Hello, everybody, welcome to that in the matter. This is Hyperblast.
Where have we got news for you pertaining to other goings on in rock and
metal this week? I'm perish Elliot Paisley is joining me today to take on
this this very important business. Hello there, how are we? Yes?
Just very well? Thank you? Are you? Yeah? I'm good.
I'm waiting for Eurovision to truly descend on my city. It's weird. I've
been kind of in and out when all these parties and parais and shit have
been going on. But something's going on by completely warped luck. I ended
up on London, in London, sorry, on the day of the coronation
this past week, a few minutes walk from bucking A Palace, in fact,
so I got caught in all the wandering coppers and flag wearing tourists carrying
camping gear and all this kind of stuff. I was there for Black Metal
Baby specifically, I was there for the final UK show of Dark Fortress,
who are on their farewell tour right now. And I'm not going to talk
I guess too heavily about the details of the show itself, because I know
most people listening to this right now probably don't really care about Dark Fortress and
don't know that much about them. You have you ever explored them much?
H No, I always got the confused with Dark Funeral. Yeah, I
think I know about them, so yeah, I've heard they're really good.
So yeah, splitting up is kind of a shame. I'm just gonna say
I think people should change that because I mean, even if it's too late
to see them now. I mean it was in the Bostom Music Room in
London. It wasn't sold out, It was probably two hundred just under people
there. And I know black metal as a niche genre and they probably won't
be bothered by that either because they've always been a mean more in Germany band
anyway. But Dark Fortress, I feel, should absolutely be one of the
bands you put in front of someone who's not that familiar with black metal to
make it feel accessible for them. Some people might remember that I had their
latest twenty twenty album in my top ten that year. This was their first
and only tour for it, because obviously it came out in the middle of
the pandemic. They're a phenomenal band. They have these amazing, like straight
up banger metal tunes in the setlist like Bahamet where if you like black metal
when it's kind of groovy and got's hits and it's recognizable as like, you
know, just a absolute pump your fist, hell yeah metal tune, they
should be the next stop for you after your Behemoths and your dimmy borg Is.
But they've kind of done all sorts as well, where like they dipped
back into their very early records, which are easily the equal of the classic
records from you know, Sacramentum and Dawn and those kind of bands, if
you like that melodic style. On their longest kind of later records, they've
kind of become like goth Satanic Opeth and all these people who are upset that
Opeth aren't heavy anymore. You could have been here. All the people who
you know are keeping in the kind of comparatively larger spaces for this kind of
music. Bands like Dark Funeral or Belfagre or Gorgaretha whoever, who are like
still good bands, but have been nowhere near as creatively dynamic and interesting over
the years as Dark Fortress have. I mean, even a dickhead like fucking
Tarka could probably play The Underworld or the Dome right. I don't quite know
why Dark Fortress have been looked over for so long. They're in this strange
position where they've been too obscure for the mainstream, and I've never liked properly
broken out like a Behemoth or Awattan or a Demi Borgia whatever. But then
they're they're two kind of mainstream and kind of cleanly produced and put together for
people who really like their kind of necro underground black metal. They've always fallen
into that kind of gap, and they're Hanna's grossman drumming for them on this
pick of the toy. If you know anything about technical death metal, you
will know as like the drummer. And I don't go like a super near
the front at shows that much anymore, but I parked up a spot just
a couple of rows, right in front of v Santura, who's the lead
guitarist and Tripto Kong as well. Dark Fortress is his band, and he
pretty much liked my favorite lead guitarists. Like that question. We have the
other week where we had moments of like being caught up in watching very specific
intrumental players, like this was one of them where again I was right in
front of him, and the soloing was just so brilliant, and then you
get this like insane tapping riff at the start of Alem, which is one
of the most genuinely like immediately identified, identifiable guitar parts in extreme metal.
I'm going to say, ever, just for the people who've heard it,
and I don't think there's any real I guess regret about this. Farewell for
them. They should be really happy about what they've achieved, like genuinely no
duds in the catalog, like there's nothing less than great over a period of
twenty plus years. And they sold out with the torshirt by the time the
Second Bound had come on, so clearly people were coming for it. But
we're not going to hear anything from them again. So here is just,
you know, a moment of appreciation for one of the most underrated black metal
bounds of all time, and for anyone dipping their toes into black metal for
some reason, their name hasn't been put in front of you enough, and
there is still time to go and listen to that great dark Fortress music News
is going to start. I guess I'm a similar route of someone who is
calling it quits and can look back on I think fairly fondly. Some forty
one have announced that they are going to be disbanding. They're going to be
throwing in the towel, not immediately. They have a new record coming.
I believe that's a double album. That's the one they've spoken about there.
So there's gonna be a lot of news on forty one music on the horizon,
but they're gonna be putting on this record. Then they're going to be
embarking on the world tour for that, and at the end of that,
Some forty one is going to be no more. And I guess, like
I've always liked Some forty one. I'm not a gargantuan fan, They're not
a super important band to me, but when it comes to pop punk,
I've always viewed them as, you know, a very one of the really
good bands in that world. And I guess with them calling it quits like
this, it kind of put in perspective to me Some forty one have never
been embarrassing, right, Like, They've gone through times where I've been not
all that infused by them, Like I guess, sort of like you know,
they kind of early to mid twenty tens, I think is when they're
sort of their most unremarkable. But think of all the bands in their lane
who at some point or another, maybe they still are like that to the
day, maybe they had a wobble and then sort of recovered, but have
done something properly terrible where you look at them and be like, you are
you look so washed up right now, you look like you have made such
a terrible decision some forty one. Never ever, I think they've been put
in that position, and I think that is quite a quite a thing to
recognize. I think at this point, Yeah, I think like they're a
unique case for me because they're a really popular band who have sold millions of
records. I don't love them, but I still somehow kind of think they're
underrated because they've done really well commercially. But I don't think they get the
respect they deserve for kind of how a grain against the grain they were at
least when they came out and then again later And like you say, if
you think about the bands that were bigger than them, like Green Day the
Offspring, there's been some disastrous moments decades. Yeah, and the bands that
are kind of more popular than are more poppy than you think, like No
Effects, Rancid. They've even had their share of kind of less than ideal
moments, and Some forty one managed to do that, managed to steer that
course with like hair metal riffs playing pop punk. It's kind of it's kind
of miraculous they got this far. Yeah, it's like Fat Lip. It's
an incredible too, right, Like it's it's probably the best on forty one
song. Right. I'm not saying anything outlandish here, but I feel like
the band who made Fat Lips should have done something embarrassing at some point,
like ridiculous suburban white kid skatepark rapping in that song and stuff like that.
