What's going on everybody? This is that's not at all the UK's and the
most annoying rock and heavy podcast, and this is Hyperblasts where we attack the
week's news, new music, hot topics, not that kind, but you
know, stuff going on, and boy, if we've got a bunch of
those today, it must be said, it's a real stacked, exciting week.
So we're going to get into all of that. I'm parent hash Sam
is not here because they are in Edinburgh seeing Bruce Springsteen no less, so
they'll be back next week where we can probably hear a bit as well about
their experiences at slam Dunk last weekend, because I know that's something that people
have had their tongues wagging about this week, not really for the right reasons,
but they're in is Elli Paisley is here though, Hello, Hello,
how are you. I'm doing well. We do have some awesome new music
to talk about, some potentially I guess mentous news in some way as well.
I think we should briefly start, though, acknowledging some of the feedback
that we got on our show last week where we spoke about the new Sleep
Tooken album and why we personally don't really want anything to do with it.
I think, as expected, some people really understood where we were coming from,
not just other people who aren't into the band and felt vindicated or whatever,
but people who are, you know, into them as well, which
we do appreciate. And some people took quite a bit more umbridge with what
we were saying. Yeah, I mean, like you see, I like
to think that most people took the review in the spirit that it was intended,
but it wasn't a universal response, at least on that end. Yeah,
I think there were a few people who were putting some words in our
mouths as well, which I felt the need to sort of rebuke a little
bit in some of the Facebook comments. Maybe I shouldn't have done that and
just addressed all here. I don't know, but you know, saying we
were like clearly really enjoying getting our knives out to ship on something that's popular
and means spiritedly wanting to lash out. That is pretty much the exact antithesis
of the emotions with which we approached that episode. And I think that's fairly
obvious in the conclusions that we reached where we were like, that's not something
we actually want to do again. Everyone who engaged with that episode in the
right spirit, whether you agreed with our takes on the album or not,
I certainly do appreciate that it makes our job a lot easier and more enjoyable.
I think, just to clear some parts of it up that, you
know, maybe there are things that we could have expressed better, just to
kind of put a cap on it. There was a discussion that kind of
a rose in the Arthmas around gate keeping and particularly where that's not metal historically
has sort of sat on that. I did try to preempt this and kind
of explain some of that in the episode, but perhaps not stressed hard enough.
There is nothing about our position that is gate keeping sleep Token fans from
being a part of our community. I know a lot of you guys love
them, and I cannot stress enough how perfectly cool with us. That is.
Like a few people seem to interpret our discussion as you guys can't come
in here. No one should be listening to this, and you know not.
This is why us continuing to keep having to engage with this is a
waste, which was where that episode was coming from. Yeah, I mean,
I think you have a pretty uncharitable reading the thing that we don't want
more people to like rock and metal, that we're critical of how people get
in. I mean, it's almost such a cliche at this point. Maybe
that's why we didn't bother saying it. It doesn't matter how you got here
or what even particularly what you like. I mean to be honest, if
you listen to this podcast and you care about rock and metal and you follow
it, you can probably safely assume that there's going to be bands that you
like that ninety percent of the world think is as a ship and some of
the things you get up that to ninety nine point nine. So for me,
I think if you start worrying too much about necessarily like what other people,
I mean, the gate keeping thing, I don't think. I don't
think that's necessarily fair as a criticism, because we were quite clear throughout that
that was never really our target of criticism. I think ultimately you can get
keep what you want to cover on your own podcast, right. That's that's
called editorializing. And there is a difference between policing what people are allowed to
like and what we want to spend our time talking about, which you know
we did that publicly in discussion rather than covertly behind closed doors, which is
perhaps the difference and what some of you may have preferred we do. But
at the same time, there were other people asking, you know, why
would we be ignoring the elephant in the room of like the biggest new rock
record of the year, Like I was reluctant to call it a review,
Like you may have noticed that compared to all of the other kind of individual
hyper Blast album discussions that we've done, I didn't title it Sleep Token album
review. I called it something else because it was meant to be less a
kind of objective piece of criticism on the album, which if it was,
then some of what we said, you know, wouldn't really have had a
place and something like that, and it was more a look into our thoughts
on where we're at with it and why we don't actually want to keep reviewing
stuff like this. And you know, in the middle of that discussion,
we did explain our problems with the music on the album, But it wasn't
an hour of us tearing apart an album taking in it, as some people
that put it. It was us saying that we're pretty bummed out by doing
it and expressing why would we why we would rather put a line down and
not have to do it anymore after that. And there were people who said,
you know, listen to that kind of episode. Wasn't fun, wasn't
entertaining. That's completely fair, and if you wanted to tune out of that
one, and that's that's your prerogative, and that's cool, and we'll see
you on the next one. But that was kind of the point because we
weren't having fun and we'd rather do this in one go and sort of,
you know, cauterize the wound if you will, then have to, you
know, dedicate twenty to thirty minutes to them every couple of years when they
release a record going forward, which is what some people seem to be asking
us to do. And we don't want to have to keep bashing them for
all of these same reasons that we've laid out every single time, when it's
clear that we've got, you know, just fundamental problems with the band that
aren't going to change anytime soon. So why keep you know, that's the
fucking that's the hat option to do, isn't it. And you know,
that's why we had to say in the stfts that we don't want to touch
them anymore and at least give some people some explanation as to why. And
it's not a matter of you know, oh, it's not metal enough,
so it's not good, which would obviously be an extremely stupid way of thinking
that none of us have ever said or ascribed to. I think we're above
having to say that, really, But like all three of us listened to
plenty of stuff that isn't metal, Elliot, you probably listen to a bunch
of stuff sort in the more indie sphere that this kind of draws on in
a way. And it was a matter of we don't really think this is
good and at the same time it feels like it was never made to be
what this podcast specializes in, which is a thing that we have to have
so wh I keep on torturing ourselves. That was the relevance of that particular
element of the discussion. Yeah, like you say, it's one of those
things where if they were this was a New Hollywood on dead record, we
wouldn't have mentioned it. It's only because it is, you know, the
seismic movement in certainly in British metal, but maybe metal full stop of the
time, and as a rock and metal podcast being exposed to things like this,
it's hard not to have it take. And you know, if we
did enjoy it, then we just do it all the time, Like we
wouldn't be saying this is the last time. If we thought it was such
a laugh we had such a great time talking about this record, then we'd
promised to talk about each and every one of them and say the exact same
things over and over again. I think maybe people read into the fact that
we were enjoying it in that we maybe you know, we made jokes,
we made lights of things, but you know, you make someone sevelence of
a podcast being fund tolicity right, like this is it. We're not in
court, Like, it's not a way just because we don't like a record
doesn't mean we have to be completely miserable about it and got it. But
it's that review. Certainly, I think we presume we all felt it,
but it's not as rewarding as when we talk about stuff that we really do
like, at least things that were really interested in. Yeah, and I
think there's a little bit of the danger in using the you know, the
that's not metal card of saying, oh, this podcast about being open minded,
because there is a balance has to be struck, and you know,
at the same time, I do remember when this podcast started, and a
big part of its appeal for many people as a listener was how it was
trying to maintain some sense of what alternative music was and kind of you know,
calling out some stuff that that people didn't think fell kind of you know,
didn't feel was appropriate and to the point I literally we had an episode
called dog Seal, which was such a stupid, neighbored episode because we were
reviewing some like pop rock nonsense and there was some big hilarious speel from someone
about how if you've given a dog and you're told it's a seal, like
very silly, like, why would you put it like that? But that's
always been that's always been part of TNN. It's a bit weird to have
that they pointed out as hypocritical. Only now am I going to sneer at
you and tell you you're not a real metal fan or whatever people thought I
were saying for for enjoying sleep Token any more than I would, you know,
I would say that for you enjoying the kind of pop an R and
B artist that this has more in common with fuck No. That's why the
podcast has this name, because you can listen to and be a fan of
whatever kind of thing you want to without anyone telling you that you're not metal
enough to come in. But do I want to review those things? No?
