 --> 01:58:30,640
this record is incredible in sort of
like the texture and the sort of the

1842
01:58:30,760 --> 01:58:38,199
dynamics between the dark, like the
soften the loud parts. But it just

1843
01:58:39,840 --> 01:58:43,920
again I like a chorus, it's
so just not tune to where I'm going

1844
01:58:43,960 --> 01:58:46,199
to go for this or stuff,
is it? Yeah? I think I

1845
01:58:46,279 --> 01:58:49,399
think the first half is more immediate
than the second half. I think Daybreaking

1846
01:58:49,439 --> 01:58:54,640
with Disease Do Again sort of continually
drift out in the aftermath of a place.

1847
01:58:55,079 --> 01:58:57,720
I like, really like the final
riff in with Disease when it becomes

1848
01:58:58,079 --> 01:59:00,119
really heavy and it's like it brings
the oubu and back around it, And

1849
01:59:00,800 --> 01:59:03,800
I think again, there are certain
people who in a certain emotional headspace will

1850
01:59:04,039 --> 01:59:08,359
really connect with this record and think
it is like maybe the best thing they've

1851
01:59:08,399 --> 01:59:11,680
done. And I think that's the
nature again when these when bands like this

1852
01:59:12,079 --> 01:59:15,960
make that sort of pivot and start
drifting to the less crowd pleasing territory,

1853
01:59:15,960 --> 01:59:18,920
shall we say, the people who
go with it will go with it hard.

1854
01:59:19,680 --> 01:59:24,399
I like this. I think it's
best tracks when it comes to again

1855
01:59:24,479 --> 01:59:27,119
fitting in with the overview of all
the material they ever done really lovely.

1856
01:59:27,560 --> 01:59:30,560
I don't think as an album personally
it's on the same level as Foundations of

1857
01:59:30,560 --> 01:59:32,640
Burden or Heartless, but I respect
the honesty of where they're taking it and

1858
01:59:32,880 --> 01:59:38,159
I think it's certainly it will be
interesting to see where Paul Bearer go from

1859
01:59:38,199 --> 01:59:43,520
here and where they kind of continue
to drift away from what is obvious and

1860
01:59:43,840 --> 01:59:45,800
end up being like you know,
one of those bands like Anathema or like

1861
01:59:45,960 --> 01:59:49,479
Ulva or Opeth or whatever, or
whether they kind of snap around in something

1862
01:59:49,520 --> 01:59:55,279
else. Again. Yeah, I
think, like you say, it's not

1863
01:59:55,800 --> 01:59:59,119
a classic Paul Bearer record, at
least at this stage. Maybe it'll go

1864
01:59:59,239 --> 02:00:04,159
on even more. It's not perfect, and you know, there's part of

1865
02:00:04,239 --> 02:00:08,199
me that goes I kind of long
for that feeling I got over the last

1866
02:00:08,239 --> 02:00:11,199
three off the first three records,
where every time one came out just go

1867
02:00:11,319 --> 02:00:15,640
home like like it's just been stepped
up again. And but I think for

1868
02:00:15,720 --> 02:00:18,600
this I'll take it as a step
up from Forgotten Days, which is a

1869
02:00:18,640 --> 02:00:24,039
record that I think is okay now
and for me certainly put out of record

1870
02:00:24,079 --> 02:00:26,800
better than the last one, and
moving in a new direction I think is

1871
02:00:26,880 --> 02:00:29,720
enough to keep it interesting. I
to obvious still want to keep tabs on

1872
02:00:29,720 --> 02:00:32,039
Paul Beat because I think this record
is good, but I do think it's

1873
02:00:32,359 --> 02:00:36,560
somewhat carried by the fact that it's
a new sound, and I think that

1874
02:00:36,680 --> 02:00:41,479
at least should be applauded. Next
album, as said, is also from

1875
02:00:41,520 --> 02:00:45,199
the doom world. But this album
isn't really like anything we've ever reviewed.

1876
02:00:45,279 --> 02:00:46,840
It comes from Unclasses and the Deadbeats, who are a band we've spoken about

1877
02:00:46,840 --> 02:00:50,760
before. The record is called nell
or a Blue. It's a very unusual

1878
02:00:50,880 --> 02:00:55,600
record. Unclass and the Deadbeats are
one of the very best and most unique

1879
02:00:55,640 --> 02:01:00,479
bands anyway to come out of twenty
tens. Doom, old school cult rock,

1880
02:01:00,560 --> 02:01:02,920
that whole circle. I'm personally a
huge fan. I know that when

1881
02:01:02,920 --> 02:01:05,399
we did our album Club on Bloodlust, which is one of the best records

1882
02:01:05,399 --> 02:01:11,079
of the twenty tens in my estimation, you are as well, Elliott Ah,

1883
02:01:11,720 --> 02:01:16,920
just one of the best occult rock
albums ever made, maybe like properly

1884
02:01:16,920 --> 02:01:19,279
when we were when I was thinking
around the end of that decade of what

1885
02:01:19,359 --> 02:01:24,600
are the best stams of the twenty
tens, Bloodlust is a first draft pick

1886
02:01:24,640 --> 02:01:28,279
for me, and I think Mine
Control is similarly great, and the records

1887
02:01:28,279 --> 02:01:30,880
that came after was are really good
as well. But that kind of three

1888
02:01:31,000 --> 02:01:36,119
years of Uncle Acid being one of
the real buzzy bands. It's one of

1889
02:01:36,199 --> 02:01:43,279
my favorite sort of one two's of
the last few fifteen years. Yeah,

1890
02:01:43,279 --> 02:01:45,239
I think it's another band who I
would describe as one of the standout bands

1891
02:01:45,279 --> 02:01:47,720
of the twenty tens in terms of
bands who sort of defined that decade in

1892
02:01:47,720 --> 02:01:51,079
a certain way. I have been
chomping at the bit for a new album

1893
02:01:51,079 --> 02:01:54,399
from them for a while. It's
been a minute since the last one and

1894
02:01:54,560 --> 02:01:58,119
maybe like the last sort of interim
years I made when I've actually listened to

1895
02:01:58,199 --> 02:02:00,199
them the most and really fucking you
know, been like, oh my god,

1896
02:02:00,239 --> 02:02:03,000
these records. When we got word
of a new album finally wasn't like

1897
02:02:03,079 --> 02:02:08,000
the other ones, so an insight
into the thought process here, as much

1898
02:02:08,000 --> 02:02:12,199
as this album on paper seemed like
it was invented specifically for me. I

1899
02:02:12,520 --> 02:02:14,720
got sent this album at some point
prior to its release. I listened to

1900
02:02:14,760 --> 02:02:16,319
it and I thought, Oh,
we probably won't review that because it's not

1901
02:02:16,399 --> 02:02:20,199
really a rock album in the conventional
sense that we talk about, and it's

1902
02:02:20,279 --> 02:02:23,279
so niche in what it's trying to
do. I was like, we'll probably

1903
02:02:23,359 --> 02:02:26,159
end up giving that slot to something
that has a broader appeal for people.

1904
02:02:26,760 --> 02:02:30,359
But the more I thought on it, I thought, actually, this is

1905
02:02:30,399 --> 02:02:33,279
an opportunity here to have a conversation
about an album that isn't presented by anything

1906
02:02:33,279 --> 02:02:35,239
else we've ever done, and the
fact that it's come from one of my

1907
02:02:35,279 --> 02:02:38,640
favorite bands, it's sort of irrelevant. If this has come from any band,

1908
02:02:38,640 --> 02:02:40,279
it'd be like, well, this
is interesting, you know, and

1909
02:02:41,319 --> 02:02:44,199
we'll make for just maybe some more
unique listening as a podcast, you know,

1910
02:02:44,359 --> 02:02:46,079
would it be more interesting to hear
us talk about some other metal record

1911
02:02:46,720 --> 02:02:49,600
or something odd like this? You
know what I mean? This is this

1912
02:02:49,720 --> 02:02:54,600
is a like really fascinating albums to
me. Because I don't mind a classes

1913
02:02:54,640 --> 02:02:57,520
the vision I never really going into
somewhere there about I knew the name,

1914
02:02:57,600 --> 02:03:00,399
but they after doing that album Club
I've Got, I've got a little bit

1915
02:03:00,439 --> 02:03:04,479
more into But this is on those
records, that is on them. How

1916
02:03:04,520 --> 02:03:10,359
should be something I should hate.
It's like a seventy odd minute prog album

1917
02:03:10,479 --> 02:03:15,119
essentially in a lot like a seventies
prog album. But what they've tapped into

1918
02:03:15,520 --> 02:03:17,840
is as you say, and it
says people to you and so specific to

1919
02:03:17,920 --> 02:03:21,880
me as well, and like things
it taste. So I'm like they they've

1920
02:03:23,239 --> 02:03:26,800
again just found a cheat code to
get me to listen to a seventy minute

1921
02:03:27,039 --> 02:03:31,840
like seventies prog album. So kudos
to Uncle Acid on that one. Yeah,

1922
02:03:31,880 --> 02:03:34,239
I think you know. I've just
watched spok about how much I like

1923
02:03:34,319 --> 02:03:41,359
them. I do think from Blood
Loss to Wasteland, each record got worse,

1924
02:03:41,880 --> 02:03:45,039
slightly less good, like to the
point where it goes from one of

1925
02:03:45,039 --> 02:03:47,479
my favorite abums of the decade too
and album I think is very good,

1926
02:03:47,680 --> 02:03:51,920
often great. But even if this
was the worst Uncle Assen in the dead

1927
02:03:51,920 --> 02:03:56,279
beat record or now I didn't like, I would want to come on and

1928
02:03:56,359 --> 02:04:00,800
talk about it. Because you're not
going to get this from any other band,

1929
02:04:00,880 --> 02:04:03,920
because it's such a strange idea and
such an idea that could only be

1930
02:04:04,840 --> 02:04:11,359
fulfilled or even thought of by them. And you know, I truly have

1931
02:04:11,439 --> 02:04:14,399
no idea what I have a good
feeling what parent would think of it,

1932
02:04:14,560 --> 02:04:16,239
but I really annoyed what Sam would
think of it. And I thought that

1933
02:04:16,720 --> 02:04:20,279
at the very least is exciting.
Yeah, And I did also think that,

1934
02:04:20,439 --> 02:04:24,119
you know, because of my interest. Outside of that, I also

1935
02:04:24,159 --> 02:04:27,520
thought, you know, maybe I
am better equipped to review this album and

1936
02:04:27,600 --> 02:04:30,479
what it's going for then maybe some
other people out there who have maybe been

1937
02:04:30,479 --> 02:04:31,600
assigning this record but it's a bit
alien to them. And you know,

1938
02:04:31,800 --> 02:04:34,199
you know yourself as well, Sam, But like not to toot my own

1939
02:04:34,199 --> 02:04:40,319
horn too much. I know this
world of Giallo scores and soundtracks probably better

1940
02:04:40,399 --> 02:04:43,479
than some other journalists, so I
think maybe it's better to take you to

1941
02:04:43,479 --> 02:04:46,680
talk about it. What this record
is is a homage to a very specific

1942
02:04:46,760 --> 02:04:54,880
era of music through the form of
a soundtrack album to an imagined invented Giallo

1943
02:04:55,000 --> 02:04:59,600
film. Which it's not a typical
like uncollaid doom pop song record. There

1944
02:04:59,640 --> 02:05:03,439
are more when their sort of usual
sound temporarily pops up. You can't really

1945
02:05:03,479 --> 02:05:06,319
listen to this record in the same
way. Did it entice? It was

1946
02:05:06,359 --> 02:05:09,800
an idea, I suppose, sort
of knowing that you were, you know,

1947
02:05:10,039 --> 02:05:13,560
likely weren't going to get your usual, more approachable songs from them.

1948
02:05:15,359 --> 02:05:18,279
For me, yeah, I was
really enticed by the jealous soundtrack idea and

1949
02:05:18,520 --> 02:05:20,760
this when I heard it, I
didn't know it was going to be as

1950
02:05:20,840 --> 02:05:23,720
long as it was, and so
that was that I was like, oh,

1951
02:05:23,800 --> 02:05:26,880
okay, am I gonna be into
as much as I was initially enticed

1952
02:05:26,920 --> 02:05:30,359
by the idea. But for me, again, I don't listen to low

1953
02:05:30,479 --> 02:05:35,039
yellow soundtracks, but those soundtracks are
such a specific vibe and sound that is

1954
02:05:35,199 --> 02:05:41,600
so tied to watching those movies and
there's nothing quite like them. So I

1955
02:05:41,760 --> 02:05:46,000
was like, that's just interesting that
that is just an enticing, exciting idea.

1956
02:05:47,279 --> 02:05:49,720
Yeah, And I mean, to
me, I think one of the

1957
02:05:49,720 --> 02:05:55,199
strange Funkle Acid is they are among
the best songwriters in their field, and

1958
02:05:55,479 --> 02:05:59,479
then moving away into the more soundtrack
idea. At first I thought, is

1959
02:05:59,479 --> 02:06:01,119
that gonna be them to their strengths, But I also went, oh no,

1960
02:06:01,199 --> 02:06:04,600
yeah, and they're one of the
best world builders and the most adepts

1961
02:06:04,640 --> 02:06:09,720
at evoking certain times and places.
And as soon as I saw it the

1962
02:06:09,720 --> 02:06:12,920
album cover and the name of the
album and the track lists and stuff,

1963
02:06:12,960 --> 02:06:15,479
you just go, yeah, they're
gonna nail it. Of course they are,

1964
02:06:15,680 --> 02:06:19,600
like, these are people who they
understand this language, this kind of

1965
02:06:19,720 --> 02:06:26,720
artistic language. And the second you
put it on, I was just completely

1966
02:06:26,760 --> 02:06:29,640
put at ease. I just went, yeah, they've got it under control.

1967
02:06:29,880 --> 02:06:31,640
They can handle this. This probably
does need a bit of explaining for

1968
02:06:31,720 --> 02:06:36,880
some of the audience. Gello films
are a type of Italian exploitation movie made

1969
02:06:36,960 --> 02:06:42,239
primarily during the sixties and seventies.
They're essentially like crime horror movies. They

1970
02:06:42,279 --> 02:06:44,960
are often seen as a sort of
four bear to the American slasher movie,

1971
02:06:45,279 --> 02:06:49,159
but they have this very European sensibility
of like style and glamour to them.

1972
02:06:49,319 --> 02:06:54,399
They have like graphic, over the
top murder sequences, but they also have

1973
02:06:55,279 --> 02:06:59,760
crazily convoluted plots and twists. They're
like Agatha Christie is told by a crazy

1974
02:06:59,760 --> 02:07:02,800
pers and relevant to our purposes.
Here there is a very specific kind of

1975
02:07:02,840 --> 02:07:08,279
atmosphere and musical approach as well,
courtesy of composers like Ennia Morriconi, who

1976
02:07:08,720 --> 02:07:10,760
is more commonly thought of in relation
to the Westerns. I know, and

1977
02:07:10,920 --> 02:07:14,359
you know what you'll all know from
Metallica concerts, but he did a load

1978
02:07:14,359 --> 02:07:17,000
of Giallo scores as well. His
kind of associate, Bruno Nicolai, did

1979
02:07:17,000 --> 02:07:19,439
a lot of them. And then
when you get further into the nineteen seventies,

1980
02:07:19,479 --> 02:07:23,520
you have the emergence of the full
on prog rock versions of them from

1981
02:07:23,600 --> 02:07:27,359
bands like Goblin and all those Darry
Argento scores. And you know, we've

1982
02:07:27,359 --> 02:07:30,479
mentioned plenty of times the influence of
Goblin on bands like Ghost or Tribulation or

1983
02:07:30,520 --> 02:07:33,600
whatever. It is a common touchstone
and a certain kind of metal. One

1984
02:07:33,600 --> 02:07:36,840
of the things I like about Giallo
scores is when you think about like horror

1985
02:07:36,960 --> 02:07:43,279
scores, your mind probably goes to
a much more overtly scary place. Spooky

1986
02:07:43,359 --> 02:07:45,479
simps. Yeah, I mean,
even you know fucking what we're talking about,

1987
02:07:45,479 --> 02:07:48,039
the not loose record, you know
that fucking clanging twigs and whatever.

1988
02:07:49,119 --> 02:07:54,600
Horror score and Giallo score are actually
sort of different things because very different.