It's brilliant in two thousand and one. It's still a great song now,
but the band who made that, surely ten years down the line, should
have fucked up somewhere, and they kind of never did. Yeah, it's
one of the bands that you'd think if you were in two thousand and one
and you were to make a Nostro Dames prediction of who's going to age badly,
Yeah, Some forty one would not be a bad shout with the things
like Fat Lip. But then going on to do Chuck, which is probably
my favorite. I mean, like shredding leads metallic riffs and doing that in
a way that's not unconvincing. Yeah, Chuck last year over the summer,
and it was kind of as like sort of this underrated some forty one record
where they went super you know, kind of dark and heavy, and I
mean the fact that this was a pop punk band who were always repping for
metal, and I'm sure for many many people they're kind of, you know,
their gateway into metallica and the likes will be through what Some forty one
we're kind of sneaking into you know, American pie soundtrack like pop punk records.
So that's again a really worthy tip of the hat thing. You're right,
when they've kind of fully inhabited stuff like that, they never shied away
from it. They never they never seemed embarrassed by you know, being kind
of the Hesher's pop punk band that they've still been playing, you know,
fun live shows that people love. I've never seen Some forty one because I've
never gone out of my way to I suppose, but I might, you
know, maybe this would be the time to do so. But yeah,
I think there's a really respectable legacy for Some forty one, which with no
real kind of caveats over even on a personal level, when again, like
kind of the narrative that those guys have gone through in everything, like there's
no again, they've made some like unremarkable records at points, but there's no
proper black marks, and for that to still be true over twenty years in
I think the fact that they've gone here on their own terms. Obviously it's
very amicable because they're still continue making a record and doing the tour for that
and everything for them, I think signing off on their own terms without it
ever becoming some kind of exasperating shit show or some kind of like horrible shadow
of what it was or whatever again like Dark Fortress. Weirdly, I think
this is a moment where you can go, you know, round of applause
for a career well done. Some forty one. Yeah, because you know,
they've not been all over the magazine stuff in the last ten years,
but almost every time a new pop punk band has emerged in that time and
people have got an excite because it doesn't sound like water Parks. The band
tends to sound like Some forty one, like Yeah, they're clearly like super
influential, and you can hear them as precursors the likes of a Day to
Remember or even something like the Dirty Nil. I think so yeah. I
think it'd be nice, yeah, yeah, Like for me, I think
even A Speaks one's not a massive it'd be nice to see them kind of
get the jew I think, and I think they will. I think they
already have in a sense, even just since this announcement. I agree,
But I think it's a certainly moment to again tip the hat and acknowledge the
fine way that some point would have carried themselves over the years, to be
honest and give them their flowers. Yeah. So yeah, it fair play
to some forty one for again a career well done. We've got some new
music to talk about, and the first piece of that comes from Queens of
the Stone Age, who have announced they have got a new album coming out
is called In Times New Roman. It's come out on June the sixteenth.
That's a month away, lovely, lovely kind of late announcement there, that's
a way too long at all. And we've got a new song from that
called Emotion Sickness. There's been rumor mill around Queens's Only for quite a while
now. I think we all knew a record would be coming this year.
I did see there was a bit of a leak, like maybe a week
or two ago. We're kind of know album artwork and stuff like that.
That has turned out to be correct. But full confirmation here, Queens of
Stents haven't coming in. Like I said, just over a month. Queens
Only, for me one of my all time favorite bands, one the most
important to me when I was like twelve, and I still love them and
I still think they are perhaps the most consistently vital band at their level when
it comes to just kind of straight up rock music. Where are you at?
I guess on kind of the later you know, Mark Ronson produced whatever
kind of Queens And material? Like are you still like? Do you have
the kind of anticipation for a Queen's record that I might? I mean,
I love Queens of the Stole Age. I wasn't super world about Villains.
I think the first two songs are amazing, but the rest of it I
don't return to all that much. Like I'd say in the reflection, that
might be their weakest record, if not Lullabies to paralyze for me. Absolutely,
I adore them all. Like I said, I think they are so
consistently great. I think if I had to pick one, I might say
ear of Old Garris and I I really like that one. I really like
it as well, and it was it was the most recent one when I
became a big fan as well, So I've always got a sspital for again.
I just like Clockwork is one of my favorites. I thought Villains had
a particularly again inspired kind of quirk to it in their catalog. If they
don't all do um, I think it's just being great now Villains. I
think like when it's good, it's really good, but I don't go and
I like the idea. I do a lot of them doing a kind of
boogie rock record. I think that really changed them. I haven't spun it
in a few months or like maybe a year ago, but like I rinched
it a lot at the time, and the tour with it with the fucking
sensation or they were so good live around that time. Yeah. No,
I've never seen them on one of my bucket list bands. That's they're still
they see them that. They're properly brilliant, like Arena fucking rock band.
Yeah, and I think you know, I'm sure I get into it now.
Maybe they continue to be interesting and continues to be surprising. And as
you say about bands at their level, who are you kind of comparing it
to, You're like the Black Keys bands like that. Yeah, I don't
know, Like you're never this excited for anything they're doing now. Yeah,
I think for me, like it's like nine inch Nails Out one of the
ones I think about it. Obviously that's more in the kind of experimentally edge
or whatever. But like this single I'm Motion Sickness. Obviously you're comparing this
in some way, I guess to the way you used to do, which
was the lead single from there, their last thing we heard from them,
And that song is like the definition of the word strut, isn't it?