I don't, And that's what this episode was about, right, Like,
we will continue to review things that we don't like, because as many
people have come forward saying that is an important part of the show too and
worth balancing out just being kind of an uncritical fanzine. But this goes beyond
that into something where there was just nothing here for us anymore, and repeatedly
doing that, like three times in my case, was enough and we had
to explain that so we can just stop there. It's not like we're going
to stop people being excited about talking about them, you know, in the
Facebook group or whatever. By all means be excited like they've just announced a
Wembley Arena date, which is indeed massive, and that is a bananas trajectory,
that is, if nothing else is extremely off note, and you know,
if people vote for them in the Album of the Year pole come December,
It's not like we're going to fudge their numbers and like stop sleep,
Hooken from Winning or indeed you know bad Omens or any of the other kind
of artists that we sort of bundled together in the episode for similar reasons.
We just don't want to review them anymore, for our own sanity and pleasure
of doing this. Really, and at the end of the day, I'm
glad we did it because it wasn't an hour long review. It was a
discussion about our personal intersections with the new biggest thing, and then we don't
have to talk about it again. Yeah. I mean, if you listen
to that podcast and like, like you say you found it depressing or didn't
find it fun, or you thought it you know, as seem like we're
just giving something a kicking, maybe just look at it as us sort of
ripping the plaster off sense, rather than over one month we have to keep
talking about bands, there's no have to, but bringing in bands we don't
like, to keep pointing out why we don't like them. That's almost like
use that as a reference point, like we're not talking about something. Consider
that maybe as a barometer as to why we are or why we're not.
So Yeah, I think overall, it's definitely the less kind of malicious option
to just sort of put it all out in one goal and then leave it.
Yeah, and I hope people can appreciate and understand that. So there
you. I think that's that topic covered. Let's kick off the news proper
with an announcement that I think Blindside had a few people and does have the
potential to be taken us either good or bad news. Josh Middleton quite surprisingly
announced that he has left Architects and immediately started teasing and then releasing new Cylosis
material Josh and Architects. What was your reaction to from from the text perpective,
first of all, about Josh leaving the band? Um, I mean,
it's a weird because I'm not really a particular fan of either Architects or
Solosis, but I always thought not particularly I'm not get it too much of
a goal frankly, but right, but yeah, when he joined, I
don't know, I kind of just presumed he'd always be there. That seems
like an old thing to say when he joins on an album eight or whatever
it was, But the way he was able to sort of steady that ship
at that point in time, and again being an incredibly talented musician and it
being in a sense of commercial step up for him. It seemed like one
of those things where I couldn't imagine him leaving. Yeah, and I think
we know that Josh wrote a large portion of Holy Hell. I would imagine
the next records as well. So he's been immensely important for the architect story
in terms of helping, you know, kind of direct the ship after they
lost Tom. I think Holy Hell, I think he's in contention with all
our gods have abandoned us to be their best album. So like the man
did an incredible job. The last album, Classic Symptoms of a Broken where
It's really bad, title was like it would be it'd be fascinating to know
who wrote what percentage of what on that record, because like, if you
were a real cynic, you could take that as oh, that's the album
which they've like most simplified and lost the cut and challenging edge. Obviously,
Josh wasn't feeling that anymore and he's gone back to his Techi band, but
he could well have written a large portion of that as well, and it
could well have been that, you know, he was enjoying writing stuff that
was so radio friendly and straight ahead as a change from what he was doing
inside Looses And I think a lot of us looked up at there at Josh
playing with Architects and felt a real sense of kind of you know, home
pride for the man in the way that he had finally gotten the opportunity to
play all these massive stages and such because he'd been such a pillar of the
UK metal scene for so long. I mean, they just su put him
Metallica like the weekend that they've announced this, and you know, maybe he
took that as the high, like it's not going to be a bit better
than this. I've achieved what I wanted to achieve. Sionara, Yeah,
I did think it was weird timing for him to bow out with Download around
the corner, as you say, just having these Metallica dates, maybe give
it a couple of weeks like sort of, so there is that sort of
weirdness for the band. Maybe when they're playing, if people are going like,
hang on, where's the other guy? I don't know, maybe that's
thinking too cynically about it all, but yeah, it struck me as odd,
but it's made a lot more sense when the Silosis material came out a
day or so later. Yeah, I think the only reason you can take
without jumping to any kind of conclusions like that that you might be able to
support, is that he just wants to put all of his attention back onto
Silosis because that's his baby. And I've got a mental respect for him doing
that, because he doesn't have to leave this, you know, the massive
band he's in the headlines arenas to go play in his like thrash metal band,
But that's his baby that he loves, and we've seen Silosis really gearing
up to go again over the last couple of years. Actually, like when
he first joined Architects, I was a big long white between Silosis records where
they didn't actually look like they were an active band. Really, it's really
nice to see Josh going, you know what, this is my band and
I love it and we've not gone anywhere, I mean business. And in
that vein we've got new Silosis material, which is called Poison for the Lost.
It's on an album which is called a Sign of Things to Come,
and that's out on September the eighth via Nuclear Blast and on this kind of
again in front of just like Silosis, now, Josh's primary gig once again.
I know you've just said you're not necessarily a Hugh Silosis fan. I've
always been, like they've been one of my UK metal bands ever since they
kind of, you know, the peak days of this kind of era of
bands, and I always love how he is able to take the thing that
Joshua has been so good at is going back to at least like kind of
Edge of the Earth, is taking real extreme metal and making it make sense
on just a kind of contemporary metal level, because there's death metal fury in
these riffs translated with that lens where there's riffs in here that sound like they
could be in like DA Side or like Decapitated songs, but instead the overall
sound is something they can go on tour with like malevolence, and it's got
that kind of bang, a harsh metal chorus in there. Yeah, there's
It's again, it's weird, like I know that they are thrash metal band,
but I've never put them in the thrash metally unique sounding band. Yeah,
it's kind of like, now, not just compare them to another band,
but something like what Trivia have done on the trivium of the only comparable
case really yeah, yeah, where you have like blackmail and death metal and
there's extreme staff mixed with pretty palatable radio metal stuff. And yeah, I
think, like I say, I'm not really a fan, it's not any
dislike towards the band. I've never particularly been blown away, but they're reliable
and listening to this it's as good as anything else I for Silosis do.
So if you are a Solusis fan, there's nothing to dislike you at all.