1989
02:07:54,840 --> 02:08:00,640
Giallo score is based in that very
bizarre idea of like Italian stylishness and luxury,

1990
02:08:00,680 --> 02:08:03,039
like Jalo films. They're like European
holiday brochures that happen to have murders

1991
02:08:03,079 --> 02:08:07,840
in them half the time. Like
the scores are like way more playful and

1992
02:08:07,159 --> 02:08:11,560
funky swanky as a word. I
often come back to her in regards to

1993
02:08:11,640 --> 02:08:13,600
Jallow music, which you would never
say about like a John's Carpenter score or

1994
02:08:13,680 --> 02:08:16,399
something, you know, like there's
amos from my notes, was like I

1995
02:08:16,479 --> 02:08:22,640
can just see some beautiful Italian lady
like walking along a canal or exactly grass

1996
02:08:24,239 --> 02:08:26,880
like there is like that I can
just picture those sort of moments in them,

1997
02:08:26,920 --> 02:08:31,640
because those twos just happen in Jealouschool. There are just bits of like

1998
02:08:31,960 --> 02:08:37,000
attractive young people like going about their
business to this like sort of swanky,

1999
02:08:37,239 --> 02:08:41,319
slightly psychedelic sixties and seventies soundtrap.
Yeah, they're like because you know,

2000
02:08:41,399 --> 02:08:45,319
it's seventies cop shows and shit like
that as well, and you imagine it's

2001
02:08:45,319 --> 02:08:48,159
sucking, you know, Miami Vice
on a speedboat or whatever, except it's

2002
02:08:48,159 --> 02:08:50,840
you know, Italy in the nineteen
seventies, and I'm glassid you know they've

2003
02:08:50,840 --> 02:08:54,119
created a seventy seven soundtrack in that
style with some of their own sounds mixed

2004
02:08:54,159 --> 02:08:58,680
in to a movie that does not
exist to create an impression of the movie,

2005
02:08:58,239 --> 02:09:01,279
and they have brought in actors and
things like that, and it's obvious

2006
02:09:01,279 --> 02:09:03,920
it's a very particular kind of listening
experience. So the first HAWN in six

2007
02:09:03,039 --> 02:09:05,880
years, which is the longest that
they've ever done, and my understanding is

2008
02:09:05,880 --> 02:09:09,680
that basically the juices for the kind
of unclass material they normally write just weren't

2009
02:09:09,680 --> 02:09:13,039
flowing in the same way. And
I think it's a very creatively honest record

2010
02:09:13,119 --> 02:09:18,119
in the sense that he had to
write a fucking fect Giallo score because that's

2011
02:09:18,159 --> 02:09:20,439
what he was inspired to do,
you know, and the inspiration to do

2012
02:09:20,560 --> 02:09:22,279
more or what we know, wasn't
there. And you know, maybe having

2013
02:09:22,319 --> 02:09:24,199
got this out of his system,
that's what we can expect again. But

2014
02:09:24,520 --> 02:09:28,159
right now we've got something fucking weird
and different, and uh, you know,

2015
02:09:28,560 --> 02:09:31,800
it was certainly a pleasure for me
to kind of sink my teeth into

2016
02:09:31,840 --> 02:09:33,960
something like this, because this kind
of music does take up a lot of

2017
02:09:35,000 --> 02:09:39,079
space in my head. Anyway.
The intro track again does necessarily screen jallow

2018
02:09:39,119 --> 02:09:41,119
to me that one, but it
kind of almost feel like an overture or

2019
02:09:41,159 --> 02:09:45,279
something. You're really beautiful, melodic
bass playing on all the symps and stuff.

2020
02:09:46,079 --> 02:09:50,439
I've always admired how cool and authentic
in a strange, scratchy, nightmarish

2021
02:09:50,479 --> 02:09:54,479
way Uncoal Acid make their records sound, and uh, this record is full

2022
02:09:54,520 --> 02:10:00,520
of that, but geared toward that
very specific uh angle what they're doing.

2023
02:10:01,439 --> 02:10:03,000
I mean, yeah, everything it's
sort of like fuzzed up to the max

2024
02:10:03,119 --> 02:10:07,199
and trying to make it sound as
like vintage as possible. I did kind

2025
02:10:07,239 --> 02:10:11,199
of get like like opening credits in
a Yallow movie, like stills of mannequins

2026
02:10:11,279 --> 02:10:16,880
and shit like that, like yeah, like but that's these are the things.

2027
02:10:16,920 --> 02:10:18,560
I was just kind of like,
I can see it. I like,

2028
02:10:20,600 --> 02:10:22,960
these are all just things up on
into mind and I was like,

2029
02:10:22,479 --> 02:10:26,880
I mean it's it's working. It's
magical. Just so I'm like, again,

2030
02:10:26,199 --> 02:10:30,279
if you haven't got these touchstones,
I can't see how this would do

2031
02:10:30,399 --> 02:10:33,159
anything for you. I think this
is so you have to like be in

2032
02:10:33,319 --> 02:10:37,880
on Shallow to just kind of like
create your your mind palace of like what's

2033
02:10:37,960 --> 02:10:41,279
happening in the made up Yallow movie
at that exact moment. Same like the

2034
02:10:41,319 --> 02:10:45,760
bits for those narration it's I can
see people like there's just men around a

2035
02:10:45,800 --> 02:10:48,720
desk, were all smoking and all
kind of like trying to work out what's

2036
02:10:48,760 --> 02:10:50,640
going on, Like it's all there
to me. So that's why I was

2037
02:10:50,720 --> 02:10:54,359
able to go with this, which
I was just like, I was having

2038
02:10:54,439 --> 02:10:58,760
so much fun with this album,
just creating the movie in my head.

2039
02:10:58,680 --> 02:11:01,279
Yeah, I almost before I listened
to it, I kind of set it

2040
02:11:01,319 --> 02:11:05,399
aside and thought, you know,
if I don't like this record, it's

2041
02:11:05,399 --> 02:11:07,800
a completely different thing, you know, like you say, creatively honest album,

2042
02:11:07,920 --> 02:11:11,199
fun experiment. I won't hold it
against them. This is my favorite

2043
02:11:11,239 --> 02:11:18,119
unclaccid record since mine control. I
love this thing. The aesthetic. I

2044
02:11:18,319 --> 02:11:20,680
don't can't imagine it being more nailed
like that, since the drums, the

2045
02:11:20,720 --> 02:11:24,520
basslines, the production, the cover, just even the way I don't even

2046
02:11:24,520 --> 02:11:26,760
know what it's not even production,
but like you say, it's sounding like

2047
02:11:26,800 --> 02:11:30,560
an old record. There isn't one
thing out of place, and it's such

2048
02:11:30,600 --> 02:11:33,359
a delicate balance to strike. I
always, you know this kind of fun

2049
02:11:33,399 --> 02:11:35,640
guy, I am. I always
get wound up when you watch TV shows

2050
02:11:35,640 --> 02:11:39,560
and there's like a flashback to the
eighties and they get the years slightly wrong

2051
02:11:39,680 --> 02:11:41,520
and they go with nineteen eighty three
and someone goes, oh, let's go

2052
02:11:41,680 --> 02:11:48,359
watch Beetlejuice and just go how No, not possible. Yet. I'm not

2053
02:11:48,439 --> 02:11:50,479
as much of an expert as you
guys are in Italian horror and all that,

2054
02:11:50,720 --> 02:11:54,439
but I listened to this and there
wasn't one moment where I thought,

2055
02:11:54,239 --> 02:11:56,720
you know, that couldn't have happened. Yet that doesn't make any sense.

2056
02:11:58,119 --> 02:12:01,920
And maybe it's because these Italian films
are so odd that they kind of played

2057
02:12:01,920 --> 02:12:05,880
to their own logic that it's hard
to get a grip on. But I

2058
02:12:07,000 --> 02:12:09,159
was completely transported by this, like
that thing was about the mind pass.

2059
02:12:09,239 --> 02:12:13,000
I could see the movie like being
projected on the inside of my skull.

2060
02:12:13,479 --> 02:12:16,600
It's just so addictive. I think
it's they go really ye all in on

2061
02:12:16,640 --> 02:12:20,600
the yallow concept and they you know, they've made this a labor of love,

2062
02:12:20,680 --> 02:12:22,359
for sure, and part of that
is, you know, they've got

2063
02:12:22,359 --> 02:12:26,960
people like Franco Niro and Edwig Feneck
on the record, who are two of

2064
02:12:26,039 --> 02:12:31,119
the most iconic actors from that Giallo
era who are actually still alive and available,

2065
02:12:31,199 --> 02:12:33,520
you know, so it's like wonderful
to make reuse that reasont. I

2066
02:12:33,560 --> 02:12:35,880
mean the fact that, like I've
just said, the words Edgweg Feneck on

2067
02:12:35,960 --> 02:12:43,000
a fucking little podcast that's really weird
to me that normally happens. Yeah,

2068
02:12:43,119 --> 02:12:46,920
And like the weird thing is though
with that is generally want you watch a

2069
02:12:46,000 --> 02:12:50,760
Yallo, you'll probably actually watch it
in English with like the crazy dubbing.

2070
02:12:50,279 --> 02:12:54,199
But people like Franko Neiro and Edwige
Feneck, it's an audio only experience,

2071
02:12:56,000 --> 02:12:58,640
and you know, they speak Italian
when they're not dubbed over, so they

2072
02:12:58,760 --> 02:13:01,039
kind of they deliver it in Italian. And it does mean that as an

2073
02:13:01,079 --> 02:13:05,479
English listener, you're piecing together where
you're at more in terms of like the

2074
02:13:05,600 --> 02:13:07,720
tone of delivery, and you know, you know, you're trying to infer

2075
02:13:07,880 --> 02:13:13,199
in the kind of the sort of
impressionistic way of like intonation and painting in

2076
02:13:13,279 --> 02:13:16,680
that kind of way more than it
is like a narrative concept album where you

2077
02:13:16,760 --> 02:13:22,039
are super closely following the beats.
It's much more sort of like again vague

2078
02:13:22,039 --> 02:13:26,000
and impressionistic in a way, which
is a you know, for a score

2079
02:13:26,079 --> 02:13:30,600
to a fake movie is a bizarre
kind of idea they've obviously they've had,

2080
02:13:30,760 --> 02:13:33,359
Like it's one of tho things where
like the people behind this, they know

2081
02:13:33,560 --> 02:13:35,960
exactly what happens, you know.
It's like they've absolutely they've worked out exactly

2082
02:13:37,319 --> 02:13:39,600
a narrative and a concept or district
it together. But what you get is

2083
02:13:39,640 --> 02:13:43,439
a kind of like, you know, just go with it. The one

2084
02:13:43,520 --> 02:13:48,079
concession you get there is the almost
where they do sing every now and then

2085
02:13:48,159 --> 02:13:50,600
that those people, like the ements
can like sense you a little bit on

2086
02:13:50,640 --> 02:13:54,279
the show, so you can catch
on to to one particular thing and kind

2087
02:13:54,319 --> 02:13:56,279
of take a thread from there.
Those the only ements of that. It

2088
02:13:56,399 --> 02:13:58,520
it's like almost a slight concession to
be like, okay, if you are

2089
02:13:58,600 --> 02:14:03,640
lost, here's a bit of a
exactly because like the second track on the

2090
02:14:03,680 --> 02:14:07,119
record, it's like some Italian guy
is saying something deadly serious and it's probably

2091
02:14:07,439 --> 02:14:09,680
like a police discussion of the murder
scene or some not the other sort.

2092
02:14:09,239 --> 02:14:13,560
But it's the little organ lion and
the drum part underneath that kind of puts

2093
02:14:13,600 --> 02:14:16,239
you in the scene. And then
Kevin's vocal comes in, singing in English,

2094
02:14:16,520 --> 02:14:18,720
and it's a somewhat rare occurrence when
he does sing on this record,

2095
02:14:18,760 --> 02:14:22,680
to be honest, but those little
snippets of words are almost like a lifeline,

2096
02:14:22,840 --> 02:14:26,319
okay, where are we, And
you know, it doesn't necessarily make

2097
02:14:26,359 --> 02:14:30,960
for a seamless narrative experience, because
you know, they are trying to paint

2098
02:14:31,000 --> 02:14:35,399
the whole image in solely the audio
medium rather than the soundtrack to the visual

2099
02:14:35,439 --> 02:14:37,600
medium, and partially in a foreign
language. So I was like, well,

2100
02:14:37,600 --> 02:14:41,199
we got a piece together some stuff
here, and you know, one

2101
02:14:41,239 --> 02:14:41,800
of the things I did was like
I took the titles of the songs and

2102
02:14:41,840 --> 02:14:43,840
I chucked them in Google Translate just
to at least kind of, you know,

2103
02:14:43,960 --> 02:14:46,399
give a kind of mental image and
some really good ones in there.

2104
02:14:48,119 --> 02:14:50,760
But to be honest, Jallo is
essentially about vibes and feeling lost sixty percent

2105
02:14:50,800 --> 02:14:54,600
of the time anyway, So if
they were going to try that with any

2106
02:14:54,680 --> 02:14:58,319
sort of sub genre, it might
as well be this one. You know,

2107
02:14:58,439 --> 02:15:01,600
some shit's going down and them there
you just kind of vibe with it.

2108
02:15:01,119 --> 02:15:03,800
When Love Vipera comes in is when
my brain really started to go like,

2109
02:15:03,800 --> 02:15:07,239
oh yeah, yeah, this is
that was it, because that's like

2110
02:15:07,439 --> 02:15:11,560
slick and cool. It's got that
kind of weird spaghetti Western kind of like

2111
02:15:11,239 --> 02:15:16,800
Marricconi sounded, but with that just
kind of slightly odd yellow field to it.

2112
02:15:16,840 --> 02:15:20,079
And I was like, oh,
yeah, that's what that was the

2113
02:15:20,159 --> 02:15:22,119
exact way right. I locked him. I was, I was like,

2114
02:15:22,159 --> 02:15:24,720
I'm going to just be here for
the vibes. Now I'm totally in.

2115
02:15:24,680 --> 02:15:30,479
I love that song, like it's
just it's just so cool, it's got

2116
02:15:30,560 --> 02:15:33,760
it's sort of spooky and shadowy but
kind of sexy at the same time,

2117
02:15:33,800 --> 02:15:37,760
which is never not a word I've
used on Uncollassed and The Dead Beats before.

2118
02:15:39,399 --> 02:15:46,760
But I think you were saying about
the songs maybe they somehow intrude on

2119
02:15:46,840 --> 02:15:48,520
the narrative end of things, maybe
or they feel like they're a concession of

2120
02:15:48,560 --> 02:15:52,399
some kind it's fun. I didn't
get that impression at all, because you

2121
02:15:52,479 --> 02:15:56,079
know, this isn't a yellow film. I think it's like The Wickerman,

2122
02:15:56,319 --> 02:16:01,039
where there's just songs appearing out of
nowhere and bits of electric guitar that randomly,

2123
02:16:01,159 --> 02:16:03,720
like sort of into your ears and
completely changed the mood of it,

2124
02:16:03,319 --> 02:16:09,439
and moments like that. I just
thought, if I was if I had

2125
02:16:09,479 --> 02:16:11,720
this in the late sixties and I've
seen this film, I would want to

2126
02:16:11,720 --> 02:16:15,239
listen to this record constantly and just
by putting some of the some of the

2127
02:16:15,279 --> 02:16:18,600
best songs they've written in years on
there. I think it just creates such

2128
02:16:18,600 --> 02:16:22,239
an interesting package. Yeah, I
think that is a song that is a

2129
02:16:22,560 --> 02:16:28,000
catchy uncle acid tune that's rocking this
kind of Eneomorcone texture more than is Black

2130
02:16:28,039 --> 02:16:31,120
Sabbath. And that's kind of interesting
because like as well as you know,

2131
02:16:31,159 --> 02:16:37,079
obviously they're using all these analog style
synse and stuff like that to kind of

2132
02:16:37,079 --> 02:16:39,639
really evoke that ear, and it's
really beautiful as a melotron that keep popping

2133
02:16:39,680 --> 02:16:43,319
up. That's really wonderful. But
as well as making uncle Acid sound kind

2134
02:16:43,319 --> 02:16:45,559
of new indifferent, it obviously goes
the other way as well, where you

2135
02:16:45,639 --> 02:16:48,639
have these giallow style tracks, but
they have like heavy doomy guitars underpinning them

2136
02:16:48,680 --> 02:16:50,920
in a way that that music normally
doesn't, you know, And I think

2137
02:16:50,920 --> 02:16:56,280
that's a really unique mood they do. A lot of the record is surprisingly

2138
02:16:56,360 --> 02:17:00,920
kind of spacious as a really stripped
back melancholy to it and stuff like ill

2139
02:17:00,959 --> 02:17:03,239
Tasorrodis Sardinia, which has a really
like lovely synth and saxel of it,

2140
02:17:03,319 --> 02:17:07,319
but it's really chilled out. I
think again, thinking about like horror yellow

2141
02:17:07,319 --> 02:17:09,520
Scores or whatever, there's not many
of like you know, the attack scenes

2142
02:17:09,639 --> 02:17:13,520
in this Necessarily there's one obvious track
at the end that's blatantly called the Homicide,

2143
02:17:13,959 --> 02:17:18,479
but otherwise it is quite low key
and chilled out, and one of

2144
02:17:18,520 --> 02:17:20,360
the you know, the reference points
I had in terms of like how I

2145
02:17:20,479 --> 02:17:24,879
was listening to this is actually like
the time Wave zero record from Blooding Cantation

2146
02:17:24,000 --> 02:17:26,639
when they made like a full synth
project and it would just ask you do

2147
02:17:26,639 --> 02:17:30,680
you kind of okay, lie back, float yourself into kind of analogue synth

2148
02:17:30,799 --> 02:17:35,559
land. This has a similar approach
at times, particularly in the kind of

2149
02:17:35,600 --> 02:17:41,000
the mid section. The title track, particularly kind of gorgeous song, has

2150
02:17:41,040 --> 02:17:43,639
like kind of heavy bass element again
but really sort of a chiming, sort

2151
02:17:43,680 --> 02:17:46,959
of lullabiish quality in the keys,
And like, the first time I listened

2152
02:17:46,959 --> 02:17:50,000
to this record, I was it
was on in my flat, I was

2153
02:17:50,040 --> 02:17:52,639
doing other things. It was nice
background music, but it didn't necessarily draw

2154
02:17:52,680 --> 02:17:54,280
me all the way into it.
The next time I listened to it,

2155
02:17:54,319 --> 02:17:56,559
I was walking home on my own
in the dead of night, and that

2156
02:17:56,680 --> 02:17:58,559
is where the material really just kind
of shone, and I was like,

2157
02:17:58,639 --> 02:18:00,840
yeah, cool, I'm in this. I'm in the world, and it's

2158
02:18:00,879 --> 02:18:07,000
not overwhelmingly scary, but it is
like dreamy and moody. I mean that

2159
02:18:07,000 --> 02:18:09,559
actually it is the obviously a lot
of Germans. They have that quite like

2160
02:18:09,760 --> 02:18:13,760
dreamlike quality of like aimlessly wondering at
times. And again if you're in on

2161
02:18:13,879 --> 02:18:18,680
that, there are songs that WEEK
can kind of totally buy into, like

2162
02:18:18,440 --> 02:18:22,200
like you know, you got the
sort of the Joons that maybe have the

2163
02:18:22,280 --> 02:18:26,600
slight slightly supernaturals, which is having
a vision of something and it's this weird

2164
02:18:26,760 --> 02:18:30,520
dream where stuff's warping together. There
are songs I can always picture as that

2165
02:18:30,799 --> 02:18:33,680
or just the whole like cocktail pie
bit, like, yeah, all the