Like that is still to this day, like six years old. It's one
of the songs that if it comes on as you're like fucking leaving your door
or whatever, it's just going to make you feel good about where you are
headed for the entire rest of your day. It is going to absolutely put
that funk into you. And this song it's quite different and it's not properly
like maybe go, oh yeah, I am going to be spinning this absolute
fucking tune like in the same way as that, But there is an interesting
kind of dynamic where it feels very I mean it's very Queen to a start
when nothing sounds like this, even when bads take influenced from it, like
Bits of the Great Pleasures even has kind of stuff that sounds a bit like
kind of some of these riffs, but nothing actually sounds like this even production
wise. But the kind of dynamicis has of that kind of jagged, clattering,
sort of bizarre main riff, which is one of things that don't think
Queens cut quite get there for him really marks them out. But then the
way that shifts into this like really breezy kind of seventies rock, you know,
harmony style melody in the chorus with like the fucking slid guitars and ship
the first lesson, I was like, yeah, I'm humming this this melody,
this is going to work. Yeah, it's a weird one because not
like I can name them all off the top of my head, but my
gut tells me that every lead single off of Queen's record before this has been
really immediately, even like Clockwood, which, like you, I really like,
a lot of people find that record to be a bit kind of languid
and not all that stuff, even the most kind of emotional record. But
yeah, my god is the Sun, wasn't it? That was like the
yeah exactly, which a big riff, so I kind of expect something big,
a big bop like the way you used to do those. Was a
weird first single, not that we've heard the rest of it. Yeah,
but there's not really a central hook or a really obvious riff, and there's
bits in that sound like Queen, bits of sound like sparks. There's a
kind of Beasons melody towards the end. And yet even with all that,
when I first heard it didn't really have me salivating. I was slightly underwhelmed.
But I found myself later humming like four to five different parts of the
song, which I mean, for a single on one actual think that sounds
a bit kind of indirect and aimless. I really I like it as a
sort of initial taste. It's got to be more intrue than I was beforehand.
Yeah, I guess it reminds me almost of like some of the kind
of slower later parts of an hour Black Villains, we got out sounds like
Hideaway and all those kind of things where the stuff that wasn't so absolutely shit
kicking, And I would suspect I mean, obviously I just mentioned like Clockwack
being a kind of most vulnerable record to a degree if you were to ask
me before I'd even heard a note of this, what direction I think a
Queens record might go. In the last few years for Josh have been difficult
and heavy and rife with you know, controversy to some extent. And I
think the last thing we heard from him before Queens came back was he was
producing someone's record and he was talking about how kind of the act of like
working with this kind of single song wright it was quite a cathartic thing for
him, just in a personal sense. And I would probably expect this to
be a more mellow record than All Out, you know, all guns blaze
in. And I think this this song, while it's not a it's not
like it's not a ballad or anything, but it is a kind of more
again, almost like chilled out, kind of good time rock band thing as
opposed to you know, We're never gonna get fucking feeler hit from the Summer
of Them or or whatever. But I think it's interesting to hear that again
as almost like the first taste. I wonder whether that means it will lean
more into that kind of area or whether there will be some wilder departures kind
of going on. I think I think I read that they've self produced this
one rather than like working with Ronson again or whatever. I can't remember,
talking my head, he produced like clockwork. It might have been self produced,
but I mean even like the way the artwork for this has a very
similar kind of art style too, like the last two records, as almost
like a through line there of a kind of trilogy, which is the sort
of largely same lineup that they've had for you know, ten plus years now.
I was supposed to the earlier days when it was kind of this weird
revolving door idea. It feels like if Queens have kind of settled into something,
which I suspect is kind of what this era really is. But there's
still some again bizarre kind of detours and quirks and stuff that are very unique
to them. So um, yeah, I'm excited for the Queen's record.
This isn't my favorite single there's by any means, but I'm excited to hear
what the rest of this record holds. I think we can be a little
more our guests, like I know what this is going to be is As
Murder having that's a new album called Godlike that's coming out on September fifteenth.
They've released a single from that called Join Me and Armageddon and that As Murder
are just one of the most consistent bands, and they've just finished their their
Hate or what they were doing the anniversary for that. I think we kind
of knew we had a record in the tank from them. They're waiting to
finish up that and then start the sort of new era you know. Overall.
Similarly, I don't think it's necessarily stand out single from them, but
continuing on the sort of good shit Murder always deliver. I know, we
literally just spoke about them being on that three way split and there was an
original someone there. I think this one wisely stronger kind of more more memorable
song than what they got there worthy track to open up a new album campaign
with Yeah, I mean, thy Art for Me were always kind of the
bronze medal deathcore band off the White Chaplain, suicide silence. But what those
bands maybe had in you know, the frequency of classics thy I had in
consistency, but Hate is a stone cold classic for that genre. I don't
think it was debating that, and the record since have all been great.
I would put Wholly War in that category as well. Yeah. Yeah,
probably Human Target I liked, but it followed the band kind of slightly shrunk
the dynamic range, which wasn't all that vast to begin with, and for
that reason it's probably been my least favorite. It sounds like on this one
they've kind of expanded it out again, if ever so slightly, like with
that sort of weird lead line that got cuts through the whole thing, and
the riff being even for just being sort of been all zeros on tab,
it's kind of unpredictable riffing pattern, and I think that sort of thing does
help with this start, and as you say, it's just delivering the thing
that you want from die art. Yeah, I've always liked their kind of
concern for atmosphere among deathcore bands and stuff like the lead line. I think
up Keemy Target had a reasonable amount of that and kind of these slower songs
with like you know, darker lead parts and stuff like that, and I
guess that is what counts as kind of color and flash for them, So
it's nice to hear it here. The video is like, I mean,
they look like at a Pertabata show or something, they were only kind of
ciberbunk coats, but like I mean, I'm used to SEJ blowing his hair
back with the Hawaiian shirt, you know, open in the wind. But
there's kind of Cold War imagery going on. There's like you know, snow
and fire and burning bodies and Russian hats. Seemingly maybe this is their kind
of you know, East European conflict nuclear apocalypse record in the way that Holy
War was there, you know, kind of what was going on there,
but as a you know, a kind of first blow of that as a
call from CJ to bang your fucking heads. If I heard that correctly,
that's that's nice. Got a refrain in there, and I think they execute
breakdown is better than most bands as well. Like it's such a trite thing
that you actually feel them when they like, you know, stop a song
to do something like that. So I think maybe the most interesting thing is
this is their first release on their own label, which is an interesting move
for a band of kind of thy arts level, but you know, good
luck to them there and then elsewhere. Lord help us. Thirty Seconds to
Mars are back again. They have announced a new album, Morbid Time is
now over. Thirty Seconds to Mars Time is back in action once again,
their album It's the End of the World but it's a beautiful day, of
course it is, and they've released a single called Stuck. This is the
follow up to their twenty eighteen album America and I Am I'm not even going
to entertain the idea that thirty Second to Mars are a good band. I'm
not even going to be one those people being like, oh, Kings and
Queens is great. There are ship bands. They've just gotten shitter over the
years. And America. I can't believe how long ago this record feels now.