Yeah. Again, for me, it's just this band who I have
loved for a long long time. Like I've been a Silosis fan much longer
than I've been in Architects, and it's been really good in the last few
years to see them like going places finally and getting some of the plauders I
think they've deserved for a long time. And again seeing Josh kind of step
away from, you know, the huge thing he's in to really just like
put his all into the harsher variant of what he does. I think that's
awesome. I think that's quite inspiring on Architects part. It will be very
interesting to see who they bring in to replace him and kind of what shape
their music takes next. If they go down a writing period, whether it
goes even further than the kind of you know, Broken Spirit route, or
if it does something different, it's obviously big boots to fill. Like he
basically the best guitarist in the UK metal scene, so you know, obviously
when when they lost Tom, he was like the but the only comparable person
in terms of like that level of talent. But it's obviously it's a much
nicer situation for be for them to be in in terms of looking for a
new guitarist than the last time they had to do that, so they can
take it a little bit easier not have to, you know, kind of
stake the entire band's existence on that moment. I think they'll be fine.
Yeah, I mean, I'm not particularly worth how much he wrote and what
he wrote India. I don't know if they can really go much further down
the classic syms of a Broken Spirit outside of doing the same thing again because
the album was, frankly, it sounded a bit like a dead end for
that kind of thing. Was almost like the most simplified alcamized version of that
thing. So I mean, it would be cool to see if they bring
in a new guitarist, if he fills in that position again if we find
a new song writ so kind of freshen things up of it. So,
like you say, it's a much noise position to be in, and I
would be curious to see what this means for where they go next. Yeah,
so the Architects News really made that kind of the important story that week,
I suppose. But when it comes to new music, we do have
a lot to really get excited about. And first off, we're going to
talk about Creeper, who announced a new album called sang Guivore, which didn't
We had like three weeks ago a question about your raw black metal project,
and didn't I basically say, I'm sure I said Sanguine something or other,
like they've nicked my name from a few weeks ago. But sang Guibo it's
going to be coming out on Friday, the thirteenth of October, because if
you're gonna deal that with any album, it looks like it's going to be
doing this one. And they've leased a single called Criter Heaven and they've also
announced the UK to for November. Sang Guibo itself just an overview of the
album, the album title, the song titles. If you look down the
track list, the artwork, it looked like it's just the most Halloween thing
they've ever done. But there's a someone called the Ballad of Spooken Mercy,
And I think the last album had a particular kind of like band in turmoil
emotion around it, like where they really turn that into something beautiful, but
like a few different members of the band all seem to have their own kind
of things they were going through around them making an album. Like if Creeper
have made an album so far that a twenty ten Metal Hammer cover would slap
we went through hell for this album next to it, it'd be that one.
The focus on the kind of more frivolous vampire stuff would suggest to me
that they've had quite a fun time making this one. By comparison, I
mean this was like a Cradle Filth album from twenty eleven or something. It's
so when craid Le Filth got too outrageous, like when their fans lads rain
it in and then they did an Amber of the Witches. I mean,
like Sanguivore as a name the album cover. I just say the track list,
it's it feels weird, like because we know the kind of goth,
naughty boys that creeper are but even this was I was I was gonna say
a bridge too far, but it's it's too good to put it down.
And it's a jump on. It's like it's the full on, like the
fucking the safety belt is off right, They're just like going full on.
And again, if if you know sex definite infamt that void musically was an
enormous risk and leap and I really really fucking admire that. But that was
more into that kind of again classic rock, Britpop, all the sort of
areas. This is just the full like we don't care if what you think
we're doing is kind of cheesy or pastiche And on the track list front,
Ghost Brigade is not on the album, which came out maybe a year ago.
It seems more like kind of I guess a transitionary tracks bringing you from
one place into the other. I must say I didn't really keep listening to
Ghost Brigade after it came out. Maybe I just sort of put it on
the back bend. I'm like, oh, I listen to the album when
it comes out. I didn't realize how long ago that song came out as
well, but i'd be listened to it again this week. Now they're they're
playing it live and such, And I don't know why I registered that as
being like a less good Creeper trap. It's a fantastic song, It's it's
classic Creeper. But perhaps it being classic Creeper is why it doesn't fit on
this album, because Quieter Heaven is also a fantastic song, but in a
very different way. Yeah, I mean I have a slightly muddled relationship with
Creeper. Like the songs I like, I really really like, and the
ones that I'm not keen on really running up wrong the wrong way. Oh
no, this don't have those rand No, No, I'm full heart eyed
Creeper, always have been. Oh I might be the biggest Creeper skeptic passed
through these ranks so far. But what you don't think are good, they're
all good. What the songs you don't think are good? They're all good?
I mean cyanide, Well, I choose to live not good. Yeah,
you know people are coming for you, I know. And then well,
I mean that song not not to get two sidetracks. But when that
came out, everyone's going, oh, it's like Andrew Lloyd Webber and you're
like, that's terrible. That's not a nice thing to say about a song.
I never made that comparison myself because I didn't like that. I thought
of it more as Queen but Anywhere anyway. But this, this is much
more like it. It's like big, pompous, melodramatic, sweeping rock music.
It's afi the Pesh mode and then like perm Era Ozzy Osbourne, like
it's three beautiful, three great tastes that tastes great together. It's such a
exceptional lead single. My first time listened to the song, I was basically
that meme of Vince McMahon continually getting more excited, like every time a new
element came in, because I didn't know what to expect. And it's like,
oh, well, what these sense doing here? Like Creeper have always
used keyboards, but not kind of you know, full on synthway style since
and then it was oh the fun that's a nineteen eighties arena metal riff.
They not done that before. And then the chorus all the way through to
like the solo and the key change at the end. I didn't know what
to do with myself. Every new thing was so surprising. Somehow this is
hilarious, Like it sounds like a song, and I mean, this is
the best possible way where the people making it have had the maximum possible fun
putting it together, like they've done their This corrosion basically crossed with like a
nineteen eighties radio metal song, which is exactly what I want in my ears?
Like how did they know that was exactly what I wanted? I mean,
they've gone from borrowing since the Mercy's font for the Sex Death era too.
Oh, I'm actually just going to be Andrew Eldritch in the video,
like the back and forth in the chorus with the big Steinman choirs and then
the voice crow to Evan like it's so fun and camp and brilliant as a
theremin in there. The thing that struck media abouts is every goth adjacent band
feels compelled to describe rocky horror as an influence, and you then listen to
those bands that you go, I don't hear the least bit of rocky horror
in any of this. There's no rocky horror emotionless in white No, yeah,
exactly, but this there were legit bits where on problems I was like,
that's rocky horror. That's the exact sort of like in the low voice,
in the sort of spoken word he bit. It's the build into the
solo like the ever was is un ignorable here and as you say, like
the perfect level of campiness when no one's going to accuse this as a pastiche
or a joke, but it's almost a maximum amount of fun like the peak
of the bell curve. The video is fully ridiculous. It's like a cross
between the opening scene of The Hunger and an eighties workout tape. Like the
chains that they got hanging every where. Will's got a mullet and the posturing
like off the charts, all of the assets of this era that we see.
Like the other thing is that if you if you follow Will on social
media, two of his favorite bands are grave pleasures than unto others because he
is a man of refined palette. But part of this looks like he's been
watching unto others life for a couple of years or their videos and going,
oh, that looks like fun. It's about tiwgo full tilt and to put
bats on everything as well, like if this is all part of creepers,
like elaborate arena goth rock era. I think we're in for an incredible amount
of fun. Code Orange have also come back. It's amazing how those two
always fucking aligned every They're never far apart their albums. No news of a
Code or album just yet, but they have come back with two new songs,
the first of which I heard. I don't know if anyone else watched
this. I'm sure at least a coup people listen needed Code Orange put up
on their YouTube channel. It was like a premiering thing of Code Orange slam
modern music critics with like a click bait thumbnail like Reba pulling a big face
next to light, Anthie Fantano and Finn McKenny and all these kind of people.