2166
02:18:33,719 --> 02:18:39,399
things that the just it feels so
like evocative and it is quite sparse,

2167
02:18:39,479 --> 02:18:43,600
but I was so locked into just
the whole mood of it that I never

2168
02:18:43,680 --> 02:18:46,079
found myself kind of my mind wandering
off to not where the album wants my

2169
02:18:46,159 --> 02:18:50,520
mind to go. Yeah, I
think they weave in more than enough of

2170
02:18:50,639 --> 02:18:56,159
the uncle acid, you know,
the sauce to make it feel like it

2171
02:18:56,559 --> 02:18:58,719
slots in with the rest of their
records that I'm gonn pronounce this terribly,

2172
02:18:58,760 --> 02:19:03,879
but she is distrada almost as like
a lost Door song kind of echoing up

2173
02:19:03,879 --> 02:19:05,959
fro the bottom of a well.
And again it's not even really on a

2174
02:19:07,040 --> 02:19:09,319
song, but track twelve there's a
riff on that which is one of the

2175
02:19:09,360 --> 02:19:13,600
best they've done in a long time. And you know, maybe they weren't

2176
02:19:13,600 --> 02:19:16,120
going to write a record in the
traditional sense, but I listened to that

2177
02:19:16,159 --> 02:19:18,159
just thought fucking out, you could
have held that back and written a full

2178
02:19:18,239 --> 02:19:20,959
song around it, but it's just
such a cool flavor just to just throw

2179
02:19:22,040 --> 02:19:26,040
in part way through your fake giallo
score. Yeah, I think again,

2180
02:19:26,079 --> 02:19:28,440
there's a sort of chilled out part
in the middle of the record where like

2181
02:19:28,479 --> 02:19:31,280
generally the sort of like conventional uncoala
acid by obviously' not writing conventional songs,

2182
02:19:31,319 --> 02:19:35,000
but even just like the guitars and
vocal sort of setup, it goes away

2183
02:19:35,079 --> 02:19:37,040
for like half an hour or so, like fully in the middle of it

2184
02:19:37,159 --> 02:19:39,479
just like fully vibed for a while. And maybe again, if this was

2185
02:19:39,520 --> 02:19:41,600
a Joi film, maybe that's part
where you go it's a big slump when

2186
02:19:41,639 --> 02:19:46,239
nothing really happens, But then you
get a torturer al telephono, which is

2187
02:19:46,360 --> 02:19:48,559
another song where you can quite easily
pee together. What that probably translates as

2188
02:19:48,920 --> 02:19:52,760
also comes right after someone on the
phone angrily shouting Bastanda, which is quite

2189
02:19:52,799 --> 02:19:56,000
good. But then I think for
me, quite a lot of the standout

2190
02:19:56,040 --> 02:19:58,239
tracks then turn up sort of in
the second half of the record once you're

2191
02:19:58,239 --> 02:20:05,399
over the hill with it, because
pomurigid in November, nil Pacho hyphen Chichio,

2192
02:20:05,760 --> 02:20:07,399
uh, really nice, start with
the jazz pianos, but then like

2193
02:20:07,479 --> 02:20:11,399
halfway through again for the first time
in like a good half an hour or

2194
02:20:11,440 --> 02:20:16,360
so full uncollasid crash in and the
way you think that watching guys are over

2195
02:20:16,639 --> 02:20:18,479
reaware. That's to hook that again. You stood with me in this album,

2196
02:20:18,559 --> 02:20:22,600
you do suddenly vot you're under attacked
from like all of these piercing eyes

2197
02:20:22,680 --> 02:20:24,799
around you, you know, and
when they the two sort of combine in

2198
02:20:24,879 --> 02:20:31,239
a really cool way at times on
this. Yeah, I can't really fault

2199
02:20:31,440 --> 02:20:35,639
the composition of this thing. I
did wonder if they'd go too far one

2200
02:20:35,719 --> 02:20:39,079
way or not commit enough. I
think they've got the balance pretty much perfect,

2201
02:20:39,079 --> 02:20:43,520
because there's enough of the giallo thing
to feel like it qualifies for that,

2202
02:20:43,840 --> 02:20:46,040
but there's also enough on coll Acid
to feel like it's not an offshoot

2203
02:20:46,040 --> 02:20:50,520
that it's insually. You mentioned the
blood in Cantation record as a comparison,

2204
02:20:50,559 --> 02:20:54,959
I see that, but it felt
like when that came out there was almost

2205
02:20:54,959 --> 02:20:56,559
discussion of, oh, is it
really a blood in Cantation record? Is

2206
02:20:56,600 --> 02:21:01,079
it more of a sort of EP
or commercial least thing? Is this kind

2207
02:21:01,120 --> 02:21:03,959
of part of it? Is this
almost like a side quest? I would

2208
02:21:05,120 --> 02:21:07,840
put this in the in the can
of unclacid records as readily as it as

2209
02:21:07,879 --> 02:21:13,000
readily as I'd put any of them. Yeah, I mean I for me,

2210
02:21:13,040 --> 02:21:15,239
the blanket, I think I included
that very much to the blank condition

2211
02:21:15,319 --> 02:21:18,600
thing, So I equating them for
me it seems quite natural. But I

2212
02:21:20,239 --> 02:21:24,799
generally I agree the song you mentioned
with that really great fucking Tonaomi lead,

2213
02:21:24,159 --> 02:21:28,559
you know style untol acid riff that
usually it's that bread that's their bread and

2214
02:21:28,600 --> 02:21:31,200
butter, but it does sort of
slide in here and it's really cool.

2215
02:21:31,840 --> 02:21:35,879
The next track after that it's like
all brilliant riffs and it's a really that's

2216
02:21:35,879 --> 02:21:39,040
one that's like the big metallic riffing
on that one in the stage and you

2217
02:21:39,120 --> 02:21:41,440
go, oh, yeah, this
is a DOOMI a cult band. Yeah,

2218
02:21:41,479 --> 02:21:45,879
And you know it's kind of a
cozy happy spot for me with the

2219
02:21:45,920 --> 02:21:50,600
vocal melodies and the weird trippiness of
it. Il Gatto Morto is brilliant.

2220
02:21:50,680 --> 02:21:56,120
I think that's like real sinister intent
lurking around a corner. And that's exactly

2221
02:21:56,159 --> 02:21:58,319
you know, when you were saying
Elliott, like, oh well, they'll

2222
02:21:58,319 --> 02:22:01,840
be using all of their skill set. It's a natural fit because Uncle Acid's

2223
02:22:01,920 --> 02:22:05,000
music normally is so kind of serial
killer ish in personality. You know,

2224
02:22:05,200 --> 02:22:09,200
this band wrote the Night Creeper,
you know, and that's there, and

2225
02:22:09,280 --> 02:22:11,280
that the track after that really reminds
me of the Goblin stuff for the Deep

2226
02:22:11,360 --> 02:22:15,639
Red perform the Rosso soundtrack, that
kind of like circling funk ish kind of

2227
02:22:15,680 --> 02:22:20,200
baseline. I just again, I
admire the craziness of this being again primarily

2228
02:22:20,239 --> 02:22:26,799
the work of sort of one guy
finding himself going down one particular niche rabbit

2229
02:22:26,840 --> 02:22:28,920
hole so hard that he just goes
absolutely mental with it. You know,

2230
02:22:28,959 --> 02:22:31,959
as a guy who frequently finds himself
watching a lot of shit and going how

2231
02:22:33,079 --> 02:22:35,479
how did I get here? I
can relate to that. And and the

2232
02:22:35,559 --> 02:22:39,639
result is, you know, I
don't as everything the record is perfect,

2233
02:22:39,680 --> 02:22:43,000
but he's got this kind of strange
one off record that no one else has

2234
02:22:43,040 --> 02:22:46,600
made. And I think that is
creative reward in itself, you know,

2235
02:22:46,680 --> 02:22:50,280
and they know full well that they
are a already a fairly niche band,

2236
02:22:50,760 --> 02:22:54,719
but now again, only a small
fraction of their audience will want to devote

2237
02:22:54,719 --> 02:22:58,000
their attention wholly to this. But
it is one of the more, you

2238
02:22:58,079 --> 02:23:01,120
know, creative endeavors we would probably
see from a band this year. To

2239
02:23:01,159 --> 02:23:07,079
be honest, it's outside the box, definitely, and I think one of

2240
02:23:07,079 --> 02:23:09,399
the cool things. But Unclass has
always been that they are outside the box

2241
02:23:09,600 --> 02:23:13,079
and they don't sort of bend to
the conventions of other bands in their fit.

2242
02:23:13,120 --> 02:23:16,920
It feel like I've seen a lot
of bands who came up around the

2243
02:23:16,959 --> 02:23:18,639
same time as them and ghost and
they saw what Ghosts were doing and thought,

2244
02:23:18,879 --> 02:23:22,000
okay, well we'll try that.
Uncoasteralm just went the other way.

2245
02:23:22,239 --> 02:23:28,360
They went stranger, they went more
obtuse and creepier and still playing readers with

2246
02:23:28,399 --> 02:23:33,159
Ghosts fairly recently. And then they
followed up with it. Yeah, like,

2247
02:23:33,760 --> 02:23:37,799
but you put this on and it's
a record that in a funny way

2248
02:23:37,799 --> 02:23:41,559
because they're trying to emulate something so
clearly it's not a record anyone else could

2249
02:23:41,600 --> 02:23:46,799
make. Yeah, I agree,
certainly, it's it's such a specific nerdy

2250
02:23:46,920 --> 02:23:50,159
project that you could you can't just
accidentally sort of stumble into doing this or

2251
02:23:50,319 --> 02:23:54,879
half asset. You know, you
have to be in. Yeah, you

2252
02:23:54,000 --> 02:23:56,760
have to hunt and commit to the
bit of Like that's why I think this

2253
02:23:56,879 --> 02:24:03,200
works is if this wasn't so committed
to it's like deep understanding of all of

2254
02:24:03,280 --> 02:24:07,760
the trademarks of Jallo, I just
don't think this would work at all.

2255
02:24:07,959 --> 02:24:13,840
They're not going to contact Zwenek and
Franco niro in of course. Yeah,

2256
02:24:15,200 --> 02:24:18,399
yeah, I think it's a It
was so unique, I thought we should

2257
02:24:18,399 --> 02:24:20,319
take the opportunity to talk about it. So if any of that sounds of

2258
02:24:20,360 --> 02:24:22,360
interest to you, you know,
you could go into it with the correct

2259
02:24:22,600 --> 02:24:24,479
expectations. Maybe you will find something
new that you kind of enjoy. So

2260
02:24:24,680 --> 02:24:28,559
yeah, it's called nell Or a
Blue from Uncoal, Acid and the Deadbeats.

2261
02:24:28,120 --> 02:24:33,600
If the subject of seventy seven minute
fake Giallo scores by retro doom outfits

2262
02:24:33,719 --> 02:24:35,600
is not at all of interest to
you and you just want some normal fucking

2263
02:24:35,639 --> 02:24:41,079
melodies plays for the Love of God
one Step Closer, perhaps have the album

2264
02:24:41,159 --> 02:24:43,719
for you. The album is called
All You Embrace One Step Closer are a

2265
02:24:43,799 --> 02:24:46,399
melodic hardcore band from the States,
although I suppose we could debate if they

2266
02:24:46,399 --> 02:24:50,159
are still on a hardcore band.
We first spoke about them to my memory

2267
02:24:50,239 --> 02:24:54,360
on the show Outbreak festival last year, where I quite enjoyed them. I

2268
02:24:54,360 --> 02:24:58,319
think they weren't necessarily one of the
bands that like stole the weekend the way

2269
02:24:58,360 --> 02:25:00,840
we raved about certain other bands there
at that far, but I like them,

2270
02:25:00,920 --> 02:25:03,040
and yeah, you know, I
was checking out their records in the

2271
02:25:03,120 --> 02:25:05,520
run up to that festival, and
I thought they had some pretty good tracks,

2272
02:25:05,520 --> 02:25:09,600
you know, a handful of them, definitely your bands or work keeping

2273
02:25:09,600 --> 02:25:11,319
an eye on. And then this
record has come along, and maybe this

2274
02:25:11,399 --> 02:25:13,719
is my sort of prior ignorance to
them prior to about a year ago,

2275
02:25:13,799 --> 02:25:16,079
But would it be fair to say
this is sort of a bit more of

2276
02:25:16,159 --> 02:25:20,399
like upwards trajectory in terms of like
their profile and word of mouth going on

2277
02:25:20,520 --> 02:25:22,959
around this. I think so,
particularly on this album. I mean again,

2278
02:25:24,319 --> 02:25:26,360
I quite like one step Closer before
this, I thought that the previous

2279
02:25:26,360 --> 02:25:30,879
stuff was good. Enjoyed them Outbreak, but of the kind of like the

2280
02:25:31,079 --> 02:25:33,600
new wave of like hardcore bands that
have come out in the sort of the

2281
02:25:33,639 --> 02:25:37,200
post turnstile whatever world they weren't the
ones. They weren't the one I was

2282
02:25:37,239 --> 02:25:39,360
kind of going like, ah,
once so closer, you've got to be

2283
02:25:39,479 --> 02:25:43,000
all about them they were. I
was like, they're cool. I'd like

2284
02:25:43,040 --> 02:25:46,200
to see them do something decent.
And suddenly it was like a lot of

2285
02:25:46,200 --> 02:25:48,360
people have kind of been like,
hey, one step closer, this is

2286
02:25:48,440 --> 02:25:50,760
this feels like a kind of like
step up moment for them. So I

2287
02:25:52,200 --> 02:25:54,680
definitely had eyes on this record to
sort of see were they gonna deliver on

2288
02:25:54,799 --> 02:25:56,600
that. Yeah, and you know, maybe you can take this as a

2289
02:25:56,639 --> 02:26:00,639
view of again someone who is not
wholly plugging that world. But from a

2290
02:26:00,680 --> 02:26:05,719
layman's point of view, so called
melodic hardcore hasn't really been the zeitgeist in

2291
02:26:05,840 --> 02:26:07,200
hardcore for a bit. You know. We are more used to right now

2292
02:26:07,319 --> 02:26:11,200
hearing obviously they're not losers and so
on, and then maybe sort of the

2293
02:26:11,200 --> 02:26:13,879
post turnstyle thing. But like I
remember hearing one stuck Closer and being like,

2294
02:26:13,920 --> 02:26:16,760
oh, these guy kind of sort
of leading the charger for like a

2295
02:26:16,840 --> 02:26:20,360
comeback in that particular style of the
subgenre. You know, Yeah, I

2296
02:26:20,399 --> 02:26:28,000
mean I like mid noughties melodic hardcore
or mid twenty tenlodic hardcorese like at the

2297
02:26:28,079 --> 02:26:30,639
time some of my favorite music.
I was sewing on a lot of that

2298
02:26:30,719 --> 02:26:33,600
sort of stuff, and even going
back to like come Back Kid or Still

2299
02:26:33,639 --> 02:26:35,200
I'd say, one of my favorite
bands. So I was kind of like

2300
02:26:37,159 --> 02:26:39,159
quite happy to welcome a melodic hardcore
return, even if I was kind of

2301
02:26:39,159 --> 02:26:41,399
like, I don't think they quite
nailed it yet, but I was gonna

2302
02:26:41,399 --> 02:26:45,440
like, come on, if somebody's
going to do it, please give me

2303
02:26:45,680 --> 02:26:48,680
like an actual, really good,
like melodic hardcore album that we haven't had

2304
02:26:48,719 --> 02:26:52,680
for a while. Yeah, but
this album has actually, uh, it's

2305
02:26:52,799 --> 02:26:58,479
not necessary, I think done that
entirely. It's kind of introduced some other

2306
02:26:58,520 --> 02:27:00,440
things into the mix as well.
And when I was putt in the you

2307
02:27:00,520 --> 02:27:03,040
know, checking out singles, putting
the reviews l like together, you know,

2308
02:27:03,120 --> 02:27:05,680
I dipped my toe in their previous
records and enjoyed them dedecent amount.

2309
02:27:05,719 --> 02:27:07,399
I was slightly taking a back by, like, oh Sits, there's almost

2310
02:27:07,399 --> 02:27:11,239
more like a pop punk direction here, you know, and the kind of

2311
02:27:11,319 --> 02:27:15,760
the the run for cover, you
know, hardcore meeting alternative sort of you

2312
02:27:15,799 --> 02:27:20,520
know ven diagram. So again,
if you if your sound is melodic bright,

2313
02:27:20,719 --> 02:27:24,559
upbeat punk music. This is definitely
the race we got through this time.

2314
02:27:24,879 --> 02:27:26,840
When you know, I said,
so these guys what we were doing

2315
02:27:26,879 --> 02:27:28,879
in the reviews the other week,
and Elliot said something like, oh,

2316
02:27:28,920 --> 02:27:30,520
it's not much for the net deep
fans in there this time, and I

2317
02:27:30,520 --> 02:27:31,719
was like, well, this is
probably, you know, yeah, a

2318
02:27:31,760 --> 02:27:35,719
fair bit kind of is. I
mean, if I was kind of like

2319
02:27:35,799 --> 02:27:41,120
as simply some of the sound this
imagine like early Title Fight or early sort

2320
02:27:41,159 --> 02:27:43,559
of Citizen cross of Comeback Kid,
in kind of like the approach of like

2321
02:27:43,840 --> 02:27:48,879
the hardcore of Comeback Kid with the
bright kind of emo like tinged pop punk

2322
02:27:48,920 --> 02:27:54,559
melodies of a Title Fire or a
Citizen yearly work. And if that combination

2323
02:27:54,639 --> 02:27:58,600
sounds enticing to you, I can
see people absolutely falling in love with this

2324
02:27:58,680 --> 02:28:03,040
record. Yeah. I mean for
me, they are a band who's name.