I don't know if you. It's the one which has the awful like
alternate album covers where it was like a like a different color background and they're
just like a list of the one I'm looking at on Spotify right now,
says Kim Justin Jesus, Michael Mickey and Donald Yeah, it was like another
one was like sex positions, one was it was all sorts. It was
just like it was so just cheap. And this is the thing with thirty
Sex to Mars. It's like they were always kind of well, they used
to be kind of melodramatic and Paige, and now the garish and Paige and
it's somehow more annoying. Yeah, this record, again, I can't believe
how long ago it was, but I remember walk on Water, those kind
of songs. This was one of the worst fucking records released in that whole
period, which kind of mid to late twenty tens. That's a bad records
from bands like this. This is one of the worst ones. I can't
believe they are now going to follow it up. And by the sounds of
it, I don't think this is quite Rescue Me or whatever it was from
that record. But this song, I mean, we're not going to review
the thirty Sex to Mars record. This is going to be our own moment
of sort of pointing laughing at it, so we might as well take it.
Sounds like a I heard someone describe it as basically just like a car
advert song, and to me, there's there's that kind of I mean it's
barely a rock song, like they kin, they kind of seem to a
bandon rock music a while ago. But it sounds like they heard manor Skin
and went, what if we did that with less rock in it. I
mean, you say car advert it's more like a Firefox advert. It's less
cool than even just like something that advertised is cute. I mean the verses
are so like simpering and unpleasant, and then that new wave break which I
not made the manor Skin connection, but yeah, it's so you know,
for a band made up of millionaires to have something that sounds so cheap and
tacky, it doesn't even feel like a song. There's so like little effort
in it. I'm looking at this thumbnail this fucking video right now, and
it's in shirtless, holding like a fucking bear skin coat over its head,
and it's like this is so dramatic for what is like a Portugal the man
left over, like, yeah, this is the thing I don't understand about
thirty seconds to Mars. It's like it isn't this meant to be your labor
of love? And yet you don't care, Like what, why do it?
What's the point? Yeah? Well, like it was morbid time,
that disastrous. You've got to be here. Well, they've been busy.
I checked because I'd wanted to see, you know, how long this album
was going to because they seem like the kind of band could give us a
double album at will, and this one's only thirty three minutes. But letters
said that they maybe have two or three albums worth of material, so we
might be entering the unlimited Love Dream canteena of thirty seconds to Mars. That's
exciting. I mean, at least they aren't seventy minutes long, and I
will not be listening to any more speaking of bad things this I got an
email in my inbox about this a little a few days ago, and I
actually goffward at the wording of it, because A Tiller, Fronzilla, everyone's
favorite fucking death core misogynists. They are going to be honoring their seminal album
about That Life with a ten year anniversary tour, And it was the use
of the word seminal in this press release and so on that particularly made me
lose my fucking mind, because I don't know if you do. I remember
about That Life coming out, and I remember being like fucking abhorred, by
it like it's one of the I mean it's hysterical, like if the song
about that that life particularly comes on and the bit when he's like she sucks
my dick while I'm on my PlayStation or whatever, like I do laugh at
it. It's it has a particular almost like spot in my brain of like
just shit songs from a certain era that I have a lot of fun with
for how just like tacky they are. But the idea like we I think
we are truly in a climate now where if your rock band manages just to
survive a certain amount of time, like if you are still here, then
whatever hilarious fucking wank thing you did ten years ago will one day be referred
to as seminal, Like we've seen it with all the brick rock bands that
Sam and sisters were good ten years ago and releasing their seminal records and then
coming back to them when they're all shit. This is I can't believe we
have reached a point where about that life is being given the fucking anniversary flowers
treatment. It's about that life. This is the weird thing, is Attila.
For years now, I've kind of had this discussion around them of like,
are they still the kind of band that you know, media outlets should
cover. Is this something we should kind of sweep under the rug? Attilla
don't seem to think so. They've picked their most dislikable period and I was
celebrating ten years of it. They've been the one with the song break shit,
fuck the law, fuck this ship, punch that bitch on it.
Well, this is the thing, and maybe maybe this is enough to make
something siminar. I've probably heard this song twice and it was both when it
came out. I think I could do the first verse off the top of
my head. So it occurred to me today because I was thinking it ten
years How how can it it manages to feel both painfully dated and also like
it's not that long ago. Yeah, I'm a bad motherfucker, not a
fucking role model. Fuck Church, hit a bomb, the and go smash
a fucking bottle is forever in my mind. But I guess that, and
maybe that that is what I guess warrants. It's anniversary treatment. But my
god, Sam responded to me on Twitter saying, oh, do we need
to do the album club treatment? I hadn't considered it until that moment.
Now maybe I am yes, should we do it? Let's see. Let
us know this album just as an aside, it's as old in twenty twenty
three as Fallen was when about that Life came out, so you would do
a retrospectful on that. Surely I think it's actually older like two thousand.
So yeah, it's more like the Daily Slipped My album, but this just
like the Daveut Slip Home. Yeah, live news, some very exciting stuff
going on over on this side of the pond. Ithaca have announced a very
special Evening with Ithaca event that's happening in London at the Dome in I believe
November. This looks like, yeah, the twenty fifth o November where they
are going to be showcasing their latest record, They Fear Us in its entirety.