Very funny, but it ended up being watching ten minutes of a guy
being tied to a chair, which, like, I don't think it's too
out of pocket to say that, it's not that original, and they do
go on a while when they're doing it, but it was kind of worth
it for how if you had that on, you essentially got jumped scared by
a new song because they just really whipped the mask off and then it's just
like full on that squealing, riffing everything it's so like they've these two songs
they've described as being on the more chaotic end of what Code Orange is.
So last time we heard from them as Life from kind of the remix style
record that we got a few months ago, it was Out for Blood,
which is totally on the like simplified fucking banger end of their scale. I
actually think Out for Blood is one of my very favorite Code Orange songs,
Like I rinsed it, but if you are someone who got your nickers in
a twist saying it sounded like static x or whatever, this is more for
you that said when I again grooming, my replacement is the one I heard
as part of the video stream. It didn't feel anywhere here as jarring as
like Underneath did. Like there's tons of interesting sound play going on, particularly
kind of around the bridge at the two minute mark, but swallowing the rabbit
hole in terms of the amount of like what the fuckery it is? Not,
which may in fact be a positive people, because if Underneath as an
album had a few people going like this is a bit much like, let's
rain this a bit in and use some of these tools a little bit more
carefully, a little bit more sparingly. Maybe that's what we got here.
Yeah, I mean for me, this feel like a weird start to the
new cycle. Not bad necessarily, but like the press photos, I mean,
Code Orange the new cycle every time, there's something so exciting about them
because the last couple times they've changed the lineup, the members seem to each
individually get a new look, like Shade always as the best rip, and
everything sinks up nicely, and it kind of suggests that there's this element of
moving forward and these songs they're not particularly a radical reinvention, like we might
get to the same one at the game. In particular, there's songs that
kind of feel like a refinement maybe of the sort of formula they were playing
with even on forever. To an extent, Yeah, I think during my
replacement it's a very interesting song title for a band who the last song we
had when there was you Were Motherfucker I Am. But like the main groove
and it is crushing. Jamie is pretty legible over it, and he has
that kind of just like are all power to his vocals that he's always had
that summons up something primal, like a power of a real frontman on like
a hardcore song like that. I think the game as well. It does
what I love Code Orange to be, which is that it feels like a
hardcore song that's been like poisoned somehow, or again it maybe a little bit
kind of more of a bite size, digestible way. Where I like these
two two new songs, I have a feeling I will like them even more
when they're hopefully part of an album that surrounds them with like stuff of other
stripes and colors. Yeah, that's sort of where I'm I do think these
songs are really good, but they're not kind of that they're not making my
head spin the way the title track and Swallowing the rabbit Hole well before Underneath
were, like you say, I can't believe the leap they've made with part
of me is willing to see these as a bit of a knock knock from
Code Orange in a sense, because there's no real video video, Like you
say, there's been no album a dastment. You could say these two singles
as a bit of a sort of step up to the plate, and then
the next time around we might get a full fledged video and the new look
and the album cover and everything, and that will be when we get the
real surprise, maybe that this might partly also be a sort of assurance to
some people, like you say, the Alpha Blood thing. I liked that
song okay when it came out, but it did slightly put my backup because
I was worried that was going to be what they did going forward. Now
I never had a problem with it. I always knew there'd be different things
going in the tank. And if you if you are capable of writing the
best fucking like metal floor thiller of however many years, like, why you're
not going to not do it? I mean, now it's kind of confirmed
it with this the opening of this cycle. But I sgein to see this
a bit of like a side quest thing, and now I love it on
those grounds and I think it's a great song. But yeah, so it's
an interesting start to this new little lead code Orange. But it's got me
curious. I think the other thing about these two songs, and we both
said, there's like, you know, they're similar things that were going on
underneath, but maybe kind of less crazy and a little bit more sort of
refined as a word that you used, These songs must be so fucking hard
to write still right. It's a case of like, can you imagine the
effort that's gone into creating the sounds and everything that are going on in these
tracks, And if any other hardcore band was doing this, we'll be like
whoa. And I think it's it's a there's a real case if this is
what maybe an album, like a sort of a look into what an album
might be. I think we're probably gonna end up seeing a real case of
like people not being impressed by how utterly brilliant code or is just like very
casually are, which I am always whenever that happens with bands, I'm always
in the kind of like camp of wanting to be like, yeah, but
fucking listen to this, listen to how this sounds and everything. So we'll
see about that. Fever three three three have also come back four four four
now. Because this is a completely revamped Fever line up, there are two
members who weren't Jason Butler of course left a while ago, and now it
is a four piece. Drummer Thomas Priddigan, bassist Pork and guitarist Brandon Davis
have joined Jason Butler in the band, and this Fever song rile A fucking
few people up, didn't it. I've seen a lot of like, wow,
this is awful. Sam described it as lin Manuel mirandacore, which set
me up as like to really hate it, because I don't that sounds like
the worst thing ever. I don't mind it, Like I don't think I
really care that much about Fever three three three, So I'm not going to
waste a much breath trying to convince someone who thinks it's awful. It's not
one of their best songs, but it doesn't feel like that drastic a shift
and what we already knew Fever to be right, Like it's some kind of
you know, um, very very modern sounding sort of you know, new
metal via kind of modern day metal riffs, some beats going on there,
and you know, some sort of fairly straightforward rapping moving into a melodic chorus.
I mean, for me, Fever when they came out, it was
a very promising thing because Jason Alaballa just come out of one of the most
one of the most sort of acclaimed bands of they're seen. The first DP
had a few good songs on it, but the fall has been just sharp
and calamitous in my view, like strength and Numbers was pretty weak, and
then Wrong the album is the only thing I really liked from them, Like
I wasn't really I wasn't convinced by the EP, and then it was on
the album, which again I didn't love it as a whole, but it
was when they got it right, and a song like song like burn It
Down and stuff like that would be like, yeah, that's the kind of
those are the modern metal kind of or modern rock even more so, um
just like single Power. But I think some mans do lack, I mean
maybe, But then Wrong Generation was like a half baked mudpie, Like it
was just completely pointless. And as much as I didn't like them before,
there's something so inescapably phony about three three three twenty three, Like I mean,
they welcome Reggie It's machine comparisons. But Linn Man Roell Miround is exactly
right. It's like he wrote a musical about rage against the machine, like
he kind of approximated the idea this is. And the verses I'm sorry,
like this thing about Jason Butler being a good rapper, maybe, but these
are pitch perfect two verses, like he's capable of being a good rapper.
I think he's obviously and intentionally working within his means right and doing a simplified
version of what he can do, and that I mean maybe, but like
it whether you want to say I'm not. I'm not saying that to defend
it. I'm just saying that is I think what he's doing that could well
be like, what the why? Why fuck are you playing doing that thing?