2325
02:28:03,120 --> 02:28:05,520
I feel like I've only really heard
the name bandied about in the last

2326
02:28:05,840 --> 02:28:09,440
month or so, and maybe it's
around this record, and I've kind of

2327
02:28:09,479 --> 02:28:11,200
come a bit numb so that,
to be honest, becau, it feels

2328
02:28:11,200 --> 02:28:13,280
like every couple of weeks a new
hardcore adjacent band comes out and everyone goes

2329
02:28:13,440 --> 02:28:16,319
it's the most exciting band in the
world, and you just go, well,

2330
02:28:16,440 --> 02:28:20,520
you know, we'll see. And
I think, to be honest,

2331
02:28:20,559 --> 02:28:22,239
if we weren't review it for the
show, and there's a good chance I

2332
02:28:22,280 --> 02:28:24,600
wouldn't come to this because I'm not
so in on that melodic hardcore thing,

2333
02:28:24,680 --> 02:28:28,479
and said if it's moving more in
the pop punk direction, that doesn't really

2334
02:28:28,520 --> 02:28:33,200
give him any points in its favor
for me. But I'm really glad it

2335
02:28:33,360 --> 02:28:37,520
was thrown in the batch because I
enjoyed this a lot more than I initially

2336
02:28:37,520 --> 02:28:43,520
expected to. I think I completely
agree with you Sam that this scratches an

2337
02:28:43,520 --> 02:28:46,239
itch much in a similar way to
that Gate Creeper record. It scratches it

2338
02:28:46,360 --> 02:28:50,200
that I certainly haven't had scratched in
a long time. And I think there

2339
02:28:50,239 --> 02:28:52,600
are people out there who, with
pop punk being as stale as it has

2340
02:28:52,639 --> 02:28:56,719
been for a while, will just
be desperate for a record like this to

2341
02:28:56,760 --> 02:29:01,159
come along. Yeah. Again,
I was struck to read that in the

2342
02:29:01,239 --> 02:29:05,639
kind of sessions for this they worked
with both Isaac Hale from Not Blues and

2343
02:29:05,760 --> 02:29:11,239
Matt Kerrikey from Citizen, which is
two really different points, doesn't it.

2344
02:29:11,440 --> 02:29:16,920
But I guess this is what happens
when you do that. Yeah, but

2345
02:29:16,000 --> 02:29:20,120
I can see where like though their
input has kind of like coming together and

2346
02:29:20,440 --> 02:29:24,280
like that. I can definitely hear
like not lose wouldn't be like the sort

2347
02:29:24,280 --> 02:29:28,280
the hardcore kind of like w but
like Matt Ry's Citizen, you can hear

2348
02:29:28,399 --> 02:29:31,120
him all over some of the melodies
on this record, some of like what's

2349
02:29:31,159 --> 02:29:35,479
the song Giants are Spare at the
end of the record. That is this

2350
02:29:35,680 --> 02:29:41,280
early Citizen song, like right and
you know when you've got the trumpets never

2351
02:29:41,280 --> 02:29:43,680
been coming at the end. It's
so I like the trumpets bit. That's

2352
02:29:43,719 --> 02:29:48,879
good. That is so like twenty
thirteen emo kind of revival sort of thing

2353
02:29:48,959 --> 02:29:50,840
going on now? Is that?
God? They they they're a band.

2354
02:29:52,079 --> 02:29:54,479
These are people who grew up on
those records and there like we need to

2355
02:29:54,520 --> 02:30:00,639
bring that back. I mean skipping
ahead a bit here, but that's one

2356
02:30:00,639 --> 02:30:05,159
of my favorite songs of this style
I've heard this year. And I heard

2357
02:30:05,239 --> 02:30:09,799
people giving that song some praise beforehand, but listening to that, I just

2358
02:30:09,159 --> 02:30:13,000
how has it been so long since
I've heard a song like this of this

2359
02:30:13,159 --> 02:30:16,879
quality? It seems so simple,
it's soaring, it's hooky, It's the

2360
02:30:16,000 --> 02:30:18,719
kind of song you feel like you've
had in your life for years and you

2361
02:30:18,799 --> 02:30:20,879
have the pleasure of hearing it for
the first time. And I can't remember

2362
02:30:22,000 --> 02:30:26,440
the last band came along writing songs
like this. I was this taken with

2363
02:30:26,879 --> 02:30:30,520
And you know, maybe it's small
things like the production and the band sounding

2364
02:30:31,159 --> 02:30:33,719
where they've got a bit of biting
them that is a kind of the pop

2365
02:30:33,760 --> 02:30:39,440
punk ballad in a way that isn't
so saccering. But I listened to that

2366
02:30:39,559 --> 02:30:43,120
and just think, again, something
that I almost forgot I liked, and

2367
02:30:43,879 --> 02:30:48,799
hearing it done to this standard,
I was just thrilled. Yeah, because

2368
02:30:48,000 --> 02:30:50,479
it's interesting he said that, because
I was. I wasn't quite sure with

2369
02:30:50,600 --> 02:30:54,360
you, because I know that you, Elliott, you like more kind of

2370
02:30:54,319 --> 02:30:58,200
full on emo and like indie alternative
rock stuff than I do. Yeah,

2371
02:30:58,360 --> 02:31:01,040
but the sort of the point where
that interac would sort of clean the poppunk

2372
02:31:01,120 --> 02:31:03,520
or someone, I wasn't sure if
you would view that as some kind of

2373
02:31:03,559 --> 02:31:07,760
bathidization. But you know, it's
nice that you kind of resonated with it.

2374
02:31:09,079 --> 02:31:13,440
Yeah, And I mean you maybe
maybe this speaks what you just said,

2375
02:31:13,479 --> 02:31:16,920
But that trumpet bit when it came
in, I thought, it's almost

2376
02:31:16,920 --> 02:31:20,159
an arcade fire or neutral milk hotel, like the way that when those bands

2377
02:31:20,280 --> 02:31:24,639
use brass, and like you say, it's the sort of thing where if

2378
02:31:24,680 --> 02:31:28,000
that was done wrong, I might
have kind of been repulsed by that,

2379
02:31:28,520 --> 02:31:31,239
but especially by that point in the
record where I'd really warmed to it already,

2380
02:31:31,639 --> 02:31:35,639
When that comes in, I just
thought, God damn, it makes

2381
02:31:35,360 --> 02:31:41,079
the whole thing feel so authentic and
real. And it's funny how that trick,

2382
02:31:41,879 --> 02:31:46,799
which other bands could do, but
don't it genuinely to use that word

2383
02:31:46,840 --> 02:31:50,040
again, it elevates it. I
think we said, like, well,

2384
02:31:50,040 --> 02:31:52,959
our bands to it. I think
it's because it's it's been like a surface

2385
02:31:52,079 --> 02:31:56,920
level kind of understanding, kind of
love for it, or I feel like

2386
02:31:56,200 --> 02:32:03,040
the guys they clearly have a deeper
kind of appreciation for the more nuanced touches

2387
02:32:03,360 --> 02:32:05,520
of those bands, and so that's
why I think they can actually put it

2388
02:32:05,600 --> 02:32:09,040
off in a way that sounds genuine. I think we were spoken about this

2389
02:32:09,079 --> 02:32:13,719
before, how there's a difference between
going, you know, we like Helmet

2390
02:32:13,959 --> 02:32:16,840
and Faith no More and in Living
Color and whatever else, and so we

2391
02:32:16,920 --> 02:32:20,000
sound like corn and just going we
like corn, and so were going to

2392
02:32:20,079 --> 02:32:22,600
sound like corn. I listened to
this and think these guys don't just listen

2393
02:32:22,680 --> 02:32:26,239
to like you say, ties will
Fight or the Hotelia and go all right,

2394
02:32:26,280 --> 02:32:31,200
cool, let's do that. I'm
sure they understand things like the bands

2395
02:32:31,239 --> 02:32:33,680
I mentioned, or the Microphones,
Modest Mouse, the sort of bands that

2396
02:32:35,959 --> 02:32:41,280
clearly shaped that style of emo songwriting
around that time, and hearing the kind

2397
02:32:41,360 --> 02:32:46,159
of the source version of it coming
in it just makes it that little bit

2398
02:32:46,239 --> 02:32:50,600
better, I think as well,
talking about sort of not molding it to

2399
02:32:50,840 --> 02:32:56,680
a certain direction, like the scream, the delivery. He manages to twist

2400
02:32:56,719 --> 02:32:58,319
it into kind of olt rock melodies
at times, but when he pushes it,

2401
02:32:58,440 --> 02:33:03,479
he is still a hardcore singer and
it's not like it has just swapped

2402
02:33:03,520 --> 02:33:07,120
it out for like, you know, the post neck deep voice that X

2403
02:33:07,159 --> 02:33:09,239
amount of bands might have you know
done. And it's nice they've kept that

2404
02:33:09,360 --> 02:33:13,639
kind of moment of authenticity. I
was struck by again when you put the

2405
02:33:13,680 --> 02:33:16,639
record on, you know, the
pace has noticeably dropped from what their previous

2406
02:33:16,680 --> 02:33:20,959
records were. I associated with that
kind of that very zippy, melodic hardcore

2407
02:33:20,959 --> 02:33:24,079
direction, and this I went,
yeah, okay, we are clearly going

2408
02:33:24,159 --> 02:33:28,600
in a more you know, citizen
modeled sort of you know sad boy,

2409
02:33:28,879 --> 02:33:31,559
you know, kind of alternative rock, pop punk whatever thing. I I

2410
02:33:31,719 --> 02:33:35,239
don't especially love this record, and
I think it's because they have lent into

2411
02:33:35,319 --> 02:33:39,760
a thing which I don't really like
especially much. You know. Like my

2412
02:33:39,920 --> 02:33:43,280
problem is bands like Citizens and bands
THEY'RELK I don't really like. So I

2413
02:33:43,360 --> 02:33:46,239
had trouble connecting with this to any
significant degree. Really, I don't think

2414
02:33:46,239 --> 02:33:48,399
it's badly performed. I don't think
it's badly written at all. And there

2415
02:33:48,440 --> 02:33:52,319
are you know, choruses and so
on which I can go, yeah,

2416
02:33:52,399 --> 02:33:54,280
you know decent. There's an acoustic
bit at the end of the gate where

2417
02:33:54,280 --> 02:33:56,280
it's like, oh, he's in
Paul Beerer, you know, the same

2418
02:33:56,840 --> 02:34:03,799
inf is there. Yeah. I
this wasn't really my kind of hardcore,

2419
02:34:03,879 --> 02:34:07,760
shall we say, But Sam,
you really like it. This has been

2420
02:34:07,079 --> 02:34:11,159
that again, like probably the one
thing that's maybe pivving Gate Creep out of

2421
02:34:11,200 --> 02:34:13,399
the ones that we've done this like
this week that I have just been so

2422
02:34:15,440 --> 02:34:18,559
so the opening of Color you just
took me back to you, like again,

2423
02:34:18,719 --> 02:34:24,159
just being in twenty fifteen and like
maybe something like bands like Landscapes and

2424
02:34:24,440 --> 02:34:26,520
that sort of stuff. The opening
chords and the way they sort of sweep

2425
02:34:26,559 --> 02:34:28,719
me in. I was like,
ah, this is this is like full

2426
02:34:28,760 --> 02:34:35,840
on like tugging your shirt collar like
emotional hardcore. There's that opening something that

2427
02:34:35,959 --> 02:34:39,319
that that that whole that fun into
the course that that stuck for me when

2428
02:34:39,360 --> 02:34:43,079
they're kind of doing that at the
end where they build it the big version

2429
02:34:43,239 --> 02:34:46,000
they're training off the vocals like that
was a really good opener. And then

2430
02:34:46,000 --> 02:34:50,399
you get Leap Years coming in and
that is just pure skate punk hardcore.

2431
02:34:50,440 --> 02:34:54,639
I was like that, So they
haven't completely yeah, moved away from that

2432
02:34:54,479 --> 02:35:00,360
stuff, stuff like Leap Years and
blow my memory when my memories lower than

2433
02:35:00,399 --> 02:35:03,760
Atlantis, Like maybe, yeah.
I was like those tracks when they bring

2434
02:35:03,879 --> 02:35:07,159
when they do have you know,
the melodic hardcore thing of like melodic coorprogressions

2435
02:35:07,159 --> 02:35:11,559
over like a punk beat, those
are the parts that scratch my brain a

2436
02:35:11,639 --> 02:35:13,799
little bit more so, you know, And I do enjoy this band when

2437
02:35:15,559 --> 02:35:18,559
I think the guitars are carrying the
melodies most of all. I guess yeah,

2438
02:35:18,120 --> 02:35:20,479
I mean like I I again,
those songs are just like crack to

2439
02:35:20,559 --> 02:35:24,799
me, rich Like ah that that
that that drum beat is pummeling forward,

2440
02:35:24,360 --> 02:35:31,360
the sort of bassline that's just like
driving it. It's it's so easy for

2441
02:35:31,440 --> 02:35:33,399
me to sort of lap those songs
up, but I think like those songs

2442
02:35:33,440 --> 02:35:37,680
are really great fun, but they're're
they're the kind of like quite more straightforward

2443
02:35:37,680 --> 02:35:43,440
part of the album. I like
them when like you then get what's it

2444
02:35:43,120 --> 02:35:48,239
the gate sort of slows things down, goes really like shimmering and pretty Orangely

2445
02:35:48,399 --> 02:35:52,440
has a kind of like nice pish
of poor where it is it'd bit harsh

2446
02:35:52,559 --> 02:35:54,000
that and that's what sort of songs
I was like, I could see you

2447
02:35:54,040 --> 02:35:56,799
paying falling up with some of the
song, but it's not like that way.

2448
02:35:56,799 --> 02:35:58,680
It is a bit harsher, and
like when he's doing these vocals,

2449
02:35:58,719 --> 02:36:03,959
it's not a whiny kind of like
it's a kind of like more a kind

2450
02:36:03,959 --> 02:36:05,840
of vocal that I could see being
a big turn off for you. Yeah,

2451
02:36:05,959 --> 02:36:09,200
it's orange Leaf is the kind of
like melodic core progression, but you

2452
02:36:09,280 --> 02:36:13,159
could probably still mosh to it if
needs be, you know, stuff like

2453
02:36:13,200 --> 02:36:16,680
that, and people can mosh to
that, like sure, yeah, And

2454
02:36:16,920 --> 02:36:20,319
like the kind of bouncing melodic lead
at the start of hazel Tree that was

2455
02:36:20,399 --> 02:36:22,639
really like you know, oh yeah, fucking you know, title Fight,

2456
02:36:24,159 --> 02:36:28,520
Super Heaven, whatever sort of it's
loud, alternative rock, but it's also

2457
02:36:28,000 --> 02:36:33,159
very downcast and autumnil maybe in a
bit sad about things. I quite like

2458
02:36:33,280 --> 02:36:35,799
in z Rook if I say,
say that song, there's like almost post

2459
02:36:35,840 --> 02:36:39,399
hardcore quality in terms of like noodling, Like there's really cool league guitars that

2460
02:36:39,520 --> 02:36:43,000
sort of flitting around that, and
that you know, brought me back to

2461
02:36:43,079 --> 02:36:45,879
maybe a few of the places we've
been on the Patreon specials of late.

2462
02:36:46,319 --> 02:36:50,879
As mentioned of the slick trumpet part
in Giants Despair. Yeah, I don't

2463
02:36:50,879 --> 02:36:52,000
think this record is gonna stick with
me in any significant degree, but it's

2464
02:36:52,000 --> 02:36:56,639
not my thing. I think it
probably is still fit for outbreak, you

2465
02:36:56,719 --> 02:36:58,559
know, like you could imagine people
running across the stage to this, for

2466
02:36:58,639 --> 02:37:05,440
sure, but the sound is broader, more measured, probably with a you

2467
02:37:05,520 --> 02:37:11,000
know, kind of a more of
a developed identity and you know, kind

2468
02:37:11,000 --> 02:37:18,799
of more obvious quality of songwriting to
draw people in. Yeah, I mean,

2469
02:37:18,840 --> 02:37:20,680
one of the nice things I was
listening to seg for me is that

2470
02:37:22,440 --> 02:37:26,600
I kind of haven't liked one of
these to any real extent for quite a

2471
02:37:26,600 --> 02:37:28,159
while, and I started to wonder
if I've been a bit of a Goldilocks

2472
02:37:28,159 --> 02:37:31,399
about it. But it's been nice
listening to this and going no, I

2473
02:37:31,520 --> 02:37:33,680
hang on. If a few things
are in place, a few vital ingredients

2474
02:37:33,680 --> 02:37:37,479
are there, I can get on
board and like you say, stuff like

2475
02:37:37,840 --> 02:37:41,040
Ezruk, which it's only just about
two minutes long, and it's one of

2476
02:37:41,079 --> 02:37:45,399
the more varied, interesting songs on
the record. I was like, really

2477
02:37:45,520 --> 02:37:50,719
enveloping chorus that comes and goes pretty
quickly your hazel Tree. As you mentioned,

2478
02:37:50,719 --> 02:37:54,120
it's not wildly original, but it
just sounds good and it's about that

2479
02:37:54,159 --> 02:37:56,879
little ideas that improve it. The
backing vocals, just making the hooks pop

2480
02:37:58,159 --> 02:38:01,840
when needed, blur my memory,
having a really big chorus. It's spinning

2481
02:38:01,840 --> 02:38:05,360
in my head since I heard it. It's funny like I kind of thought,

2482
02:38:05,440 --> 02:38:07,479
oh, maybe I'm sort of out
of this thing now and I'll come

2483
02:38:07,520 --> 02:38:11,959
back to it later. But putting
this record on, I to go no,

2484
02:38:11,120 --> 02:38:15,200
No, I'm actually not that difficult
to please. Like, if you

2485
02:38:15,399 --> 02:38:18,200
just write good songs in this style
and have some fresh ideas, I'll go

2486
02:38:18,319 --> 02:38:22,200
with you. And I think this
delivers on that. Yeah. I think

2487
02:38:22,360 --> 02:38:26,360
if you love the points where you
know moody, angsty, melodic alternative rock

2488
02:38:26,639 --> 02:38:30,280
and we're hardcore meat stuff like this
is probably your bread and butter, you

2489
02:38:30,360 --> 02:38:31,399
know. And Sam, has this
been like, would you say this is

2490
02:38:31,440 --> 02:38:33,879
one of sort of the better albums
in sort of this sort of world,

2491
02:38:35,200 --> 02:38:37,520
you know, to come out this
year? Well? Yeah, I think

2492
02:38:37,520 --> 02:38:39,079
so. I mean, I don't
think there's anyone who's quite like hit the

2493
02:38:39,120 --> 02:38:45,000
balance between that kind of like moody
alternative rock with a harder edge quite a

2494
02:38:45,120 --> 02:38:48,680
one Step Closer there was the Anxious
album from a couple of years ago was

2495
02:38:48,559 --> 02:38:54,520
probably the last one that was like
of this quality. But yeah, I've

2496
02:38:54,600 --> 02:38:56,760
seen people really like who were kind
of like, you know, what's a

2497
02:38:56,760 --> 02:39:00,520
closer disc? Oh? I need
to pay attention to them now because it's

2498
02:39:00,559 --> 02:39:03,120
just I think it has just done
when a lot of people who have kind

2499
02:39:03,120 --> 02:39:07,600
of written off ever really finding invigorating
again. So I think like if they've

2500
02:39:07,600 --> 02:39:11,520
they've done that, then they're on
to sort of something that does feel to

2501
02:39:11,600 --> 02:39:15,920
a certain person really exciting. Yeah. So there you go. The album's

2502
02:39:15,959 --> 02:39:18,760
called All We Embraced from One Step
Closer. And those are the albums that

2503
02:39:18,840 --> 02:39:22,200
came out in May that we are
talking about the last two albums were reviewing.