They haven't done that yet before. And the event is also going to
feature a bunch of special guests, which I think is what was really gonna
let it kind of come into its own in regards to those songs, because
there's going to be people playing brass, people playing live woodwind, there's gonna
be live guest vocals from the guest vocalist who sings on whole Beheld, which
is kind of the big dramatic moment at the end of that record they have
not yet played. I think this is I would think it's cool when bands
who are kind of on a tear with a particular record that is like,
you know, really galvanizing people in the now are able to give it it's
moment like this, like you know, Behemoth doing The Satanist in full when
it was fresh as one of the best things I've ever seen. I think
it's great to who have such a had such a fucking wicked year after they
Fear has come out to kind of almost close it with this. If they
were to go on and write a new record fairly shortly afterwards or whatever,
it's give me a special event for the people who were there. Well,
this is it. And you know, as you say that, there's such
a different band in the aftermath of that that I always thought as soon as
I heard they Fear, it's like, how are you going to splice this
in with the language of injury? To me, they seem like such separated
records, and it shows a lot of confidence and I think awareness of the
effect the records had to give it. It's kind of moment in the sun
soon afterwards, and it's it's more exciting because it feels like you're kind of
their on the journey rather than remember when we did this important record fifteen years
ago. So yeah, all about it. Yeah, absolutely were all about
that life the dirty nil. I mean, that's the UK tour. This
is what people have been hype for fucking ages because we haven't had a tour
since fuck arn't came out because of when it came out. They've always got
a new record that they will be touring on. But this would presumably deep
obvious be your first apt to see those songs as well. That's gonna be
happening in July and early August as well. It's in association with the Natural
National Lottery, which I don't quite understand the system how it works. Apparently
if you have if you buy a ticket, if you also have proof of
a lotto purchase, you can have a plus one with you, which I
don't quite understan how it works in terms of like venue capacity. They must
put a limit on the amount of tickets actually sell in order to allow for
everyone turning it with lotto tickets. But the dirt in illatoring and I'm sure
that's what everyone wants to hear. Also, Brutus are doing a UK tour
and I just thought this was cool because they're going to be playing their largest
UK show to date at London's Islington Assembly Call. And I think, again,
similarly to Ithaca, it's nice to see this band really going places and
one of those bands like that not just get terminally stuck at you know,
Boston Music Room or dome or whatever kind of level, actually kind of going
a bit above and beyond. So I think similarly that will be a very
cool thing. And they are going around the UK and playing you know,
other bits of other cities as well. Dave Ellison made headlines this week by
saying that Dave Mustaine still ship talking about his time in Metallica and his removal
from is fucking pathetic. And I'd just thought this was I was like,
hang on, how long has it been since Dave doesn't removed from? Maybe
two years? Like eighteen months at least. My favorite example of the cop
popcorn the Petal Kettle Black I can remember. Yeah, I mean to be
the lack of self awareness beaten a band with Dave Mustine and have a comparable
lack of self awareness is pretty impressive. My only hope from this is that
we get a sort of some kind of monster styles sit down with Ellaston and
he can cry to Mustaine and ask why he never got a second chance after
the leaks. I mean, this is like she was overage, I'm promised.
How do you think that made me feel, Mustae? It's so undignified.
Yeah. Maybe My preferred story this week, though, is that Billy
Corgan says that he paid a ransom, and actual real life ransom amount to
a hacker who had gotten hold of some of the new recordings that have been
on the new Smashing Pumpkins record, the Atum series whatever it is, in
in order to not leak those songs, he paid for those recordings. And
if this had happened twenty years ago, right, I mean, you know,
I don't know what the fucking logistics of hacking and getting but you know
we all know stuff used to leak online on you know, Napster line why
or wherever it was. If this had happened twenty years ago when the Smashing
Pumpkins were up there, you know, kind of still being important, You
go, okay, I can buy that story. Would the world really have
changed if Atum Act three had leaked likes early. I haven't heard it now.
Yeah, that's surely this is a net loss because the release has been
sole low key and I love the Smashing Pumpkins, but I haven't even known
when these parts are coming out Spotify to hear the third part, which we
had it in a fucking hype blast and the release round up, and it
didn't come out because they fucking moved it around. Like I don't know what's
going on with these albums. It wouldn't have made a difference. Well,
the new songs, like most of the songs on the last part of around
fifteen thousand plays a week after it came out. That is not acceptable for
the Smashing. It probably would have gotten more people listening to it if there
was a story of ah that the third part is leaked. Yeah, like
he should have kept his money and let more people listen to it. This
is a failure on all the fronts. Billy silly Billy. Yeah, basically,
save your pendies, Billy, you go buy yourself some sweets, treat
yourself. And then Frank Kozick, the artist graphic designer who did lots of
work, particularly in the ninety nineties for bands like The Melvins and Navana and
so on. We got word of his passing away this past week, and
I just think in terms of particularly for me, that the cover of Houdini
by the Melvins is one of the real like almost like the entire era of
that kind of you know, early nineties grunge, proto grunge kind of noise
rock sludge, whatever, real marker of that time. And it's certainly a
very distinctive style that was going on there, So it does feel alike again
the visual marks of one of the sort of the most celebrated HEAs in rocket
history. I suppose, yeah, this is it, because he had a
really distinctive art style. You know, if you told me American who Denie
by the same artist, it's not all that surprising. But he was doing
things like the first quins of the Stolage record is a completely different sort of
look, and you know, doing T shirts and posters like Soundgarden, Pearl
Jam Is. Pretty much every major rock band of the time went to this
guy, So it's hard to think there were many people with more of a
fingerprint on the esthetic of you say, one of the most lawned hereas in
rock history, and it's a shame because I'll be honest, I didn't know
his name until I heard this news, and I felt kind of bad about
that because it's like, well, I've got loads of albums with his artwork
on it. I've always admired it. Every album they mentioned, I was
like, that's all got a great cover. So yeah, you know,
like I said, once you start recognizing his art style, you kind of
start seeing it all over the place. Yeah, I think what you said
about kind of the like Queens of Stones and stuff like that, I think
you moved into doing some of the more stone or rock and doom stuff,
Like I think he's done some stuff for Electric Wizard and so on. And
You're right, I wasn't aware of couldn't have named this guy prize this either.
But I think often with people like cover artists and producers as well,
and kind of people in behind the scenes, not in the bands that you
love, but have made a mark in some way, it is often these
moments that they're passing where you kind of become aware. I was like,
oh, yeah, fucking hell, Like a lot of this is responsible for,
like, you know, one guy or whatever. I've done a lot
of stuff, and I think there's always worth noting like you again, you
know when something like this happens. They had some good ship and they did
some stuff that you will probably love. So again, tip of the hat
there questions. David Galen asked the Casia straint or releasing two albums at once
if they are but it's not a double album? Do you know of similar
releases? What's your opinion on the move. Well, I mean a few
weeks ago we had the band All Far released their Anthronomicon and Helioomicon records,
and I think it's like kind of weird artists, like artistic, particularly extreme
kind of underground band like that. It makes sense from like I think it's
like Blue Task Nord did like three albums, and I don't think they necessarily
lease simultaneously, but there is like a collected box set of like the seven
seven seven records where they're meant to be together. It makes sense for a
mans like that, a death core band is a little bit like I'm a
bit cuiosed to hear. I guess what the what the differences? You know,
like, do these two records have an identity of their own in the
way again, those All File records, those two do. Yeah, it's
the only one that came to mind for me was Portal a couple of years
ago because a vowel, which was the one that they pair that with an
ambient thing, didn't they Yeah, it was a few harsh it was a
harsh noise rever. I think they just surprised released it, so it wasn't
like it was hyped up as two records coming out of the same thing.