That's up to the individual design. I'm just saying that, you know
he can be a good rapper, this is lower skill level, but then
why do that if you're going to scream in those kind of rage parts which
just feel so false. I mean, for me, Jason has gone from
one of the most charismatic, effortlessly cool musicians in rock music to one of
the most cringe inducing you can find. He's almost like speed run the Tom
Morello arc in a set. Yeah I did. I was watching the video
for this, which again he's only him in a kind of room, and
you do have I don't want to be like I'm not even the person,
because I would never that attached to let Live in the first poe, like
all the people have been on this podcast, I'm probably the lowest let Live
fan. But when you remember watching them videos of them live and stuff like
that. Seeing him in the video sort of like dancing around on the bed
and stuff, it's like, yeah, it is like a real night and
day kind of thing. I don't know about the transitions, and it's like
when he starts that like la la la kind of chorus, it feels very
jarring and clunky, but I can see people getting into that, and you
know the kind of I think the weird kind of like churning riff and electronics
combination that you've got in the verses like behind the wrapping everything. It doesn't
sound bad. That sounds like perfectly good fever stuff. I think the drop
at the end is super predictable in the way that the modern bringing the horizon
drops that it sounds like, ah, but yeah, I probably won't thisten
this song again if it's not on an album or something, which it could
well be, but like it's not. I don't think it's rizzible. I
just that's as far as my praise is going to go. It's not rizzible.
Just how is this the sound of the revolution? Like, yeah,
I wouldn't go that far turn stuff. We're in a bit of a weird
story. This week, they have an original pop punk song in the Netflix
show I Think you should Leave under the name the Everything You Knows, and
somehow I think it they've been writing credits people realize that it was Turnstyle.
I think you should leave. I do not know anything about this show.
I don't watch it. I think the only way you can actually isn't this
song currently at least, was to find the scene in the show. There's
a couple of links with it up. But had a couple people been like,
oh, do you want to Turnstile pop punk album? Now they've kind
of, you know, turned to writing something like this, and it's like
what it is under a different name, Like it's very clearly like this is
a band playing within themselves, right, like this is in the fucking scene.
It's like cut up into little bits, like it's barely even a flowing
song, but it's fun and it's got their kind of laid back sense of
melody that you identify to them. It's it's like if a machine Gun Kelly
song was good and played by a real band who had real charisma, not
fake try hard charisma. Like that's what I was saying about it. Yeah,
I thought this was pretty good, like turnstyle. They've not done a
bad song in my opinion, and this hasn't objected that trend. It is
funny having it in I think you should leave, which I've not seen a
lot of. But it's a particularly sort of silly sketch comedy show. Yeah,
which I can he turns out being totally down by right, they've got
a sense of human Yeah, that's true, And like I'm almost more surprised
that they were asked in a sense because it is a really popular show.
And like again, it's weird to ask a band to do a song for
your show when it's not really there, like Field of Play, Like you
think you'd try and find a pop punk band if that's what you were going
to do, But it's more fun to get there. I'm glad we got
it. Oh yeah, And the tone they strike is perfect, Like it's
got a bit of that sort of shoegaze quality that the kind of all the
emo and hardcore bands were doing about ten years ago. But I really like
the way it sounds and Turnstile they're blessed with a pretty recognizable songwriting style,
even down to the lyrics. You can kind of tell it was them in
a sense, so yeah, as a sort of deep cut easter egg.
The fact they have songs of this quality just lurking around places, it's I'm
really impressed. Yeah, there you go. Blood Command have announced a new
album as well this week, called World Domination for September tween night. They
be really singles for a little while, but I think it's just so mental
to be getting a Blood Command album, not just with the same singer,
but a year after the previous album that its completely unheard of. We are
truly in the new era of that in that regard to you know, Leafs
completely turned over. Empire State Bastards album is also going to come out in
September. The first we spoke about a track from that a few weeks ago.
The story outside of you know raging in the slam dunk comic sections about
their their planning that has got everyone pissed off this week is everyone's angry at
Royal Blood because Mike the singer taunted the crowd. I believe it's the Radio
one's Big Weekend for not clapping for them hard enough and being like, we're
in a rock band, you are allowed to cheer and stuff like that,
and he's a very cringing man, right, like he is a fool.
You can put him in the Alex Turner category of like, I do not
want to hang around with you. You seem like an annoying idiot. It
was quite funny, though, and I don't actually care, like, can
I bring myself to be in anywhere? I saw a lot of people like,
again, roast this, fine, it's funny, but if you're writing
a think piece on why Mike Kerr should have been more respectful to the crowd
at radios, people like, it's not that deep, bro like yeah,
And many people pointed out Brenda Murphy from Counterpasters is all the fucking time.
Yeah, I mean it is a bit embarrassing. I understand the frustration of
performing to an apathetic crowd, but I don't necessarily think you can degrade them
into liking you. And it's particularly weird if you're in Royal Blood because it's
a pretty bland band. Sweirds get so uperity about people not but it's like
if the guy from Razor Light, I mean, this is actually an outrageous
but imagine the guy from the Kooks, come fucking come on, Yeah,
a bit of action, please, I mean, it's definitely the actual of
someone who thinks their band is a lot harder and edgier than it is.
And again, I've been quite fan of Royal Blood, to be honest,
I mean not like intensely, but the first record I think he's great,
and the later two both have moments on them. You know. We reviewed
their latest record where they went for that kind of Queens of the Stone Age
like dancing pivot, and we were basically the owning people are like, it's
not bad, Like it's constantly they can do that perfectly. Well, it's
fun. But again, from that first album, it was straight into the
kind of Radio one pipeline of like never really having to kind of slum it
in the way most rock band who aren't annoying in that way have to do.
So it's like you don't really get to pretend that you've kind of gone
that route. But who cares, say the think pictures. I think I
saw an out of one in the eye like that that newspaper saying like,
listen, Mike, it's not rock and roll to degrade your audience, And
you're like, do you know what else is in rock and roll? Doing
what newspapers tell you to do. But what kind of trap is that?
It's just as embarrassing as this is. I think the overreaction is almost like
like fellas, can everyone calm down? Yeah, very much so. Iron
Maiden play the first date of their Future Past tour that they're gonna be undergoing
over the course of the summer. Maybe we're going forward about a year or
so. I don't know. And Iron Maiden, you may be aware if
you've been a long time fan. They make it a thing where they announced
the entire setlist of the show in advance. This isn't like, you know,
the Metallica's situation where you're gonna be going and you don't know what they're
gonna be playing on any given night apart from what was played the night before
won't be on there, but it's everything is there. That's the tour.
You know exactly what you're seeing. I don't normally like to know setlers from
bands in advance, but because of the way I Am made and sort of
make it an event like that, and they theme tours around it, right,
So realistically, if you're going to the theme tour, you know you're
going to be seeing a bunch of Somewhere in Time and a bunch of sen
jutsu, and that's kind of the draw that the tour has been sold on,
so there's no real, you know, shock or surprise to be kind
of spoiled in that regardless, if you don't want to know at all what
I am and they're going to be playing on this tour, skip forward this
podcast about five minutes time, but a little overview of the setlist. I
mean, Alexander the Great is the one that everyone was when they started that
night posting everything one by one. It was when everyone was waiting for and
then they got it. And that's the post if you look on their Twitter,
has all of the Internet being like, yeah, they're doing it because
it's what we Again, everyone immediately w oh you didn't got Somewhere in Time
tour, Please play out some of the Great for the first time, And
they've now done that, so fucking great Elsewhere Caught Somewhere in Time is back
for the first time since nineteen eighty seven. I think it is like this
since the tour for the album I Guess Stranger and Strain Line they had been
played since nineteen nine. Good stuff, Yeah, I mean the certlist looks
great. Often wonder if I still care about Iron Maiden because I've not really
liked the last couple of records, and you know, Age really seems to
be kind of catching up with them, at least on the last couple of
cycles. But then they know they have to just play songs I like on
a tour I won't be seeing and we're all friends again. And the certlist
like it does look great, like the songs they picked from Saint Jutsu that
think Days a Future past Hell on Earth, like some of the best songs
off that, And it's so cool seeing them dig out those summer and time
deep cuts are the ones you mentioned. The video of people. The videos
I've seen of them playing Alexander the Great are really cool because you see it
kind of dawn on the attendees what's about to happen, And that made me
wish that I got a ticket. But what else is cool is that elsewhere
in the sets, so that the five or so other songs they're playing they
didn't necessarily go for you know, they didn't do a lot of the evil
that men do, and you know how many view of those like they do
The South Tide of Imien song is always there. Yeah, I think it's
Um the Trooper that's in there as well, so obvious, like they haven't
done can I Player. Madness is twenty fourteen, I think, which seems
mental like such a staple single for them and they just casually dropped it out
for a decade and I didn't even realize. I would have liked to have
seen Deja Vu on this tour, but like doing five out of eight songs
from the album on the tour theme, that's partly fun. I agree.