2504
02:39:22,360 --> 02:39:26,000
I profess They are here because they
are black metal albums from the big

2505
02:39:26,120 --> 02:39:30,920
glut at the end of April that
we didn't manage to fit into that time,

2506
02:39:31,520 --> 02:39:33,879
but that I love too damn much
to not include here and get round

2507
02:39:33,920 --> 02:39:37,760
to them, So that spoils what
I think of these next two, but

2508
02:39:37,040 --> 02:39:41,920
they are also some of the albums
I am most keen this year to get

2509
02:39:41,000 --> 02:39:46,280
these other guys' opinions on. The
first one is from Falter Camera. It's

2510
02:39:46,319 --> 02:39:50,000
called weiber Macht, and if you
have been I guess paying attention to the

2511
02:39:50,079 --> 02:39:52,399
hyperblast shout outs, then you'll have
heard both of these names before. But

2512
02:39:52,520 --> 02:39:56,559
to re establish, Falter Camma are
a black metal band from New York City.

2513
02:39:56,799 --> 02:40:01,719
They feature Zachary Zrin from Imperial Triumph
on guitar, So if you like

2514
02:40:01,840 --> 02:40:03,920
that kind of experimentalism, you should
hopefully like this. But also if you

2515
02:40:03,959 --> 02:40:07,319
don't like Apia Triumphant, it does
sound very different, so you should probably

2516
02:40:07,319 --> 02:40:11,680
still get a go anyway. These
guys released a debut album at the very

2517
02:40:11,799 --> 02:40:13,959
end of twenty twenty, which was
the same year that Alphavill came out.

2518
02:40:13,959 --> 02:40:18,159
If you remember, I loved it. I thought the blend developments was very

2519
02:40:18,200 --> 02:40:24,840
cool. What elements I hear?
You say, well, Sam Elliott's had

2520
02:40:24,879 --> 02:40:28,799
you heard Fala kamma before? And
you know if not? Did you?

2521
02:40:28,239 --> 02:40:33,040
Uh? What was your first impressions
of hearing this? I had not heard

2522
02:40:33,120 --> 02:40:37,719
falds kama before. And the laugh
I let out when the vocals carry I

2523
02:40:37,840 --> 02:40:43,280
was at paren you made me act
I can quite believe, like because you

2524
02:40:43,319 --> 02:40:46,520
know this riff hits. I was
like, okay, cool, that's you

2525
02:40:46,559 --> 02:40:50,440
know, kind of black death metal, like start doing with like that and

2526
02:40:50,559 --> 02:40:54,879
then we go we're at the opera, like straight up no kind of like

2527
02:40:56,799 --> 02:41:00,239
half asking it, full blown operatic
vocal comes in up. I was just

2528
02:41:00,280 --> 02:41:03,479
like, oh Jesus Christ, what
What's what's going on? Am I?

2529
02:41:03,840 --> 02:41:07,159
But I was like, he's done
it. The Madman has done it.

2530
02:41:07,200 --> 02:41:13,520
He's maybe likes when that mate from
Imperial trum Great if Sam could like a

2531
02:41:13,600 --> 02:41:16,319
record that involves that from Perial Trumpling, that a speaks to generally how distinct

2532
02:41:16,360 --> 02:41:20,239
it is. This isn't really that
related to it. It's just a experimental

2533
02:41:20,280 --> 02:41:26,159
spirit essentially. But yeah, Elliott, same questions. Yeah, this is

2534
02:41:26,200 --> 02:41:31,760
my first time hearing Falter camera and
like something I went in blind to what

2535
02:41:31,000 --> 02:41:39,239
the elevator pitch was I feel like
we're in the upside down. It's like

2536
02:41:39,440 --> 02:41:41,719
there's there's more to the pitch that
like we're going to get into that makes

2537
02:41:41,719 --> 02:41:54,319
it even more wonderful. Mental maybe
so I I really didn't like this all

2538
02:41:54,399 --> 02:42:00,520
gone wrong? I listen. I'm
always looking for new sound. Like few

2539
02:42:00,600 --> 02:42:03,959
things excite me more than hearing a
record and going I've not heard that before.

2540
02:42:03,959 --> 02:42:07,000
And when it kicked in, I
thought my media reaction was wow,

2541
02:42:07,280 --> 02:42:11,479
like I haven't heard that before.
You know, there's symphonic black met and

2542
02:42:11,639 --> 02:42:16,600
there's extreme metal with operatic vocals that
come in, it's not quite like this

2543
02:42:16,000 --> 02:42:20,719
and discovering a band where you go, if I want to have this exact

2544
02:42:20,799 --> 02:42:24,520
thing, I have to come here. They're the only ones selling. That's

2545
02:42:24,559 --> 02:42:31,600
always exciting. I think I hate
this record. You wandered every time I

2546
02:42:31,680 --> 02:42:35,799
bring in an extreme metal record that
is like a really cool, distinct blend

2547
02:42:35,840 --> 02:42:37,159
of elements, you are determining this
year to go. Actually, no,

2548
02:42:39,079 --> 02:42:41,840
like Autopsy, I fucking love this
record. Like I've had this on the

2549
02:42:41,840 --> 02:42:45,719
brain for like the last month.
I think this album is so good,

2550
02:42:46,239 --> 02:42:48,719
Like what completely locked in as one
of my very Favorites of the year.

2551
02:42:50,639 --> 02:42:54,200
Essentially, the experiment is it's black
metal with a European classically trained opera singer.

2552
02:42:54,600 --> 02:42:58,639
Crucially, it's not symphonic black metal
in the sense that it you know,

2553
02:43:00,239 --> 02:43:03,360
over the top or kestral parts or
whatever. They describe it as more

2554
02:43:03,360 --> 02:43:05,799
akin to some kind of chamber music
where it's brought down to that four piece

2555
02:43:05,840 --> 02:43:09,280
instrumental set up plus a singer,
which, considering that this is what their

2556
02:43:09,360 --> 02:43:13,440
name translates to, they've quite handily
dubbed that as torture chamber of music.

2557
02:43:13,000 --> 02:43:16,719
The first album I think was kind
of the experiment of the pitch to see

2558
02:43:16,719 --> 02:43:20,479
how it worked, how it turned
out the answer was well, and the

2559
02:43:20,559 --> 02:43:22,879
second album. Now they've gone from
you know, Gilliad Media, which is

2560
02:43:24,079 --> 02:43:26,920
kind of small arts a US metal
label, to up to Century Media with

2561
02:43:26,000 --> 02:43:30,040
this one, and the vision for
what this band is, I think it's

2562
02:43:30,040 --> 02:43:33,479
been taken a lot further, a
lot bigger. The concept has been extrapolated

2563
02:43:33,520 --> 02:43:37,600
on much further and Sam Giggling.
The other main thing you've got to know

2564
02:43:37,639 --> 02:43:41,440
with Falter Cammet in that regard is
this is kinky as fuck. The bit

2565
02:43:41,559 --> 02:43:45,840
in the first song when the whip
start cracking at the end made me full

2566
02:43:45,920 --> 02:43:48,360
on before the first time I heard
it, well, I had it.

2567
02:43:48,399 --> 02:43:50,399
I saw there was a new feature
on Spotify that, oh you can have

2568
02:43:50,440 --> 02:43:52,879
the music with it play. Yeah. Wow, I'm so glad you've seen

2569
02:43:52,920 --> 02:43:56,520
them. And then I saw the
vision of like the band in like full

2570
02:43:56,600 --> 02:44:01,239
on like Spanish Inquisition or whatever,
rose that all with various gags, and

2571
02:44:01,319 --> 02:44:03,239
I was like, cool, okay, because the thing is I kind of

2572
02:44:03,399 --> 02:44:07,000
guess when the song is called Anno
domina. I was like, is this

2573
02:44:07,120 --> 02:44:09,319
gonna be one thing? Because obviously
lyrically it's all in German, so I'm

2574
02:44:09,639 --> 02:44:13,200
that. But I had I had
an inkling and that the video and I

2575
02:44:13,319 --> 02:44:16,840
was like, okay, cool.
There is like a BDSM dominating scene going

2576
02:44:16,879 --> 02:44:20,159
on, and then she pulls the
whip out and I'm like, I'm so

2577
02:44:20,360 --> 02:44:22,920
gunering it here of like there's been
at least two songs can recently and there's

2578
02:44:22,959 --> 02:44:28,479
been the whip as a sample,
and I just I was, I was

2579
02:44:28,719 --> 02:44:33,079
so swept up in the insanity and
the like here you go, like BDSM

2580
02:44:33,319 --> 02:44:37,360
operatic death metal. Who's doing that? No, one of course comes from

2581
02:44:37,440 --> 02:44:41,000
New York, like it could only
come like like it's just such a concept

2582
02:44:41,040 --> 02:44:43,559
could only come on in New York. I feel like and just roping in

2583
02:44:43,639 --> 02:44:48,559
a like a classically taint opera singer. It's so mental. I love this,

2584
02:44:48,840 --> 02:44:52,120
yeah, absolutely. In terms of
the New York thing is obviously it's

2585
02:44:52,120 --> 02:44:54,719
it's a cultural melting pot, you
know, yeah, And it's a lot

2586
02:44:54,760 --> 02:45:01,159
of different kind of cultures and art
form. And when I say cultures,

2587
02:45:01,159 --> 02:45:05,120
I mean both you know, ethnically
nationality or whatever. Also kind of artistic

2588
02:45:05,120 --> 02:45:09,799
traditions. You know, that's the
artistics that the underground arts or the thing

2589
02:45:09,120 --> 02:45:13,360
they're so in tune with that they
kind of come together and you know,

2590
02:45:13,399 --> 02:45:16,159
imagined. I'm glad you picked up
on as well. Anodomina Anno Dominee,

2591
02:45:16,760 --> 02:45:20,120
you know, ad a title that's
used in black metal a lot over the

2592
02:45:20,200 --> 02:45:24,600
years. That final letter switch basically
turns into like Year of the Dominatrix or

2593
02:45:24,639 --> 02:45:26,879
something along those lines. And this
is it's BDSM opera black metal. Essentially.

2594
02:45:28,000 --> 02:45:31,239
The concept of Weiba market roughly translates
as bitch power, and it's essentially

2595
02:45:31,360 --> 02:45:35,760
about femdom sexuality. The cover art, I don't know if you noticed,

2596
02:45:35,879 --> 02:45:39,159
to pis a witch sitting on a
man's face using him has her broomstick,

2597
02:45:39,479 --> 02:45:41,239
and uh, that was the other
giveaway. Yeah, definitely, And I

2598
02:45:41,319 --> 02:45:46,559
think like opera is maybe generally seen
as a quite stuffy, self serious art

2599
02:45:46,639 --> 02:45:48,920
form, but here there is that
this marriage of like, you know,

2600
02:45:48,959 --> 02:45:54,799
there's very kind of high art form, kind of societally and then these you

2601
02:45:54,879 --> 02:45:58,840
know, low, underground, grottier
sedia art forms in the form of both

2602
02:45:58,879 --> 02:46:03,639
black metal but then also the BDSM
kink clog aspects of it. And you

2603
02:46:03,719 --> 02:46:05,959
know, it's something beautiful done in
a very horrific, ugly way. And

2604
02:46:07,479 --> 02:46:11,239
the personality of this record to me
is really like sadomasochistic, and the impression

2605
02:46:11,239 --> 02:46:16,719
I get from this record is like
complete and total glee in like navigating that

2606
02:46:16,840 --> 02:46:20,000
line between pleasure and pain. You
know, it's a fucking hell raise I

2607
02:46:20,079 --> 02:46:24,639
record. It's that decadence, isn't
it, That like luxury and like all

2608
02:46:24,680 --> 02:46:28,079
that sort of stuff, but corrupting
it the left me, it said.

2609
02:46:28,079 --> 02:46:31,879
The video for that one as well, is like women in like baroque gowns

2610
02:46:31,920 --> 02:46:33,959
and they're powdered wigs. They're think
punching each other in like an underground fight

2611
02:46:35,040 --> 02:46:37,319
club, and all of this sort
of stuff. I mean that song again

2612
02:46:37,479 --> 02:46:41,479
translates to lick Me, which again, yeah, take taking guesses at what

2613
02:46:41,600 --> 02:46:45,399
that's about. Like it's it's for
me. It's one of those bands that

2614
02:46:45,479 --> 02:46:48,840
is it's very geared to my sensibilities
in terms of like this phenomenally done black

2615
02:46:48,879 --> 02:46:56,360
metal with this particular eccentricity and a
maniacal charisma that is exploring in the subversive

2616
02:46:56,440 --> 02:47:00,440
ways how to kind of further eke
out the most transgressive parts the genre,

2617
02:47:00,600 --> 02:47:03,520
and that in itself makes us very
you know, to my interests. And

2618
02:47:03,639 --> 02:47:07,360
I've written this down and I'm glad
we've got an an example here. Remember

2619
02:47:07,399 --> 02:47:09,760
last time when we review the CEA
Space Cowboy record, and I said,

2620
02:47:09,840 --> 02:47:13,559
I was having a really fun time
imagining what a fucking headache that album would

2621
02:47:13,559 --> 02:47:16,600
be for people who don't like it. This is totally the same. It

2622
02:47:16,719 --> 02:47:20,799
is impossible to feel indifferent about this. It's so in your face and confrontational

2623
02:47:22,360 --> 02:47:26,120
and Elliott, you are now the
living your body. But an example of

2624
02:47:26,239 --> 02:47:31,799
the truth of that statement, I
don't even know, like just the pitch

2625
02:47:31,920 --> 02:47:37,959
of it. For me, the
combination just doesn't work. I'm sorry.

2626
02:47:37,319 --> 02:47:43,280
I admire the gusto that it takes
commits to that idea and how far they've

2627
02:47:43,319 --> 02:47:48,159
committed to it. And I look
at this package as a whole and thing.

2628
02:47:48,280 --> 02:47:52,280
If this is the sort of thing
that if you're in on it,

2629
02:47:52,000 --> 02:47:56,440
I can see why people go so
mad for it. It just there's no

2630
02:47:56,520 --> 02:47:58,200
other word for it. It just
makes me sort of cringe. Like the

2631
02:47:58,280 --> 02:48:03,959
idea of with lyrics about b DSM. I understand why that's subversive, but

2632
02:48:05,959 --> 02:48:09,079
it's it's to me, it's some
when old people rap, like when the

2633
02:48:09,159 --> 02:48:11,000
Britain's got talent favorite thing when they
get like an old man to come out

2634
02:48:11,000 --> 02:48:16,239
and go I'm mc jezzer and I'm
at the old folks home and that sort

2635
02:48:16,239 --> 02:48:22,479
of thing. It's it just it
doesn't strike me as particularly fresh or exciting

2636
02:48:22,760 --> 02:48:31,479
or or as subversive as it ought
to be. And combining that with this

2637
02:48:31,680 --> 02:48:37,760
kind of extreme metal, it just
seems it's funny that you're saying it strikes

2638
02:48:37,799 --> 02:48:41,280
something that comes from New York,
Sam because it almost reminding you like Saltatio

2639
02:48:41,399 --> 02:48:45,120
Mortis. Like there's kind of euro
metal bands that don't break out where it's

2640
02:48:45,239 --> 02:48:48,879
like the whole thing just struck me
as a bit naff. No. I

2641
02:48:48,920 --> 02:48:52,319
mean, I mean, how are
you the guy who's out of the events

2642
02:48:52,559 --> 02:48:56,479
bold and you're like, this doesn't
work. The combination doesn't go. This

2643
02:48:56,639 --> 02:48:58,399
thing like when you were saying about
you know that the old people brig type

2644
02:48:58,399 --> 02:49:05,200
of thing. You get some of
die until my but like that's when we're

2645
02:49:05,200 --> 02:49:07,760
like the opera vocals don't actually like
sync up with the metal and so it

2646
02:49:07,879 --> 02:49:13,280
actually sounds wrong and evil and sinister. So they can still capture that still

2647
02:49:13,319 --> 02:49:16,479
with the operatic vocal, which is
why I think like this doesn't come across

2648
02:49:16,680 --> 02:49:22,319
as like wacky and silly and cheese. No. Yeah, the thing also

2649
02:49:22,399 --> 02:49:26,959
there is it's I'm not pitching this
as some like weird gimmick of like,

2650
02:49:26,000 --> 02:49:28,559
oh listen to our novel. This
is I'm pitching this as people who clearly

2651
02:49:28,639 --> 02:49:31,680
deeply understand their art form. And
the way they've layered all this together I

2652
02:49:31,719 --> 02:49:35,879
think is so compelling and so taken. Uh you know it has a sense

2653
02:49:35,920 --> 02:49:39,239
of humor because of course it does
with the subject matter, but like they

2654
02:49:39,479 --> 02:49:43,040
they've they're treating it seriously as a
piece of art. There's no fucking vack

2655
02:49:43,079 --> 02:49:46,600
and gimmick about this. You have
camp, but it's not silly. Yeah,

2656
02:49:46,760 --> 02:49:52,399
you have a singer who is clearly
immensely uh trained in what she's doing,

2657
02:49:52,440 --> 02:49:56,399
and there is that clear understanding and
drawing together of the traditions of essentially

2658
02:49:56,440 --> 02:49:58,159
black metal and opera. And then
also you know, the kind of BDSM

2659
02:49:58,239 --> 02:50:01,399
side of it. And again,
like the first track on it has got

2660
02:50:01,440 --> 02:50:05,559
this really thumping black metal riff and
then the singer just starts the vocal lines

2661
02:50:05,600 --> 02:50:07,680
just absolutely pop the hell off of
it in this like unhinged manner, and

2662
02:50:07,840 --> 02:50:11,159
like her arrange is astonishing, and
particularly she's been really let loose on it.