But to be honest, I say, it's not a double album. I
don't really know what counts as a double album because people would saying mesmerize and
hypnotize. I know they're at least six months apart, but those people would
call that a double album, but also that they're the fourth and fifth records
by a System of a Down or like Yellow and Green is a double album
of gold and Gray, isn't It's like it's just kind of amorphous rules,
So yeah counts. So I don't know. I think the System of Down
thing is the fact that they were released in separate years. That's like a
load and rero situation. And I think actually, like I think Metallica,
if I remember correctly, probably separated those two records like a year apart because
they didn't want to drop two simultaneous records on people. They wanted to sort
of allow them to, you know, kind of breathe and you know,
commercially land a little bit better for that, and so on. There are
bounds who haven completely upset way and like one of the biggest examples of all
time, which I checked, is a release on the same day as opposed
to a hypnotize whatever, use your illusion. Guns and Roses released two records
on the same day, and those both are basically double records, aren't they
They're both like seventy five minutes long, and like, I don't think you
need that much illusion, Like if that happened today, and I mean again,
these Smashing Pumpkins records are like off putting to me. If Guns and
Roses right now released two seventy five minute records on the same like, oh
my god, Like where do you start with this? And it's fair fucking
plaything. Those albums became as iconic as they are really because that's a hell
of a power move to drop that much music in two separate packages of people
at the same time and have it actually pay off. I mean, on
the other hand, Kiss did four records when each of their own numbers had
their own thing, and it's there if that necessarily worked out to the same
degree. Well, the Guns and Roses thing I think of, right when
it was coming out, there was the expectation was going to outsell Thriller,
So I think the label were happy for them to do that kind of thing.
But you have to be a band of that size, so the two
records not kind of overshadow one another. That's the thing that is weird for
me about Sococia Strain. We're releasing two albums on the same day. It's
not like they're kind of big enough to inspire master debate. It's just like
the two the two songs, So the two albums, aren't they just kind
of going to be lumped in together anyway? Yeah, I think the flip
side of that is something like the Kasia Strain are far enough in where they've
got a really at pablished fan base, and I think just in terms like
what I think of this move again, if if all Far do it or
Blue House nor do or whatever, I go cool, fine, You're kind
of it's kind of a strange artistic move if you're going for like a big
record campaign, like if big bands do it, particularly upcoming bands, it's
weird, right, And I certainly don't think bands who are looking to kind
of build proper momentum. And I think, like I said, the case
story are quite far in they can kind of get away from it because they've
got enough dedicated fans who are gonna listen to it, and it's really gonna
affect their standing very much. Where like Nine Inch Nails, for example,
they did the Ghosts five and six. I think it was records like on
the same day, and I really like those two records. I prefer those
ghost records to the original one who throw one to fourth thing? And if
Nine Sails turned up right now and we're like, hey, we've got two
albums, here you go, I'd like, oh, awesome, wicked,
Like I love Nine Inch Nails, I've got a load of new music,
and it's not actually again not gonna affet their standing at all. But to
take a band who are quite often compared some of that Ninetch Nails, if
Code Orange did it right now, my feeling will be, oh no,
that's going to be difficult for people that's going to be very demanding for people
to kind of get a hold of, and that is going to hurt them
in the long run. Nine it's Nails not really going to be hurt by
it. Code Orange could Yeah. I mean for me, I kind of
think putting two albums out on the same day, you have to just accept
that people are going to ban them together anyway, so you might as well
kind of write that into the projects. I think it's kind of I don't
naive sounds ash, but like you're kind of wishing too much to have We're
gonna put two albums out on the same day, and everyone's going to treat
them as completely. I mean the case of Strained, I believe the two
albums they do have like mirroring album up, so I think they are even
if they're If it's not a pretty much could be a double album, right,
like if you want to package it in the way where you've got one
disk and another. That's almost how it works because they're kind of mirroring each
other. I don't quite know what the decision is to go. They're going
to be their own things, but kind of compliments to each other in that
way. But whatever, Yeah, and I just feel like whether I'm in
the camera, I always want my bands to release more music. Like I
know some people, it's like they want bands to take years to chase perfection
and release something that is all killer, no filler. I kind of prefer
the bands I like to do weird things, like one of the other bands
I thought of doing this. One of my favorite bands, it's the Flaming
Lips who did Cyrika, which was four albums. He had to buy four
different CDs and play them all at the same time. And that's how you
got that, didn't they They got the the there's the yeah, fucking what's
the name the record? The one after three over in blood Um, Times
of Grace, Times of Great there you guys, amazing record. But there's
the Tribes of new rock record. It's like the ambient one that's meant to
be played at the in a different corner of the room. Yeah. So
for me, like if bands, I want bands to release more music,
but I don't think this is the best way to do it, because one's
always going to overshadow the other, and if you're not going to package it
as a double thing, people aren't always going to go for both. Parts
and then it's yeah, it's it's a bit too messy. I think yeah.
Um. Simon Nash asked thoughts on the future of music with AI now
they're as a metal band called Frostbite Orkings. I had not listened or heard
of this thing. Well I read this question. I was like what,
I tried to read a couple of working out what it was. But frost
Bite Workings is a AI metal band that exists. You can go and listen
to the songs on YouTube, I presumes streaming or whatever. I would recommend
doing it on YouTube if you'll go into because you see the very strange,
funny video of basically like World of Warcraft ORCS standing in like the ice playing
this song that sounds like some kind of you know, Viking metal euro Melodeth
thing. My general thoughts about AI in music and where it is going this
is, I mean, this is We're going to spend a few minutes on
this question. It won't be enough to cover the topic. Like it's one
of the biggest things going forward that we are going to have to contend with
in terms of developments and where the industry might go or whatever. And there
are so many fawny areas of this topic, things that people have concerns with,
maybe people are proponents of. Ever, my fundamental first reaction is not
only to be disinterested in the music, but on a kind of ethical level.
It's the latest part of a long chain for me of the devaluing of
the musician, which is something that has been going on for decades. You
know what was Lars Orric telling you, like, we all know, we
all talk about, you know, Spotify streaming numbers and how they paid pennies
and this kind of thing, and you know much cuts in venues and so
on, and how it's always kind of the musician who seems to kind of
be the person who has to take the hit in order for everyone else to
kind of get paid. The devaluing the musician continues when you essentially remove them
from the equation and go, oh, we don't need you, We are
going to get an AI to do it. And the unfortunate part of that
devaluing is you're never going to get what a musician is going to offer,
at least at this particular moment, because it's never going to have a soul,
is it? Where you might have the the sound right you might be
able to extract from a kind of algorithm, you know, something that resembles
quite quite coherently a particular style of music or a particular artist style of songwriting
or whatever. But the fundamental idea of art, it being a real human
place, an idea that it's being expressed from. This is just the sound,
right, it's not the art, and it needs inspiration, right like
even still, like at this point currently someone needs to have like, someone
has to put in the kind of inspiration for this, right, Like an
AI didn't just decide to go, I'm going to write an enspherium song or
whatever they meant they did to get this. It won't organically develop by itself.