I think to send you two songs, I think they've got pretty good ones,
like the time Machine is a bit unfortunate, and I would rather say
basically any other song from the album, but it is the Future Past tour.
Of course they could have do time Machine, but otherwise I think it
was the title track and Stratego they were doing on that kind of the end
of when they did a download and stuff, so they're not in there,
but day's Future Past. I agree, it's a great track of the longer
ones. I think Death of Accounts would probably end up being better live than
it is on record. When those kind of like Red in the Black kind
of situations and Hell on Earth opening the encore is a fantastic song. I'm
really excited to see that one in there. It's weird the songs that you
don't see from Iron Maiden. It seemed to just completely depend on what tours
you catch them on, because I saw a couple of random people being like
super excited about Wasted Years being the overall closer, saying that I've been seeing
made in for how many years and I'm still not seeing Wasted Years, And
of course on the Somewhere in Time theme tour, Sonny Natural, that's the
close of that. The correct choice I've seen I made once before. It
was on the Book of Souls tour when Wasted Years was also the closer,
and they did not do Run to the Hills, and they did not do
hallebe that name. And now those aren't in there again having been brought back
for the cycle that I missed, and I think I guess part of the
almost the way this is like knowing the setlist of this in advance compared to
any other shows where I don't want to know. It is like not holding
out for certain songs and then being disappointed when they don't do them because like
being in my position, but like not having seen some of the most obvious
ones that people who have been seeing Ivan for thirty years. I've been like,
oh, they playing those all the time, but they haven't have liked,
Like it's crazy, but you might end up seeing Alexander the Great.
You know, there's no aces I High in here, there's no two Minutes
to Midnight, no The wicker Man. I've got to really make sure I
get my ass to the tour after this one, basically to get some of
those obvious boxes ticked off before they retire. But for the theme that they've
stated and laid out, I think it's like a mostly great set list.
Yeah, I mean, like I've never seen nine Maiden, which is one
of my real bucket list things I need to tick off. And again,
when I saw this was announced, I kind of thought, and I'm not
like keen on send Jutsu. Maybe I should just sort of save my money
and then go and see them doing a sort of legacy tour again in the
future. But I'm kind of come to the realization that we don't know how
many more of those that were going to be And like you say, you
don't even necessarily know which songs you're gonna get on those like they're playing the
Prisoner on this tour and that's oh yeah, yeah, one of my five
favorite Iron Maiden songs. And I said, hey, Aces High, we
will take us at Staple now. But fifteen years ago they weren't playing it
at all. They didn't play it. It's like the eight between like nineteen
eighties six and two thousand and ten or something like. The secret with Iron
Maiden is it doesn't actually matter what kind of setlists they're doing. It's always
great. Like you can go, oh, I won't go for this album
or whatever, I'm not into that one, and then you look at the
setlist and go, oh, hang on, that's amazing, and the show
is always amazing. It's you kind of just have to realize it's always going
to be fucking great until eventually they hang it up. So yeah, it
does look very very good indeed, and Trent Resident and Atticus Ross are going
to be scoring the New Tea's Mute Ninja Turtles film, which objectively is very
funny, but also I don't quite know what that's going to sound like because
I can't What do you think about Trent Resident film scores? It's either kind
of you know, sort of slightly spooky piano or that kind of like you
know, bleepy blue peak kind of you know, social network or whatever goal
with dragon tattoo style kind of thing. I can't quite imagine either of those.
Teen Also, I don't know what it was, Like, I suspect
it won't be considered part of the Halo series. But for me, just
knowing that the man who wrote Happiness in Slavery is now a colleague of John
Cena is one of the strangest things. And this is all well and good,
like, you know, good for those guys. But if this is
delayed the next Nine Inch Nails album by more than fifteen minutes, I will
be furious. Oh yeah, I'm really ready for the Units nowls now.
Like I liked the Ghosts kind of projects a few years ago, but like
it's been what five years now since the last nine is Now is like proper
you know, banned album, and I was half an hour long it's not
enough. Yeah again again that was part of a sort of sequence where we
hadn't waited a long time because we had the EPs before that. But like,
either way, it's been five years since that era of nine is now
is concluded. I want more. I really want more. But I would
also watch the teenage Mute in Ninja Tittle's film if this is what's going on
questions Galgalander asked, what are some of the iconic gigs that you could have
gone to but didn't due to life, money, or other things that prevented
you from attending. For me, this is sort of a two ways of
looking at this of like maybe gigs I could have actually I had planned to
go to or whatever. But in general, like pre twenty fifteen, because
of geographical removement, I always feel like I missed that when people talking about
going into you know, seeing shows during that era, going to festivals from
that era kind of early part of the decade, because I just wasn't near
them. Some of the kind of instance that I really remember being bummed about
missing, Like I remember there's a Slipknot tour in twenty fifteen with corn where
they did like sabotage together, and I remember being bummed out about that.
And I saw for the first time later that summer there was the Destroyers of
the Faith tour with Matal. How much was Cannibal Corpse tripp to cocon enslaved
and Joffre a cowboy, and I really wanted to do that. They bring
me the Horizon Wembley show, which I've been saying with people in the discord
a little bit. We been talking about bring me because of their new stuff.
I still not seeing the Horizon, and it's because I didn't see them
because I was far away back then, and I've not really had the impetus
to go and see them lately. But I think the big ones that I
maybe could have gone to but I missed out on was twenty nineteen. I
was after i'd finished UNI, so I was back, you know, back
at home, far away from everything, and it was prior to me moving
to again a larger city and everything. So I didn't go to It's download
that year, but I didn't get a Bloodstock. It's the only Blosstock I've
missed, and that was the Bloodstock where Parkway Drive headline for the first time
and Saboton headline for the first time, and those are both things I really
would have liked to have been at to see. And also Roadburn that year.