2663
02:50:11,319 --> 02:50:15,360
And the main sort of character of
this as a performance is, you

2664
02:50:15,440 --> 02:50:16,520
know, I'm not surprised it will
make some people cringe or whatever, because

2665
02:50:16,520 --> 02:50:22,000
it's it's not a really tasteful O
performance. She's everything she's doing is one

2666
02:50:22,079 --> 02:50:24,159
hundred percent deliberate, and she's clearly
immensely talented, but it's a feral,

2667
02:50:24,799 --> 02:50:30,879
like terrifying, unflinching performance. It's
a kind of character that has no interest

2668
02:50:30,959 --> 02:50:35,120
in being constrained to a certain role
or box and it's just free wheeling all

2669
02:50:35,159 --> 02:50:37,639
over this music. And again it's
like Satoshi Mortis whatever is not the comparate

2670
02:50:37,719 --> 02:50:41,760
what I ever thought of for me, it's bethle Hen right, like bands

2671
02:50:41,920 --> 02:50:46,719
who have this tradition in particularly sort
of you know, ninety strained underground parts

2672
02:50:46,760 --> 02:50:52,360
of European black metal or whatever,
where they have brought together these really experimental,

2673
02:50:54,200 --> 02:50:58,879
uncompromising kind of things of pushing the
again more unhinged elements of the genre.

2674
02:51:00,120 --> 02:51:03,159
Particularly I really love the way the
German language sounds in the context of

2675
02:51:03,200 --> 02:51:07,559
black metal. And again Bethlehem with
the absolutely sort of one of a kind

2676
02:51:07,680 --> 02:51:11,719
band, But the approach here in
that kind of like corstic screech and how

2677
02:51:11,760 --> 02:51:16,559
it rolls off the tongue is you
know, it's distinct in the kind of

2678
02:51:16,600 --> 02:51:18,840
operatic nature of this. But this
is one of the few things that's kind

2679
02:51:18,840 --> 02:51:22,440
of recapturing the spirit of that band
for me. This kind of really demented,

2680
02:51:22,559 --> 02:51:24,360
vindictive delivery and the way she inhabits
the two as well. You know,

2681
02:51:24,399 --> 02:51:26,879
it's not fucking you know, like
chalk and cheese, Like she does

2682
02:51:26,920 --> 02:51:33,959
this thing where lines of singing suddenly
curdle into like toxic black metal wretches at

2683
02:51:35,000 --> 02:51:37,319
the end of it, and it
has this impression to me of again a

2684
02:51:37,520 --> 02:51:46,399
like extremely like powerful, malevolent,
full flight fucking you know, the least

2685
02:51:46,479 --> 02:51:54,319
shrinking violet, but incredibly aggressive and
violent approach that I love in this kind

2686
02:51:54,319 --> 02:51:58,920
of black metal. Yeah, those
songs like She'll start back and then kind

2687
02:51:58,959 --> 02:52:03,559
of like get a bit more fairal
and unhinged as it progresses onwards. That's

2688
02:52:03,559 --> 02:52:05,559
sort of thing where I'm like,
there's no again yet, none of that

2689
02:52:05,639 --> 02:52:09,479
shrinking violence sort of thing. You
have to be fully committed as a vocalist

2690
02:52:09,559 --> 02:52:13,440
again, go to those places,
and that is what kept this from ever

2691
02:52:13,639 --> 02:52:16,280
just feeling like a giving band,
because it wasn't. It still can get

2692
02:52:16,440 --> 02:52:20,719
ugly and nasty in that way.
I think the thing is I hear the

2693
02:52:20,719 --> 02:52:24,959
way you who are describing it,
and that idea does really intrigue me,

2694
02:52:26,319 --> 02:52:28,959
and I wish that's what I was
getting out of it, because again,

2695
02:52:28,959 --> 02:52:35,559
the idea of like an operatic vocal
that curdles and makes things less attracts makes

2696
02:52:35,600 --> 02:52:39,360
it more sour. But that sounds
really interesting, but I don't know.

2697
02:52:39,479 --> 02:52:43,680
There's there's this ongoing thing and I
largely agree with it where people say your

2698
02:52:43,719 --> 02:52:48,799
classical music has the same appeal as
metal, or the fan bases are similar

2699
02:52:48,879 --> 02:52:50,879
and what have you. And I
can see that you know, it's powerful,

2700
02:52:50,920 --> 02:52:54,520
it can be heavy, complex,
dynamic. All the qualities that make

2701
02:52:54,520 --> 02:53:00,600
classical music great also make a lot
of metal grade. But this kind of

2702
02:53:00,639 --> 02:53:07,360
opera, it's also very trained and
kind of even when it's doing wild stuff,

2703
02:53:09,200 --> 02:53:11,000
it does still sound like it kind
of it's following the sheet music,

2704
02:53:11,040 --> 02:53:16,280
and that doesn't necessarily mean it's bad. But I didn't find the combination all

2705
02:53:16,319 --> 02:53:20,120
that exciting, because I did the
black metal was fine. I didn't think

2706
02:53:20,120 --> 02:53:24,360
it was extraordinary Blamo. If you
didn't have the operatic vocals on it with

2707
02:53:24,520 --> 02:53:28,600
the kind of boardy opera on top
of it, I don't know that kind

2708
02:53:28,639 --> 02:53:33,600
of fucking I don't know, like
kind of that naf metal stuff that sometimes

2709
02:53:33,680 --> 02:53:37,360
permeates outside of Europe. That was
the only thing that I had in my

2710
02:53:37,440 --> 02:53:41,360
brain. Yeah, and I guess
you know, again the un flinching.

2711
02:53:43,319 --> 02:53:45,920
Like I said before, I even
you didn't like this record, I wrote

2712
02:53:45,959 --> 02:53:48,879
down, if you don't like this
record, it will be a fucking nightmare

2713
02:53:48,879 --> 02:53:52,200
because it's just so obvious and it's
it's probably designed in some way to be

2714
02:53:52,360 --> 02:53:56,319
that way. But again, I
don't think those are the preference points at

2715
02:53:56,360 --> 02:54:01,680
all. I think it is much
more again, a kind of the New

2716
02:54:01,760 --> 02:54:05,479
York fucking you know Avante the cover
choice, Yeah, but the cover on

2717
02:54:05,520 --> 02:54:07,799
the end of the album, Like, none of those back and bands are

2718
02:54:07,799 --> 02:54:09,399
going to cover the Velvet Underground,
are they? No? And I think

2719
02:54:09,399 --> 02:54:16,520
the way conceptually, it's a really
layered, fascinating record in terms of what

2720
02:54:16,639 --> 02:54:18,680
they're trying to sort of bring together
with it, and it's one of those

2721
02:54:18,719 --> 02:54:22,040
records I think that it's really well
rounded in terms of every element of it

2722
02:54:22,360 --> 02:54:26,200
feeds back in and the kind of
the pleasure versus pain sort of dichotomy that

2723
02:54:26,239 --> 02:54:30,520
you can detect in the music itself. One of the things that it generally

2724
02:54:30,559 --> 02:54:33,680
excites me is when artists are able
to kind of elaborate on the key spiritual

2725
02:54:33,799 --> 02:54:37,239
ethos of black metal in stimulating ways, because black Melo is at his heart,

2726
02:54:37,280 --> 02:54:39,680
meant to be this kind of extremely
radical art form, and like,

2727
02:54:39,760 --> 02:54:43,680
I know that there is a certain
reputation for conservatism about it, but there's

2728
02:54:43,680 --> 02:54:46,559
also a reason that black metal has
proven itself to be like the most ripe

2729
02:54:46,600 --> 02:54:50,360
for diversity and reinvention genre of heavy
music. And a key part of that

2730
02:54:50,680 --> 02:54:56,000
radicalism is obviously a very anti repression, anti religious, dominantigious gratitude and falter

2731
02:54:56,120 --> 02:55:01,799
camera have sort of spotted the potential
in marrying that with this aggressive, unleashed

2732
02:55:01,879 --> 02:55:07,000
particularly female sexuality, which in itself
is somewhat novel because obviously most black metal

2733
02:55:07,079 --> 02:55:09,360
musicians tend to be dudes, and
then the ones who are women, how

2734
02:55:09,399 --> 02:55:13,040
many of them are writing about sex. But this idea of kind of you

2735
02:55:13,040 --> 02:55:18,680
know, Veba marked bitch power that
they've spotted basically how like deeply satanic and

2736
02:55:18,000 --> 02:55:22,559
historically you know, vilified by conservative
repression. This idea of a kind of

2737
02:55:22,600 --> 02:55:28,479
dominant woman is and turning this character
of the dominatrix that is present throughout the

2738
02:55:28,559 --> 02:55:31,879
record into a kind of black metal
figurehead like Bahamet or something. And again

2739
02:55:31,920 --> 02:55:35,760
that's where the performance aspect comes out
to me. She is embodying this fucking

2740
02:55:35,840 --> 02:55:39,040
like over the top, you know, like absolutely trampling over everything in her

2741
02:55:39,079 --> 02:55:43,000
view kind of character. And I
totally buy it, and I see the

2742
02:55:43,079 --> 02:55:46,040
provocation in the same way. And
I love how button pushing that is even

2743
02:55:46,040 --> 02:55:48,360
for black metal, where you know, the idea of like some conventional corp

2744
02:55:48,440 --> 02:55:52,879
painted black metal fan getting this and
maybe translate the titles. And there's Lick

2745
02:55:52,959 --> 02:55:54,920
Me, and there's a song called
kiss My Feet with an exclamation point at

2746
02:55:54,920 --> 02:55:58,399
the end, right, and that
song to me, in the performance,

2747
02:55:58,440 --> 02:56:01,479
it feels like you are kind of
at the mr of this person and it's

2748
02:56:01,479 --> 02:56:05,120
back because it is a time that's
delivered in this kind of sensual way,

2749
02:56:05,440 --> 02:56:09,200
but it gets more and more intense
and it's just a really fucking affronting thing

2750
02:56:09,680 --> 02:56:11,799
to get your head around. Yeah, and again, I don't want to

2751
02:56:11,840 --> 02:56:16,680
come across some kind of prude's I
want my Black Bell to be PG.

2752
02:56:16,920 --> 02:56:20,159
Thirteen please because like one of my
favorite bands ever I mentioned the FUSEM is

2753
02:56:20,280 --> 02:56:26,000
Naked City, and in a completely
different way, those are themes that they

2754
02:56:26,079 --> 02:56:28,040
play with Quinde of similarly that they
have an album called Heretic, which is

2755
02:56:28,200 --> 02:56:33,200
just a soundtrack to a sort of
S and M film from the nineteen twenties.

2756
02:56:33,719 --> 02:56:41,440
But because that feels completely unrestrained and
truly not at the mercy of musical

2757
02:56:41,520 --> 02:56:45,680
convention, you listen to that and
you really feel like you're you're inhabiting a

2758
02:56:45,719 --> 02:56:52,760
different headspace. I think for me, maybe the bravado of it and sort

2759
02:56:52,760 --> 02:56:56,280
of how large, how larger than
life it was kind of detracted from that

2760
02:56:56,639 --> 02:57:01,079
sort of danger factor in a way, if that makes sense. Right.

2761
02:57:01,120 --> 02:57:03,959
I think for me again, it's
such a kind of the weird thing about

2762
02:57:03,959 --> 02:57:07,879
this. Again, Musically, it's
not the most avant garde thing in the

2763
02:57:07,920 --> 02:57:11,040
world, and I think that's to
its benefit. But this is not yet

2764
02:57:11,319 --> 02:57:13,719
absolutely is for me, yeah,
I'm sure. But you know, maybe

2765
02:57:13,760 --> 02:57:16,239
if if this was like an Imperial
Triumph record and you had this opera.

2766
02:57:16,319 --> 02:57:20,520
I mean they, to my understanding, they met because the vocalist here contributes

2767
02:57:20,520 --> 02:57:22,799
a little guest vocal to the twenty
eighteen imperiod Tranphic album, and then they

2768
02:57:22,840 --> 02:57:26,040
were like, hey, what if
we explored a kind of band, you

2769
02:57:26,120 --> 02:57:28,719
know, combining sort of these elements. But the riffing is much more in

2770
02:57:28,840 --> 02:57:33,920
the classical tradition rather than the avant
garde jazz tradition. I think instrumentally it's

2771
02:57:33,920 --> 02:57:39,440
a much easier bands to follow the
Again, the experimental element comes from how

2772
02:57:41,000 --> 02:57:45,479
far it takes the concept and the
vocal presence. I think the riffing on

2773
02:57:45,559 --> 02:57:48,200
this record it easy to focus on
the vocal performance. The riffing on this

2774
02:57:48,280 --> 02:57:50,280
record I think is unbelievably good.
If you like black metal and it is

2775
02:57:50,719 --> 02:57:56,159
in a more standard way, this
isn't fucking you know, a fanti faxaff

2776
02:57:56,200 --> 02:57:58,479
record or something in terms of like, you know, fucking blending shit in

2777
02:57:58,559 --> 02:58:01,159
a crazy way. But I think
it has a It fits into the kind

2778
02:58:01,159 --> 02:58:05,239
of the dark majesty of again operatic
performance everything for me, even if the

2779
02:58:07,079 --> 02:58:13,760
riffing is more standard per se,
it tears out this fucking proper like just

2780
02:58:15,000 --> 02:58:18,840
evil satanic grandeur to it where lick
me the glorious lead riff at the start

2781
02:58:20,159 --> 02:58:22,479
is just like wondrous and majestic,
and I think you can see on the

2782
02:58:22,479 --> 02:58:26,280
track is about how vocally she's exploring
these different areas. There's this one fucking

2783
02:58:26,319 --> 02:58:28,879
little vocal part in the pre chorus
of that where it's amost like Mirka.

2784
02:58:28,920 --> 02:58:31,559
There's kind of like ghostly, sprightly
sort of you know, backing part,

2785
02:58:31,559 --> 02:58:35,159
and only does that in that one
song. The song on here that I

2786
02:58:35,239 --> 02:58:39,799
can't get enough of is Algalania,
which as a term that essentially just means

2787
02:58:39,840 --> 02:58:43,040
sadomasochism. So the song is like, you know, the desire to inflict

2788
02:58:43,120 --> 02:58:48,319
or receive pain, and the riffing
in that song feels like the cruelest,

2789
02:58:48,639 --> 02:58:54,120
most cutthroat thing and it sounds like
an entire band getting off on how like

2790
02:58:54,639 --> 02:58:58,319
merciless and evil. They are making
their instruments sound. The main like lead

2791
02:58:58,360 --> 02:59:03,639
part with that kind of mid pace
bathory stomp is just like wonderful to me.

2792
02:59:03,680 --> 02:59:05,879
It's the kind of like buttonal I
just go heart eyes saw. But

2793
02:59:05,959 --> 02:59:09,840
then the transitions it makes into these
like fast picking, dissonant, queasy,

2794
02:59:11,239 --> 02:59:13,360
but still on that same sort of
marching rhythm that just back and forth is

2795
02:59:13,559 --> 02:59:18,760
so fucking good. And vocally she's
pushing that to like the most night marriage

2796
02:59:18,760 --> 02:59:24,559
areas. The terodactyl screech when it
hits into that is this is what excites

2797
02:59:24,639 --> 02:59:26,799
me in terms of like this is
what I want an extreme vocals to be

2798
02:59:26,879 --> 02:59:30,200
able to do. You know,
fucking don't do something composed and boring fucking

2799
02:59:30,280 --> 02:59:33,479
strike fear into me like that song
does. That's when we're like there's like

2800
02:59:33,600 --> 02:59:37,639
attitude in the vocals and it is
it's that getting more angry, more pissed

2801
02:59:37,680 --> 02:59:41,559
off reaching the screech. I like
again music, they're super tight, where

2802
02:59:41,559 --> 02:59:46,239
like the rifts are really punching when
they need to be. The blasts like

2803
02:59:46,440 --> 02:59:50,239
are really precise. There's like cool
sludgy riffs, so like again, yeah,

2804
02:59:50,280 --> 02:59:52,159
I do find myself ever kind of
like getting destroyed to buy the music.

2805
02:59:52,200 --> 02:59:56,159
The music is really to the point
it is everything they do. On

2806
02:59:56,280 --> 02:59:58,360
top of that, with the vocals, there's bits they're like layer different vocals

2807
02:59:58,399 --> 03:00:01,399
in, and I think they just
get really creative with that. And it

2808
03:00:01,520 --> 03:00:05,799
feels again, if you took this
music and just had the entire thing with

2809
03:00:05,959 --> 03:00:09,440
a standard black metal screech, I
wouldn't like this. I would think I

2810
03:00:09,440 --> 03:00:13,959
wouldn't dislike it, but I wouldn't
nearly be as like in love of it

2811
03:00:13,040 --> 03:00:18,680
as I am. The fact is
this like mental opractic vocal is so much

2812
03:00:18,719 --> 03:00:20,479
more interesting to my ears. There's
a point halfway through that song when the

2813
03:00:20,559 --> 03:00:24,319
band just like drop your stomach out
from under you, and she somehow takes

2814
03:00:24,319 --> 03:00:28,280
the note she's sitting like higher,
and the combination of those things like jet

2815
03:00:28,319 --> 03:00:31,799
it does something to my body like
I can't hear it and not react somehow.