You need someone to go, Okay, give me such and such a
song in the style of whatever. You still need someone to start the process.
And at that point when you need someone to start the process, all
you're doing here is more kind of a technical experiment to see if it works,
rather than actual real musical innovation. Yeah, and you know, for
me things this has all changed in the last year because AI he's going so
fast that like a year ago, if you asked me this, I would
have said, if your art style or music could be mimicked by an AI
so convincingly that people can't tell the difference. Your art is pretty bland and
derivative to begin with, frankly, which isn't necessarily mean it's not valuable or
that you should be overcome by an AI overlord. But that sort of was
my broad thinking. However, I don't think how might be true to a
degree, like it's an aiding to come out with a Ranti Pazuzu song anytime
soon. There's a reason it's done, this kind of basic melodath thing.
No, this is it. I'm listening to this. It is still bland
and derivative, but it is a song, and I can imagine people liking
it, and I'm you know, that's kind of freaky. And you hear
people in Matt Shadows saying things like he can't wait for Ai stop making avenge
of Sevenfold songs and that really is a bit like I, for one,
welcome on new insect overlords, like like why would you ask that? And
Matt is the grimes of fucking heavy music, isn't he? I say,
as a fan of both of their music, Well, for me, like
I'm put off by the fact that it's AI because for me listening to some
it makes average music seem more impressive, but it doesn't make impressive music seem
more impressively. If you found out a robot wrote Master of Puppets, it's
actually not as impressive as knowing it was a bunch of drunk twenty two year
olds. That's more interesting, and like you could say that's the magic and
like knowing the story behind it and stuff, and there will always be people
who care about that, and just knowing it was an AI doesn't offer that
same thing. Like, you know, if you listen to a blaze in
the northern sky, for example, you want to know who made it,
where, the surroundings, the cultural environment. If they just went, oh,
we starts a robot to do it, you go, oh, well,
okay, then then I suppose it's just a metal record. But I
mean, but then again, I say, it's at the race. It's
improving. You know, maybe it becomes so good I won't care how we
got made. It will be like the entertainment an infinite jests and I'll just
ship myself and die. Yeah, but again, it's there's something so I
mean, I just heard a ranti pazuzu, we would never have got currently,
we would never have got something like lingering, not out of AI like
that mixture of styles presented in that kind of bizarre, unformulaic way, with
so much real human experience in there, that kind of it comes out in
an unhinged way, right, Like I I've yet to hear again an AI
song or whatever that doesn't feel in some way kind of in a box where
the genuine, like out there expression that particularly extreme kind of art can can
offer. I don't know how an AI impersonating that might you know, land
upon that or how it would come across or whatever. And again this frost
by Orcings thing, it's worked out the formula of how you make a song
like this, right, I think that there's two songs that I listened to
and both of them ending a key change, so it can look at how
again, a Viking metal song from one of these kind of bands, how
they write their songs in the kind of most basic way, and it can
do it competently, right. It's not mistakes in this song or anything.
It's not like one of those, like again, the AI art things where
I was like, hang on, this person's got seven fingers or whatever like
is it. Currently it's doing an okay job, but it's never going to
have a real spark there is it. It's not got a real like rush
of energy or ideas. And again one of the things I rail against the
most at the moment when we review records and stuff on this show, are
you know, production jobs and so on that are just so mechanical and like
that sounds like fucking AI anyway, So like going further down, you know,
the lack of spontaneity and spark. I think fundamentally, I think it's
going to make less good art. It is going to devalue art. It's
going to devalue the music and more. And currently where we stand, I
can't speak for the future precunity. Where we stand, it's not innovating in
a way, it's only creating facsimiles. And on the other level is the
dangerous precedent being set, which again even more difficult kind of topics and stuff
in terms of what this actually means and the practice of it where we don't
live in some kind of utopian tech bubble, which is what people like mat
mat Shadows and Grimes and so on, seemed to just completely bypass. We
live in a fucking horrible capitalistic world and we've already seemed like again the AI
art thing, where there are have been bounds who have used AI to come
up with cover art and that kind of thing, and so often it comes
out that, like the picture it's created is kind of gobbled up other bits
of art that have been created, you know, for free. It's not
fucking compensated people for using their things. It's kind of if you put something
online, it will be put into a database and a computable churn out some
you know, mangled version of it, and it will not be giving you
a cent for it. Surely there must be some level of the same thing
going on here when it comes to the sounds that are being put into again,
if you put your song on Spotify or whatever, the massive sound database,
and then we've seen kind of you know, I think quite recently like
Timberland was kind of playing around with like using an AI to recreate the Notorious
BIG's voice and kind of use it on a song and stuff like that.
And when it comes to manipulating voices, if you have someone's voice in a
database, even someone who is still a lie, but you can make that
person, you know, say something or you know, I think even like
Grimes, she was saying something like, I would love for you to create
a song using my voice. You have my permission, and then after whichet
to put a little thing. But also, please don't make me say any
fucking like racist, bigoted, you know, hateful shit or whatever, because
someone's going to do it. And there's a level where you're infringing on human
legacy with this stuff. So fundamentally I think it should had nothing to do
with punk metal music like electronics. Sure, this isn't like twenty years ago
when people going, oh that's you're just pressing a button on a laptop.
It's not real music. That's not the issue here. It's about that music
coming from a real place, and if you kind of offshoot that to something
inhuman, it won't make good results in a genuine artistic sense, and it
doesn't leave a lot of crumbs left for the real people trying to get by
make art. Well, this is it, and you know there's no accounting
for taste either. This is the thing. Like as you say, people
love this stuff because they listen to boring music anyway. But but also like
as you say, someone's got to have the idea and put it in the
computer. If you sat someone down and said, like, if you just
decided, let's try and make some popular music, you know an a I
wouldn't think of you know, Daniel Johnston or something like that, or any
outside of music, because it's like, we don't really understand even how that
kind of intelligence works. How are we going to program it in something artificial?