I really wish I'd made that my first year to go to Roadburn because
that was the Yether Triptokon did the full orchestral requiem performance and I would have
loved to have been there. And the recent Ramstein Stadium shows actually one of
the biggest ones, actually the full on fucking you know, we're going to
just burn a city to a furnace stadium shows they've done in the last couple
of years post pandemic. I couldn't make it to any of those, and
I wish I had. Yeah, I can't already think of that many major
was the one that leaps in mind as the first time I remember being gutted
I couldn't go to a gig was in twenty twelve when Eurosis or twenty thirteen
when eu Rosis and Godflesh going around together, right, And I saw that
package basically in twenty nineteen with job on the front. I have no excuse
then, so I think at the time was that hours twelve, so it
was it was me fourteen to go in with an adult or eighteen year own
or something like that. And I asked both my parents, and my dad
said, I asked my dad, who likes a bit of rock and metal,
and he said, oh, no, I'm on a business trip then,
and I don't even know if I bothered asking my mum. It just
seemed like a sort of cruel to make her do, to make it her
fault somehow. But the other one where I was really gutted was Converged during
blood Moon in London. That right, Literally I've very rarely actually missed contacts
that I have been like planning to go to and it's fallen through, like
things I've had a ticket for or whatever. The fucking converged blood Moon.
First time it happened, I just wasn't in the vicinity. But the second
time people will remember if they've lioted as apographer, you know a year or
so had a ticket but they canceled the Manchester show so fell through and I
didn't get to go to the London ones. So both times I missed converged
blood Moon. And the only other times that happened where I've had tickets not
be able to go is I missed Blood Incantation last year due to train strikes,
and I missed Bolzo in Manchester literally yesterday for the same reason. But
there you go. The only time I think I've missed something where I had
a ticket was Wolves in the Throne Room and I can't remember where the venue
was, but it was really out of the way, like it would have
been paying together outside of driving. And I was the closest of my friends
to pass in their driving tests at the time, and I promised all of
them that I would pass before the gig, and I did not, so
we couldn't go. Sad Joe Windows says asked to listen to Skindra's new song
Love, I thought it was better live than on recording. So which song
gets the biggest upgrade when played live? I mean my example of this was
when I saw Clutch at Download twenty seventeen and they played an early version of
How to Shake Hands, and I still think that version was than what we
got on the Book of Bad Decisions. It was less blown out, punchier,
tighter. The lyrics got a bit kind of wordy in the studio version,
and I wasn't I wasn't keen on that version for a while after that.
Now I think it's a great song, But that's the only example I
can think of seeing a song live. I'm being super excited to hear the
record, and then they're not really living up to it. For songs that
are already else. The one that struck me was Godflesh Damnation twenty twenty one
and they played Predominance, which is an album track on Pure and it might
just be the most that was fucking head nasty thing I've ever seen live,
Like it sounds great on record, but it was just I was not prepared
for how filthy that was. Yeah. Really, some people say, use
Fear of the Dark by Maiden one of the big examples of this of like
maybe not even having time for it on record, but it'd be an amazing
live. Obviously, it is better live than on record because you have the
full crowd participation aspect. But I've always loved that song on record anyway,
but Maiden do have them talking about it. And again I entered The Red
and the Black from Book as old big one. I like the Books as
an album, I had to say again on that tour, which again was
colored with the emotion of me seeing them for the third time. But like
a Turn it should fail and Speed of Light and that stuff, they worse
done as life. You got to say, even if you weren't world on
the world record, I M always example of like something that was quite poor
on record that worked out better is most of the recent Inflames stuff, like
because the production on Inflames records, I think Battles is always the one that
stands out to me is like they're having just the worst production that record,
and people like when people go, that's the shittiest Inflames record. I probably
think Songs wise is a little bit better than like Siren Charms, for example.
But I understand people say because it sounds so bad, but then you
saw some of them live and it's like, oh, they're actually not terrible,
and you know you can play it with aggression everything you just haven't in
the recorded version. And I guess some of the ones I was racking my
brain feast. I'm sure there are some that I'm missing, But sometimes you
get things that have really tacky, inorganic kind of pop production or whatever,
and it's allowed to breathe a little bit more and kind of a live band
situation. Some of the recent News stuff is a bit like that. It
doesn't quite save Instant History by Biffy Cliro, but a lot of their stuff
is better live than I'm record. We're spect about the kind of the Wembley
live album they deal on any revolutions and that kind of thing. Speaking of
Baroness lately as well, I've not seen them in Golden Gray, but you've
got to imagine some of the Golden gray stuff is allowed to, you know,
be what it can be a little bit more in the kind of live
environment. Is a non metal answer as well. But I call me maybe
is not a Kylie ray Jepson song that I that I reach for when I'm
in one of my binges when I listened to emotion or whatever. It's obviously
a great pop song, it just doesn't fit into my idea of what I
guess the Kylie that I listened to but live every time fucking elation, let
me tell. And she drops out well early as well, because she knows
her fans aren't actually waiting around to see that, like, so you'll be
like three four songs in and you will suddenly get it and it's like,
ah, here we go. It's fucking brilliant. Seriously. The other one
that lives on my slight step away from Karli rag Jepson, but you mentioned
mentioning it with the Fear of the Dark comparison, is I've always the custom
by slip Knot on record. It's so stilted and is really kind of inorganic
sounding, and that song Live really flies because it's just allows to sound like
a runaway train. I think you could probably say all of the Great Chapter
in that regard, because I like the Great Chapter, but I think it's
probably the worst slipknot production job, and certainly a customers a great example because
of how furious it becomes life. I think in general that stuff was better
on the road. Arna Strada says, do you remember hearing any reviews on
TNM before you were a host that you strongly disagreed with? So many?
Let me tell you that's the funny thing about last week's show. There were
so many instances of Phase one TNM, mainly when they spoke about proper heavy
metal stuff, because I always felt it was a bit like kind of two
nineties punks that whenever they spoke about older metal stuff, there was usually some
kind of disconnect there. Science and the snow By Trivium is maybe one of
the biggest example of like when they were shitting on an album that I thought
was great, and I think time proved me right a little bit there,
at least in terms of like it being a crucial part of their story in
that regard, although I did get beast to say when we did the Trivium
special it was much better than you remembered it. Being Repentless by Slayer as
another one that I just seemed to like much more than everyone else. But
in general, there was a lot of kind of like, you know,
folk metal is inherently a stupid gibbeck because it's got a flute in it or
something like that, and I just like I just knew on that podcast it
was going to be possible for them to ever admit that tourists as actually wrote
some pretty spectacular songs back in the day, right Like, it was just
never going to happen. You had to go elsewhere for that kind of stuff.
Things that got covered that I didn't think get the praise they deserve,
maybe like the couple of examples like the debut Astronoid album Air is one that
I was kind of willing them to go a little bit harder on. There
were obviously things that they were big into that I just didn't get either,
which is fine. I definitely think didn't think Eat the Elephant was that great,
but it was mostly just heavy metal stuff on a sort of fundamental taste
level, like I got used to as a fan of the podcast, just
them sneering at these bands I love, like their meritless, like Helloween or
Saxon or whatever. And now we've got Sam for that to continue being wrong.
So what like you this will be interesting because obviously yours include stuff that
I've been involved. Well, there's only one that really stands out on that
front, but there's always a lot of bands, particularly Same Phase one.