2816
03:00:31,920 --> 03:00:35,600
And it also has a quite prominent
based tone as well, which is

2817
03:00:35,719 --> 03:00:37,559
quite you know, cool for black
metal. It gives me a sort of

2818
03:00:37,440 --> 03:00:41,000
de mystery stompsatana sort of flavor to
me, and herond de Schferter, which

2819
03:00:41,040 --> 03:00:43,760
means mistress of swords. But I
won't lie. I don't begin for swords

2820
03:00:43,799 --> 03:00:46,399
sound like that. I do read
it as heron the squirter, which is

2821
03:00:46,479 --> 03:00:52,520
not necessarily at odds with the record. But the riff opens with this alarmingly

2822
03:00:52,600 --> 03:00:54,639
aggressive based tone, like really hacking
away with this sort of tremlo style.

2823
03:00:56,159 --> 03:01:00,399
The end of that song when they
bring the rift back but heavier, fucking

2824
03:01:01,000 --> 03:01:03,600
mind blowing. The thing is what
you said at the beginning, proud about

2825
03:01:03,600 --> 03:01:09,600
how me coming in and shitting on
all your inventive extreme I think, in

2826
03:01:09,719 --> 03:01:13,200
a weird way, despite me being
a bit more ambivalent to that Chapel of

2827
03:01:13,239 --> 03:01:16,639
Disease record, I can see a
future where I'm saying all the same things

2828
03:01:16,639 --> 03:01:20,920
about this record that you guys are, Because the things I'm saying about this

2829
03:01:20,040 --> 03:01:24,639
record now, I've said about plenty
of bands, and you know, I

2830
03:01:24,760 --> 03:01:28,680
heard this record for the first time
maybe a week ago, So I'm adjusting

2831
03:01:28,719 --> 03:01:31,959
to a sound that, to my
ears at the moment, just doesn't And

2832
03:01:33,040 --> 03:01:39,600
I can't get that fucking kind of
Eurovision novelty metal thing. It sounds like

2833
03:01:39,639 --> 03:01:46,280
you've compared Naked City to tourists ass
gone the wrong way with it. Yeah,

2834
03:01:46,319 --> 03:01:50,559
it's for whatever, Maybe it's too
deep rooted and it's going to take

2835
03:01:50,600 --> 03:01:54,639
some time to adjust to it.
When when I hear the sound of the

2836
03:01:54,719 --> 03:02:01,600
opera over the black metal and knowing
what the songs were about, and that's

2837
03:02:01,719 --> 03:02:03,840
just where it sits my head.
It's where I can compartmentalize it. And

2838
03:02:05,000 --> 03:02:09,200
maybe in a year or hopefully less
than that, I'll be able to hear

2839
03:02:09,200 --> 03:02:11,040
all the things that you guys are
saying about it. Because I hear you

2840
03:02:11,079 --> 03:02:15,200
guys talking, I just go that
record sounds fucking sick. Oh no,

2841
03:02:15,280 --> 03:02:20,520
I have heard that it's the it's
the album I don't like. So I'm

2842
03:02:20,559 --> 03:02:24,319
actually more optimistic about coming round to
this than I am the other time I

2843
03:02:24,360 --> 03:02:31,079
came in and rained on your parade
on the twenty sixth of May twenty twenty

2844
03:02:31,159 --> 03:02:33,719
four. I'm not hearing it.
I'm afraid. I mean, yeah,

2845
03:02:33,920 --> 03:02:37,040
most people will fucking hear this and
go no, because it's weird, you

2846
03:02:37,120 --> 03:02:41,159
know, and it's unconventional and it's
not what most people go to metal for.

2847
03:02:41,280 --> 03:02:45,280
But I go to metal at least
in some degree to have the piss

2848
03:02:45,440 --> 03:02:48,000
get out and also and also you
know again, to get off in some

2849
03:02:48,159 --> 03:02:54,479
strange way on that terror and that
violence and that fucking you know, dark

2850
03:02:54,600 --> 03:02:56,639
Grandeur, which I think all of
these this record ticks every box up for

2851
03:02:56,719 --> 03:03:01,200
me, you mentioned as well,
Sam it you know they for me.

2852
03:03:01,360 --> 03:03:03,479
They totally pull off a Velvet Underground
cover at the end, which is a

2853
03:03:03,520 --> 03:03:07,440
really strange thing, but they cover
venus and furs, and I think it's

2854
03:03:07,559 --> 03:03:13,479
it's so perfectly suited to the whole
Dominatrix story exact submission and pain and pleasure.

2855
03:03:13,159 --> 03:03:16,840
It like, yeah, no,
of course they're doing a Louis Veather

2856
03:03:16,959 --> 03:03:20,239
Underground cover, like doing a slightly
avant garde black metal version of it.

2857
03:03:22,040 --> 03:03:24,399
I really like the cover. I
think it just it's a total natural fit.

2858
03:03:24,840 --> 03:03:30,520
And again to it's not only the
it's one of the stars a line

2859
03:03:30,559 --> 03:03:33,239
of how perfect it is for it
because not only is the again concepts and

2860
03:03:33,239 --> 03:03:35,520
everything exactly aligned with it, but
you know, Velvet Underground a New York

2861
03:03:35,600 --> 03:03:39,639
band who also had in Nico,
a German speaking singer, and you know

2862
03:03:39,639 --> 03:03:41,639
when you're hearing her kind of do
the taste of the whip in that kind

2863
03:03:41,680 --> 03:03:45,959
of song, but she puts this
really harsh kind of voice, cracking inflection

2864
03:03:46,079 --> 03:03:48,760
into it. It's like a it
brings the whole sort of record together in

2865
03:03:48,799 --> 03:03:52,879
this kind of you know, again
ode to the city of their origin.

2866
03:03:52,920 --> 03:03:58,719
It's kind of artistic mindset, et
cetera. I obviously this is a record

2867
03:03:58,760 --> 03:04:01,879
that, you know, even if
you are kind of are you know,

2868
03:04:03,719 --> 03:04:05,399
as deep into maybe some of the
reference points as I'm sure Elliott you know,

2869
03:04:05,479 --> 03:04:09,840
probably know a bunch of the stuff
that's kind of drawing on. This

2870
03:04:09,079 --> 03:04:11,879
is a record that, as I
said at the very start before I knew

2871
03:04:11,879 --> 03:04:16,040
Elliott even didn't like it, that
you cannot feel indifferent about. You will

2872
03:04:16,120 --> 03:04:18,760
either completely recoil from it or you
will go as hard on it as I

2873
03:04:18,879 --> 03:04:22,120
have. But I think when I
look at it all together and again digging

2874
03:04:22,200 --> 03:04:28,879
into it the layers of it,
the I can see the traditions they're drawing

2875
03:04:28,920 --> 03:04:31,760
on, both musically and you know, spiritually and kind of intellectually and kind

2876
03:04:31,760 --> 03:04:35,680
of it's a genuine you know,
I think it's as fully formed a statement

2877
03:04:35,040 --> 03:04:39,040
in what it's trying to kind of
convey and explore as basically anything we've heard

2878
03:04:39,040 --> 03:04:41,959
in metal this year, and I
think most albums, to be honest,

2879
03:04:41,000 --> 03:04:45,440
don't have this much thought and specificity
put into them. And to me,

2880
03:04:45,600 --> 03:04:50,399
the whole combination of things, it's
it's the kind of thing that I love

2881
03:04:50,520 --> 03:04:52,639
coming along in extreme metal, and
that I really fucking you know, I

2882
03:04:52,799 --> 03:04:56,559
need to remain excited. And it's
one of the coolest metal records of the

2883
03:04:56,639 --> 03:05:00,639
year to me. Yeah, and
I love that we we've come on here

2884
03:05:01,120 --> 03:05:05,399
and disagreed so much about it because
you know, I'm always saying, you

2885
03:05:05,440 --> 03:05:07,799
know, I want bands to be
stranger. I want I want to hear

2886
03:05:07,799 --> 03:05:11,120
those voices which turn people off,
and sometimes that's going to happen to me

2887
03:05:11,920 --> 03:05:15,840
to accept that this time. It
happens to me all the time, doesn't

2888
03:05:15,840 --> 03:05:18,559
it, Like exactly, It's like
jury service sometimes it's just it's got to

2889
03:05:18,600 --> 03:05:22,000
happen for a band to be strange, it's got to come along and alienate

2890
03:05:22,120 --> 03:05:28,680
me. And I'm I'm I'm actually
quite grateful for that. So yeah,

2891
03:05:28,120 --> 03:05:31,040
friends again. Yeah, and I'm
glad say I'd liked it. That's cool.

2892
03:05:33,000 --> 03:05:37,399
It just like the whole package just
clicked with me. I think ivan

2893
03:05:37,440 --> 03:05:43,440
that like if you remove one element
maybe at the King that the anti religous

2894
03:05:43,440 --> 03:05:45,479
stuff the opera, like, I
don't know if it would work for me,

2895
03:05:45,600 --> 03:05:50,639
but the whole sum of its parts
is just like it just made me

2896
03:05:50,719 --> 03:05:54,959
smile. Yeah, I completely agree. Right, that's Falter Camera and VBA

2897
03:05:56,000 --> 03:06:01,239
Mat and the last album another record. I fucking love Anti Christ Siege Machine

2898
03:06:01,879 --> 03:06:03,959
Vengeance of Eternal Fire. This one
is maybe a little bit more basic to

2899
03:06:05,079 --> 03:06:07,680
kind of explain what it is and
get across, and maybe we'll have a

2900
03:06:07,680 --> 03:06:11,559
little bit more of a unified response
in that regard, Elliott, I want

2901
03:06:11,600 --> 03:06:15,360
to ask you if you'd listen to
Antichristies Machine before this album? No,

2902
03:06:15,760 --> 03:06:20,079
which cool? Yeah, whish baffles
me, now right, So this is

2903
03:06:20,079 --> 03:06:24,000
a funny conversation to be having.
I think I'm right in saying this is

2904
03:06:24,079 --> 03:06:28,879
the first war metal record that we've
ever reviewed on this show, mainly because

2905
03:06:28,000 --> 03:06:31,840
most those albums are underground as fuck, and also about fifty percent of them

2906
03:06:31,840 --> 03:06:37,040
are quite sketch. Are you a
war metalmaniac? Elliott? Of course I'm

2907
03:06:37,079 --> 03:06:43,639
insulted by the question. So yeah, this is interesting to navigate because,

2908
03:06:43,639 --> 03:06:46,040
like I said, we've never ever
that's not that's not branded on being fucking

2909
03:06:46,159 --> 03:06:50,799
ross Bay cult nuclear war now right. Anti Christ's Machine come from a strand

2910
03:06:50,879 --> 03:06:54,959
of underground extreme metal that is a
bit of a world and to itself.

2911
03:06:54,079 --> 03:06:58,120
There are some bands from the early
nineties, like Blasphemy and Beherit Who there

2912
03:06:58,159 --> 03:07:05,120
are entire labels and festivals essentially built
around bands copying worshiping completely openly. This

2913
03:07:05,959 --> 03:07:09,600
very particular style of like death metal
infused black metal, I guess, is

2914
03:07:09,680 --> 03:07:16,639
what you would fundamentally describe it as
is just so primarily brutal and chaotic.

2915
03:07:18,040 --> 03:07:20,840
It is to black metal what like
power violence or something is to punk,

2916
03:07:20,040 --> 03:07:26,000
just like full on, not any
inch for nuance or subtlety or quiet passages

2917
03:07:26,120 --> 03:07:31,239
or anything at all. Antichosas Machine
come in here because I think they are

2918
03:07:31,280 --> 03:07:35,079
one of the first bands in a
long time who represent that very niche self

2919
03:07:35,120 --> 03:07:39,799
contained, doesn't interact with the rest
of the metal ecosystem very much at all,

2920
03:07:41,040 --> 03:07:43,920
kind of taking it up a notch
and sounding sort of new in a

2921
03:07:43,959 --> 03:07:46,479
way that a lot of those bands
don't. You know, one of the

2922
03:07:46,520 --> 03:07:48,280
only other bands in the last fucking
twenty five years where I could describe similar

2923
03:07:48,280 --> 03:07:52,040
and maybe a band like Revenge where
you goes that's clearly a new sort of

2924
03:07:52,079 --> 03:07:54,600
thing in extremity, but you know, and I was trying to think of

2925
03:07:54,600 --> 03:07:58,000
the last band in the sub genre
that really did that and made it sound

2926
03:07:58,079 --> 03:08:01,200
fresh and it's been a long time. As far as I can tell,

2927
03:08:01,239 --> 03:08:03,360
most warm metal bands are content to
just keep doing blasphemy and and that's fine

2928
03:08:03,360 --> 03:08:07,840
as an audience for that. But
what again, it's different to someone like

2929
03:08:07,879 --> 03:08:11,719
Revenge or whatever, anti Christies Machines. Seriously, novel idea is what if

2930
03:08:11,799 --> 03:08:16,680
war metal had good production, and
particularly what if we use that production to

2931
03:08:18,399 --> 03:08:22,040
enhance the destructive power of the music
rather than you know, take it away.

2932
03:08:22,639 --> 03:08:24,680
They have a very particular brand and
asthetic that feels very theirs again in

2933
03:08:24,719 --> 03:08:28,600
a way that Blasphemy or Revenge or
arch Goat or whoever do. It's very

2934
03:08:28,680 --> 03:08:31,040
you know, kind of a thing
in that world to have a sort of

2935
03:08:31,120 --> 03:08:37,360
uniformity to what they do. And
antichristiast Machines is like military machinery and posing

2936
03:08:37,399 --> 03:08:41,559
in graveyards with massive assault rifles and
like I have an Antichrists machine shirt with

2937
03:08:41,600 --> 03:08:46,319
the terminator on it, you know. And you know, their last album,

2938
03:08:46,440 --> 03:08:50,200
Purifying Blade twenty twenty one very quickly
made them, you know, the

2939
03:08:50,280 --> 03:08:54,000
most io seen a war metal band
sort of blow up and become entrenches underground

2940
03:08:54,000 --> 03:08:56,760
favorites in a long long time,
probably in my time of following that kind

2941
03:08:56,799 --> 03:09:01,319
of music. This record is even
better if if you like violence in your

2942
03:09:01,360 --> 03:09:05,000
metal, if that's what you go
to it for. Straight up, this

2943
03:09:05,120 --> 03:09:13,399
may be the hardest album of the
year, just just so sonically devastated.

2944
03:09:13,559 --> 03:09:18,559
I mean I noticed, but I
recognized the artwork from that previous album.

2945
03:09:18,639 --> 03:09:22,079
That's so like it had kind of
crossed over to stuff I was aware of,

2946
03:09:22,159 --> 03:09:24,600
So I knew the name, I
knew that artwork. I'd not listened

2947
03:09:24,639 --> 03:09:28,479
to them, but like, I
mean, like this album does it kind

2948
03:09:28,520 --> 03:09:35,399
of does one thing for twenty five
minutes, but one thing so really fucking

2949
03:09:35,440 --> 03:09:37,399
good. And that's thing is like
when you say that their trick is doing

2950
03:09:37,479 --> 03:09:39,600
warm me all with good production,
that actually answer. I was like,

2951
03:09:39,959 --> 03:09:45,120
yeah, you know what this is
because it is Actually it's so heavy,

2952
03:09:45,159 --> 03:09:50,840
but it is listenable, and I
was like, yeah, just like give

2953
03:09:50,879 --> 03:09:54,280
me these riffs, give me that
drum sound that is like absolutely blasting at

2954
03:09:54,280 --> 03:10:01,680
all times, just like walls of
guitar noises like just suffer you. But

2955
03:10:01,600 --> 03:10:05,680
it's it's cool. It is hard. They've kind of got a reputation right

2956
03:10:05,719 --> 03:10:09,520
now of being like what a lot
of people would just defacto is describe as

2957
03:10:09,520 --> 03:10:15,200
like yeah, that's the current fucking
most brutal band in the world. It's

2958
03:10:15,360 --> 03:10:20,319
just the sound is quite an amazing
thing. Like war metal, as like

2959
03:10:20,639 --> 03:10:22,760
you say, you can either see
a sort of black and death metal or

2960
03:10:22,879 --> 03:10:26,479
death infused black metal. I kind
of one of my favorite things about it

2961
03:10:26,600 --> 03:10:28,959
is we talked about in the Separate
Tour special when extreme metal starts and it's

2962
03:10:30,000 --> 03:10:31,799
just bands trying to be as extreme
as each other, and you kind of

2963
03:10:33,079 --> 03:10:37,200
get this oozing mixture of the two
that both genres kind of spring from war

2964
03:10:37,319 --> 03:10:41,079
metal is like those two parts have
diverged and then they've realized, wait,

2965
03:10:41,120 --> 03:10:43,120
if we want to be the most
extreme, we've got to bring them together

2966
03:10:43,200 --> 03:10:46,280
again. Like to chase that dragon, we put them back. And this

2967
03:10:46,520 --> 03:10:52,840
album is kind of that. It's
a sort of form of extreme metal that

2968
03:10:52,040 --> 03:10:58,799
is as fast and violent and just
fucking hard as you could pitch. And

2969
03:11:00,000 --> 03:11:03,239
and you know, it's kind of
hard to review because if you like the

2970
03:11:03,319 --> 03:11:05,920
sound of that, you will like
this, and if you don't, you

2971
03:11:07,000 --> 03:11:11,760
want And I kind of like how
just Lying in the Sand is just everything

2972
03:11:11,799 --> 03:11:16,040
about it. Antichrist sees Machine Vengeance
of Eternal Fire are demon biting out the

2973
03:11:16,479 --> 03:11:22,600
throat of our Lord and Savior,
Jesus Christ himself just a perfect thing,

2974
03:11:24,159 --> 03:11:28,440
wholly definitive of itself. It's twenty
five minutes long. The first time I

2975
03:11:28,520 --> 03:11:31,840
listened this album, I played it
twice over. This record makes me feel

2976
03:11:31,879 --> 03:11:33,920
like Godzilla when he eats the Nuclear
power station. You know, like as

2977
03:11:35,000 --> 03:11:37,239
people who maybe hadn't listened to this
band before in their last album, were

2978
03:11:37,280 --> 03:11:45,000
you blown away by the sheer level
of like sonic destruction that is present just

2979
03:11:45,079 --> 03:11:48,120
in the fundamental act of this band
playing their instruments, the drums during just

2980
03:11:48,319 --> 03:11:52,239
they're trying to crack your skull open, like they are hitting so hard.

2981
03:11:54,040 --> 03:11:58,159
The guitars like the thing is like
the heavy but they are they sound big.

2982
03:11:58,360 --> 03:12:01,000
It sounds like I said that all
of guitars like consuming you. It's

2983
03:12:01,079 --> 03:12:07,399
not just like like just like like
fudding guitars on it is like really like

2984
03:12:07,680 --> 03:12:13,040
oppressive in that but he again,
not listenable, is how I would describe

2985
03:12:13,079 --> 03:12:18,159
it. And despite how extreme and
sonically crushing it is, well, I

2986
03:12:18,239 --> 03:12:20,399
kind of stopped following Warmel because,
like you said, par and it's kind

2987
03:12:20,399 --> 03:12:22,280
of it felt like a lot of
bands were sort of doing variations on the

2988
03:12:22,319 --> 03:12:26,040
theme and I really got into in
twenty fifteen, when Archgoat and Revenge both

2989
03:12:26,079 --> 03:12:31,399
released really good records of that year, and so when I saw people saying

2990
03:12:31,440 --> 03:12:33,440
this is the hardest sound ever,
I just thought, really like, how

2991
03:12:33,520 --> 03:12:37,440
much like it's kind of maxed out
surely, and then Son of Man like,

2992
03:12:39,239 --> 03:12:41,479
I feel like it's just a list
of violent analogies for each song,

2993
03:12:41,600 --> 03:12:45,000
but the way it hits you twice
at the beginning, it's like being punched

2994
03:12:45,040 --> 03:12:52,959
in the head done. It might
be the most violent opening to a record

2995
03:12:52,040 --> 03:12:56,559
since Suicide ephor you by Pissed Grape. Hearing that for the first time,

2996
03:12:56,559 --> 03:13:00,239
I'm just going, I'm legitimately scared
about how heavy this is going to be.

2997
03:13:00,719 --> 03:13:05,360
This is one of the sparing times
I've thought of thought like that since

2998
03:13:05,399 --> 03:13:15,520
then. And after that it's just
it's apocalyptically loud and violent. Yeah,

2999
03:13:15,559 --> 03:13:18,559
I mean, I love in terms
of that sort of overwhelming extreme power.

3000
03:13:18,600 --> 03:13:20,040
You know, you've mentioned one reference
point for me. One of the things

3001
03:13:20,079 --> 03:13:22,799
that from the show's history that I
could sort of related to is the Way

3002
03:13:24,239 --> 03:13:26,239
of Feather and Bone. That's the
one band in my head that I was

3003
03:13:26,280 --> 03:13:30,879
kind of like, because I quite
like, yeah, they're all those really

3004
03:13:30,920 --> 03:13:33,920
itching bands that found quite quite cool. So that that was the reisdes like,

3005
03:13:35,719 --> 03:13:37,879
are they quite similar? I can
remember exactly if that. No,

3006
03:13:37,000 --> 03:13:39,360
they don't necessarily sound the same.
But what I mean is that that band

3007
03:13:39,479 --> 03:13:43,479
take like old school death metal,
but they played it in this like fucking

3008
03:13:43,680 --> 03:13:46,879
manic, feral, intense way that
makes it feel like newly refreshed, almost

3009
03:13:46,920 --> 03:13:50,440
to the point of something like grind, but it's so guttural and low because

3010
03:13:50,440 --> 03:13:54,399
it's death metal. This scratches a
similar itch, but in that again more

3011
03:13:54,440 --> 03:13:56,360
sort of warm metal language. There's
a death metal riff in the middle of

3012
03:13:56,399 --> 03:14:03,079
Sun and a Manda Dude that's so
ignorant and evil but really simple and catchy

3013
03:14:03,159 --> 03:14:05,399
at the same time. And I
love that there are and you know,

3014
03:14:05,479 --> 03:14:07,799
catchy riffs in this, but they're
just like hammering the shit out of you.

3015
03:14:09,040 --> 03:14:11,799
The second track on this is called
only Evil. These guys have got

3016
03:14:11,840 --> 03:14:16,120
my number. That's a manifesto that
I can I can get behind. They

3017
03:14:16,159 --> 03:14:20,280
are a two piece band, and
the drummer in the band, who is

3018
03:14:20,280 --> 03:14:26,200
also the vocalist straight up one of
the most terrifying drum performances in the world

3019
03:14:26,239 --> 03:14:28,600
today because there are two pieces bad
when they play live. His drum kit

3020
03:14:28,680 --> 03:14:31,360
is just like in the middle of
the stay, it's sort of like side

3021
03:14:31,440 --> 03:14:35,520
on, and the way he hits
his snare is just like a pump action

3022
03:14:35,680 --> 03:14:39,799
shotgun going off every time, and
that's including when he's blasting, you know

3023
03:14:39,000 --> 03:14:43,079
when he I love the sort of
like slightly more midpace smack on every beat

3024
03:14:43,120 --> 03:14:48,600
that just bum bum bum, And
it's just such an insane ridiculous sound.

3025
03:14:48,840 --> 03:14:52,639
The snare slamming on prey upon them
is fucking absurd, And like this is

3026
03:14:52,680 --> 03:14:56,319
the most speak to your monkey brain
music you ever heard. Like the grooves

3027
03:14:56,360 --> 03:15:00,239
are so primal and instinctive. It
just comes at you with this all of

3028
03:15:00,319 --> 03:15:05,200
like nuclear destruction cacophony. I feel
like pil Swine like again because of the

3029
03:15:05,280 --> 03:15:07,879
sickest riff like that, I was
like, oh, that's been wiged,

3030
03:15:07,920 --> 03:15:11,520
and then the drums on that one, I just i was like, it's

3031
03:15:11,600 --> 03:15:16,000
like it's never like going super fuss
one, but it's just hammering so heavily

3032
03:15:16,120 --> 03:15:18,440
that I'm just like, that is, like I said, a gunshot going

3033
03:15:18,479 --> 03:15:22,719
off in your brain with every single
hit, and it's like they haven't got

3034
03:15:22,799 --> 03:15:26,239
Like there was such a singular focus
on this album that there's no time to

3035
03:15:26,319 --> 03:15:31,959
spend thinking about anything else other than
like destroy everything in your past. Yeah,

3036
03:15:31,000 --> 03:15:33,319
that that really mentioned that. The
start of Pearl Twine is that there's

3037
03:15:33,360 --> 03:15:35,959
certain like war metal tropes. I
suppose that if you are in on like

3038
03:15:37,040 --> 03:15:39,000
Blasphemy and conquer It and stuff,
they'll be familiar to you. But hearing

3039
03:15:39,040 --> 03:15:43,600
it played and performed the Antichrist Machine
way, the intro Parl Twine does that

3040
03:15:43,760 --> 03:15:48,200
like mad tom part on the riff
with the kind of warm metal. Bazali

3041
03:15:48,280 --> 03:15:52,120
is a genre that relies a lot
on drum hooks, like the basically the

3042
03:15:52,159 --> 03:15:54,600
biggest song in the genre as Rich
Are All My Blasphemy, which is only

3043
03:15:54,680 --> 03:15:58,079
catchy because of the trump part,
But like that, the intro of that

3044
03:15:58,239 --> 03:16:01,760
is that got that kind of like
you know, drums falling over themselves on

3045
03:16:01,840 --> 03:16:05,680
a riff and then a pick scrape
and then the vocal just go, oh,

3046
03:16:05,799 --> 03:16:09,319
it's gonna bring it in like a
big monster and uh. Again,

3047
03:16:09,440 --> 03:16:11,799
it's stuff that you know if you've
listening to his music for a while,

3048
03:16:11,559 --> 03:16:15,760
you know, but it's amazing hearing
it sound like this, and it's just

3049
03:16:15,879 --> 03:16:18,639
it's a reminder that sometimes the simplest
tricks are the most effective, like carrying

3050
03:16:18,760 --> 03:16:22,479
Lamb. There's a bit where I
think this is what he's doing. I

3051
03:16:22,559 --> 03:16:30,440
think he's hitting every single drum at
once. There's no like daka da da

3052
03:16:30,639 --> 03:16:33,959
dagger. It is just every single
bit being it as hard as it can

3053
03:16:33,079 --> 03:16:39,319
be possibly hit without destroying it.
And you think that seems obvious, but

3054
03:16:39,399 --> 03:16:45,040
it's just beyond physical limitations, and
yet this dude is doing it while singing.

3055
03:16:45,360 --> 03:16:50,079
It's mental. Yeah. The way
the riff in Vanquishing Spirit comes out

3056
03:16:50,120 --> 03:16:54,680
of the last song is just so
fucking dumb, and I love it a

3057
03:16:54,760 --> 03:16:56,479
bit. In Scolding Enmity, when
the vocal just full on goes ha ha

3058
03:16:56,959 --> 03:17:01,520
ha, there's like chopped up people
laugh and it's so awesome. The songs

3059
03:17:01,559 --> 03:17:05,200
are short, but they packed so
many riffs in. There are a lot

3060
03:17:05,239 --> 03:17:05,719
of them. At the end of
them, there's the kind of death metal

3061
03:17:05,760 --> 03:17:09,040
equivalent of beatdowns, basically, and
they just hit so good. In Only

3062
03:17:09,120 --> 03:17:11,559
Evil there's a lone crash in the
middle of it that just smacks it all

3063
03:17:11,600 --> 03:17:15,399
back in and it's hysterically hard.
And there are there are bits in this

3064
03:17:15,520 --> 03:17:18,479
that are relatable to fans of hardcore. I think because of the way they

3065
03:17:18,520 --> 03:17:22,639
approach the drop, there's the songs
to Serah, which was the advanced single

3066
03:17:22,680 --> 03:17:24,239
from the record, and hilariously,
I think I'll be the only person who

3067
03:17:24,280 --> 03:17:28,159
reviews this record who will have this
reference point and will connect it. But

3068
03:17:28,239 --> 03:17:31,000
it reminds the main rift reminds me
of a war metal version of House of

3069
03:17:31,040 --> 03:17:37,079
Wolves, like if you want to
hear, But it's one minute fifty three

3070
03:17:37,120 --> 03:17:41,840
seconds long and at the back end
of it genuinely mosh part of the year

3071
03:17:41,079 --> 03:17:46,799
when they hit the China symbol and
it just cuts in. It is unbelievably

3072
03:17:46,840 --> 03:17:48,959
heavy, and I reckon, like
you know, like I reckon Jesus Piece

3073
03:17:50,479 --> 03:17:52,239
love the shit of Aali Cristy's Bestine
because it was considering they were wearing like

3074
03:17:52,360 --> 03:17:56,440
archcoat shirts when they played an Outbreak
last year. Oh yeah, I think

3075
03:17:56,159 --> 03:17:58,520
in a similar way, they almost
are on the hard core side of the

3076
03:17:58,559 --> 03:18:01,760
coin, what like Antichristy Machine are
on the kind of death black Nettle side,

3077
03:18:01,840 --> 03:18:07,000
just kind of full on fucking rifts
and violence. Yeah, I can

3078
03:18:07,079 --> 03:18:09,200
totally, I can totally see where
you like all the hard cobands just sort

3079
03:18:09,200 --> 03:18:15,479
of linked them to g because it
is again it's just singular focus, just

3080
03:18:15,719 --> 03:18:20,559
killing, violent destruction, and that's
that's what this does, and that's what

3081
03:18:20,000 --> 03:18:22,280
I was just like, Yeah,
cool, I'm just I'm here for it,

3082
03:18:22,600 --> 03:18:28,120
just here for the like like leaving
a trail of like just rubble in

3083
03:18:28,200 --> 03:18:33,440
your wake. I think sometimes with
music like this, you think the appeal

3084
03:18:33,520 --> 03:18:35,959
is just how heavy can it be? But we talked about this at length

3085
03:18:37,000 --> 03:18:39,959
of the Nail Special. That kind
of violent brand of extreme music, there's

3086
03:18:41,000 --> 03:18:43,959
something so satisfying about it when it's
done right, and I think it's as

3087
03:18:45,040 --> 03:18:46,280
true for this record as it is
for any Nails record like that. They

3088
03:18:46,319 --> 03:18:50,280
know exactly when to pull their punches, which is basically never, and they

3089
03:18:50,360 --> 03:18:54,680
know exactly when to slam, which
is pretty much all the time. It's

3090
03:18:54,760 --> 03:18:58,920
the swinging march on prey upon them. It sounds like blazing the northern sky

3091
03:19:00,360 --> 03:19:03,799
a dark throne if they just ate
forty eight eggs a day for a year

3092
03:19:05,159 --> 03:19:13,879
and lifted and Yeah, just the
vocals coming on Lysurgic War Psychosis, genuinely

3093
03:19:15,159 --> 03:19:18,920
frightening in how fair all they sound. Yeah, I love that Abystile hate

3094
03:19:18,959 --> 03:19:22,120
last song on the record. It's
like, okay, last song, how

3095
03:19:22,239 --> 03:19:24,000
do we make this? You know, we've got a refreshed extreme makee We've

3096
03:19:24,000 --> 03:19:26,239
got to give them one last punch, and it just has that moment of

3097
03:19:26,319 --> 03:19:30,559
feedback at the start, and then
the riff comes in like a pneumatic drill.

3098
03:19:31,440 --> 03:19:31,760
It was like okay, yeah,
okay, you got me, you

3099
03:19:31,799 --> 03:19:35,440
did it. And the song itself
is like only one and a half minutes

3100
03:19:35,440 --> 03:19:37,879
of its overall run time, and
then it just has forty five seconds of

3101
03:19:39,000 --> 03:19:41,319
complete and total like desolation and rubble, you know, at the end of

3102
03:19:41,399 --> 03:19:46,520
it, it's I do think again
it's so heavy. But the reason I

3103
03:19:46,559 --> 03:19:50,760
think this record in particular is so
good is every like tempo and rift change

3104
03:19:52,239 --> 03:19:56,440
is absolutely amazing, and every time
they switch something, it just like unlocks

3105
03:19:56,479 --> 03:19:58,520
this new level of like animalistic violence, Like this is the record to kill

3106
03:19:58,559 --> 03:20:03,719
somebody this year. And yeah,
like I said earlier, if you like

3107
03:20:03,760 --> 03:20:07,600
the Not Loose record, you're already
down for heavy short blasts. I mean

3108
03:20:07,799 --> 03:20:09,040
you've listened to these records back to
back in about fifty minutes, you know,

3109
03:20:09,239 --> 03:20:15,440
just like Unrelenting Punishment. I very
much recommend you check out that band,

3110
03:20:15,479 --> 03:20:18,120
even if you've never ventured into that
sort of area of like again very

3111
03:20:18,159 --> 03:20:24,040
specific kind of black and death metal
because a I think this band bizarrely are

3112
03:20:24,120 --> 03:20:26,000
a bit more accessible to more people, but they are doing it in a

3113
03:20:26,040 --> 03:20:33,479
way that has only advanced, how
like catastrophically and or inspiringly violent and extreme

3114
03:20:33,879 --> 03:20:37,879
they are. So that's Antichrist,
Siege Machine and Vengeance of Eternal Fire.

3115
03:20:39,000 --> 03:20:43,000
And that is the end of this
very slightly delayed reviews show for may Thank

3116
03:20:43,079 --> 03:20:48,520
you very much for listening some really
good records in that batch. Let us

3117
03:20:48,639 --> 03:20:50,719
know which are your favorites. Obviously, I'm sure that a lot of you

3118
03:20:50,760 --> 03:20:54,319
will like the Not Loose record.
I really really think a lot of you

3119
03:20:54,399 --> 03:20:56,600
are like the Gatecreeper record. If
you haven't listened to that one yet,

3120
03:20:56,040 --> 03:20:58,760
I want to know what side of
the fault Kama fence you fall on.

3121
03:21:00,120 --> 03:21:01,399
Is it a fucking headache or is
it genius? I think the latter,

3122
03:21:03,159 --> 03:21:07,520
And yeah, all of that good
stuff. Thank you very much for being

3123
03:21:07,639 --> 03:21:11,719
here. We will have those album
clubs I mentioned earlier. We're going to

3124
03:21:11,719 --> 03:21:16,360
talk about Generation Swine among the other
things coming up very soon. We also

3125
03:21:16,440 --> 03:21:20,680
have the Mammoth hugely in depth first
part of the Secultary a special waiting for

3126
03:21:20,760 --> 03:21:24,040
you right now over on the Patreon
as well, so cheers very much to

3127
03:21:24,079 --> 03:21:26,040
everybody who goes over there and checks
that out. Your support means the world.

3128
03:21:26,760 --> 03:21:30,799
We will be back here, I
mean very shortly. I guess it's

3129
03:21:30,840 --> 03:21:35,680
Friday, you know, fairly soon, and me and Sam are both sort

3130
03:21:35,680 --> 03:21:37,840
of you know, venturing various ways, sort of festival wise, so you

3131
03:21:37,879 --> 03:21:41,959
know, we'll see what kind of
comes up here. But for the meantime,

3132
03:21:41,600 --> 03:21:43,920
thank you very much. Goodbye,