They've got a lot of praise that don't really do anything for me. So
I'm not really big into architects while she sleeps into Shikari Buried somewherew those kind
of abs. But it feels kind of like cheating to say, yeah,
I disagree, because you know, I think I think it's more interesting to
hear ones that got slagged off that you want to stick up for. Yeah,
yeah, I mean the one on that front, and I don't even
know if it was formally reviewed, but they were very dismissive of it at
the time was Meliora. They both kind of thought it was boring, and
at the time I just thought it was the best thing ever, and I
just, yeah, I bees I know, for a fact, Bees like
came around and it's super hard, like he went from not quite getting it
too, this is one of the best albums of the decade. I think
that's just the thing with with you know, ghost albums taking a little while
to sort of reveal themselves. Yeah, and I was kind of in the
same campus you were them Silence in the Snow. I think we're with records
like that, you often soften on them after what the band does next,
because the only comparison I think obviously sort of someone was Hailed to the King,
where it felt like everyone fucking hated that record, and then when the
stage came out suddenly people were like, Oh, it's just a sort of
a little deviation. It just makes them another record that I've always been into
from day one, right, Yeah, well exactly. I mean, in
terms of albums have got a lot of praise, I could maybe would have
liked what could have liked that I didn't understand. I know, Bees was
really into the I Carry a Viewer and not with a Corey Taylor solo record,
I know, but I thought it had some decent tracks on it that
were just more like the kind of Stone Hour stuff, And I think overall,
it got it got made out that the entire album was some kind of
fucking just car crash, when it was only a handful of kind of moments
where he was being a bit goofy. Yeah, obviously it was just like
a perfectly solid radio rock album. Yeah. I don't know from getting this
quot exact it, but Be said something like, oh, if Blackstone Sherry
put this out, you know, people would love it, and it's like
it would be the worst Blackstone Sherry record. I am sorry for me again.
The best songs on it. This Maybe it's just the Corey Tailer factor
and the fact that I love his voice and I would listen to him singing
stuff more hand, But I yeah, I probably put myself closer to Bees
in that regard, even though overall I don't think the album's great. Yeah.
The other one that came to mind was the self titled Lamb of God
record. I think Be said it was he thought it was as good as
the first as the four classics they put in the two thousand was like in
that echelon, which I didn't hear at the time and I don't hear now.
In terms of one more recently that I was sort of the phase of
Alec Samon yourself was Van Weezer getting an absolute love in here and but that
is one of the most disappointed I've been by a record experiences of my life,
Like I was so excited, and it was the fact that the run
up was like two years the seasons at least. Oh, it is better
than seasons. Literally as many good songs in like for me, like end
of the Game, all the good ones, beginning of the end, Precious
Metal Girl. The rest can kind of get in the bin. You don't
like Van Weezer, you don't like I choose to live. All the fucking
skeletons are code out of the club cool. The latest event over only that
something our Patreon was our album club Pack for the end of May, where
we did go Gaga for nine inch Nails, Broken Ep, Baroness's Yellow and
Green double album, The Hotelier's Emo Scene, classic Home like No Places There,
and some fist pumping black and roll cat walking from a satiricon in Now
Diabolical Baroness in particular, We've got a lot of feedback from people either remembering
how awesome that album is. Perhaps if you've only listened to to purple or
Golden Gray for a little while, or even better hearing it for the first
time and thinking, WHOA, this band is great. That's really great to
say. I would really encourage people to check out the Hotelier and the satirical
albums as well, dependent on where your tastes, you would direct you.
Because it was a good batch of winners this time. Yeah, I think
for me my favorite album club we've done because A it's so different. But
it was just nice to be nice about things because it fun as it is,
you know sometimes everyone, but like just being able to discuss classics and
sort of four different corners, different time frames and everything, and to be
honest, just remembering how good SETI con are, Like I was saying,
yeah, but I'm I'm guilty. I'm as guilt as anyone. Like so
often I kind of haven't say dismissed them, but I forget how much I
like them, And the fact that that record, which is probably my fourth
or fifth favorite Seatiricon record, and I had nothing negative to say about it,
like none of us did. I thought was it was nice and it
felt like there was a sort of a an accord where you kind of put
your hand out to Sam and said nice things about the hotelier, and then
Sam was into a nice about stir Con. It felt like like you guys,
you you shake hands and be friends again. Yeah, there you go.
So that was a patron at com slash. That's no matter. We
will have more up there soon. It's the way of our horror series next
to that, but also then more specials. We've had some request to bring
back to them a kind of the real long time T and M favorite special,
so we'll be doing some of that over the summer. Rest Assured releases
for the first week of June is a fucking massive one. I can't believe
these next three records are all out at the same time. But event seven
fold, they're going to kick us off with Life is But a Dream Dot
Dot Dot, the first record in fucking ages. It feels like it really
does feel about the stage it was so long ago, and this record is
going to be I'm very glad that we are going to be reviewing this in
like a few weeks time, as opposed to write off the bat because acclaim
wise, in terms of reviews and everything, it seems to be pretty golden.
But also there's been a lot of people saying these singles don't many make
any fucking sense, And I've long been saying that I'm not going to really
gonna enjoyed the first one it came out, but it's like, I don't
really think this is going to reveal lows of what you are until you get
the full album. So sit on it, digest it, let's see what's
going on. Maybe take less time, but hopefully just as for fillings of
people. It's the Food Fighters have got their new album called but Here We
Are, another obviously mementous record for many reasons, and also Rancid I've got
one Tomorrow never comes. Buck Cherry speaking of a hard rock greats on the
Table level, Volume ten ten ten Buck Cherries, Volume ten. It's such
a stupid album title. How embarrassing is that? It's just a fair play
for them to be, like, you know what, We've come a long
way, We've really reached a landmark with this one. But wowe Pupil Slicer
Blossom, I'm fascinated to get my teeth into to this record. This sounds
like it's gonna be really maybe surprising in terms of the things people slices might
be thrown out there. That's my hope at least. But one of our
again recent T and M favorite bands are going to be good to see what
they have got going on their Tiger Cub the Perfume of Decay. I've never
really been one for Tiger Cub, but I know that they are a band
in the kind of UK rock scene that have had people invest in them along
the way, and I've heard some good things about this record, so that
is out there also, Bully lucky for you in the kind of alt rock
area this band. I might be making us up, but I feel like
TNM reviewed one of their records like way back in the day, like fucking
maybe twenty fifteen times that I haven't heard from them in ages, or I'm
completely imagining that and it's someone completely different. But if you're like kind of
like you know your your grunge rock stuff that's out there. I'm a Soulberg
that is the frontman of the band Lepreus has got a solo record out called
sixteen. I don't really know what his solo stuff is going to sound like,
but he is one of the best singers on planet Earth. So I
will go and listen to what he's got Tortured Demon, Rise of the Lifeless.
This is a band of I believe they're like, well young, like
it's one of those kind of bunch of sixteen year old starting a band kind
of thing where you listen to it and go like this sounds like it's got
some promise, kind of you know, thrashcom metal corese sort of situation.
If you're interested in that, you can go and check it out. Some
sort of doomy stonery stuff. We've got Witch Hazel with for the Sacrament and
a bon Zilla check this one out. Dab City is what they've called New
Records. Silly staff from Bonzilla. But there you go in the underground necro
fire, burning shadows in the southern light. That's some kind of a loodic
black metal for some really nasty staffs. Fanty Fact Sath with Hive Mind Narcosis,
and a couple of EPs for you. One in I guess the hardcore
area, American Nightmare Dedicate to the Next World and a UK based extreme metal
EP damn in World Turned Hell. Thank you for being with us at TNM.
Once again, we really do appreciate it. You are off to download
next week. Elliot so next time we hear from you will be on the
other side of that talking about how much I love Hailstorm. So Sam will
be in your place next week where we can hear from them and what they've
been doing. When Elliott returns, we will have our returning download review Megathon,
and after that it will be the monthly reviews where we'll be talking about
some of those huge albums that we've just mentioned. So cheers, see you're there.