So it's like, yeah, if you can recreate things. My worry
is that, you know, a year ago we thought, well, it
can't even do a face. So what we're worried about in five years all
these things that you know, you and I are picking up on saying,
you know, that's very derivative. You know that sounds artificial, this,
that, and the other. It's only going to get faster and faster.
And if it does get to a point where you really can't sell the difference,
I don't know. I don't I don't know what that means. Yeah,
I agree, I think it's certainly going to be a You're one of
the first things you said is so right where we weren't talking about this prior
to a couple of months ago, and it's already fucking just absolutely blown up,
and it's going to keep doing that. And if it does, you
know, again, if it reaches the point where some of the almost like
technical criticisms we're making about it have been evened out, then sure, But
I think fundamentally still for me, I mean again, the characters like that,
they're you know, dumb orcs or whatever. I am a World a
Warcraft player. I have more interest in listening to the like in game Elite
Tour, in Chieftain band then this. So there you go. Let's see
where where this kind of progresses. And if it's I mean again, fundamentally
the business is driven by business. It's not going to care about some of
the criticisms we are making. So it's still going to keep happening. I
think we just have to keep fighting for the real thing essentially and actually value
expression. Paul Terry asked, if you had to form a one person black
metal project for yourself, what would you call it. So I have a
database of band names I add to whenever I think of or hear something that
sounds like a band name. Nine well, almost none of them will ever
get used. But so I checked that and there were some black metally ones,
but they sound like multiple person bands, and that, to me is
a different question. And one thing that I've never understood about one man black
metal bands is that even though it's just them and they can pick whatevery name
they like, they still want to have a pseudonym. Like you get to
name the band whatever you want and it's just you, but you still want
another name for yourself, like you're you know, puff Daddy or something.
So I've decided, I thought, I just drove home to do this,
and I thought about this all the way here, and I've settled on my
choice. I my band will be and I will be Marta Scorsese, and
I would have big thick glasses and I would write DSBM albums about modern cinema,
and the album will be called The Age of De Niro. Wow,
that there was more formal announcement, There was more thought put into that,
and the payoff at the end after it works. I just went down the
line of thinking, like, there's that the kind of trend at the moment
in you know, sort of raw you know, black metal tape circles or
whatever. It is, the kind of vampiric black metal thing. And I
am it's so cliche and there are so many of them and they are so
unoriginal, But I am like I'm on those people where like I've been buying
some like patches and stuff recently to put something together, and like if you
put nos Ferato on a patch, I will probably buy it, Like I
just like that shit, like you know, call something whampyrick, I will
buy it. Have some reference to like Transylvania or Carpathia or something. So
my mind just immediately went to, like, you know, it would probably
have the words sanguine in there, like something kind of that's sort of you
know, lush it, like something hemophilic going on, and I kept like
sanguine phantasmagoria is like the most wordy name that I could come up with.
It would actually just be a massive cliche, so that in five minutes,
that's what I've got. That's not metal. Patreon supporters, thank you,
as ever lovely people for your time and donations. It is what helps this
podcast keep being here. Our Evil Dead Rise Deep Dive is our latest thing
over there on the highest tier. But it is finally time for us to
give you another proper music special, and it's one of you want to do
for a while because so far, at least while I've been programming things here,
our band specials have centered on bands with lengthy careers because they're the most
meat there to really go in on as we do over a series of parts.
But for a while we have been wanting to dip our toes into bands
who perhaps have briefer stories, have been around for less time and have less
records to go on, but who still are massively important to us and are
seen in some way and deserve to have their story told the way we'd do
it. So a number of years ago, I still available for people in
the kind of special's archive link that we have. Of all the kind of
Prepatreon specials that were done, there was one such thing done on the band
let Live, and we want to pick that back up and be able to
kind of deliver some one and done style band specials. We've asked for suggestions
from you guys on occasion about the kind of bands that we could do such
things on, and we hope to be able to take on a few of
those. But in my mind, when it came to restarting that particular style
of band special there was always one band who were going to come first,
and that is oath Breaker, a band who are only around for about a
decade, who we still kind of don't know if they're ever going to be
active again or not, but who in that time achieve some incredible things and
made some of the most actual music I think of the T and M era,
this is one that's going to be really from the hearts when it comes
to our experiences with these records at the time and now today looking back at
them. Their final record, Rayer, is of course one of the great
albums of the last few years that I'm sure most of us really revere.
But how did they get there, what's the story with their previous records,
and if they were to never come back from this point, have they left
much of a legacy. These are the questions that we are going to ask
in this one part band Special. We were going to be recording that on
Sunday. It's looking like it might be coming to a round Wednesday time,
but it's gonna be special. If you've got any thoughts about other bands were
kind of shorter careers and you know, only a couple records in them that
you would like to see us tackle in one of these shorter form bound specials.
Let us know, hit us up. But I can think of no
better one to kick us off than oath Breaker. The release round up for
this episode, the twelfth of May. Katasycapitation Terror Sites is the big one
straight off the bats. Also there are those double Acacia Straint records. Failure
Will Follow is the first one, and Step into the Light. I hope
that's the order they'd want you to listen to them in. Who knows it
really. Also, it's funny that has happened. The same day Devil Driver
are releasing volume two of their Dealing with Demon thing, which is like the
least essential double album. I just can imagine, because surely they're both just
Devil Driver albums. They'd be like a couple of years apart. They're just
devil Driver albums, mate, I yeah, Devil Drive. They're a weird
band because they're always They're always seem around, They're always at festivals and always
spell like, what the bands have you seen the most? And I realized
I've seen Devil Driver five times. They were like, oh, you must
love them. No, I've got a few bands like that. But yeah,
Devil Driver Vollywood two, Volume two even I'm sure it will be as
essential as Volume one was. This one. It's kind of interesting, Hot
Mulligan, why would I watch? It's a shame that Sam isn't here to
me throw that on because I'm sure that they have got more sort of knowledge
experience on this band than than I do. But this is a band who
I've seen gaining a little bit more traction when it comes to kind of pop
punk and emo and that kind of world. In the last couple of weeks.
We might review their album when it comes to spose if there's something from
that world that is getting people talking. So that is there the Amity Affliction
not without my ghost. I have lost track of how many Amityfflictions albums have
come out since the hilarious one that if you are a long time T and
M listener, you will remember us going on about ad nauseum. Since that
point. It's like, I don't like you and you've delivered the most hysterical
thing you're going to deliver. I feel like Amity Affliction peaked there, but
there it is, and then it's kind of kind of death core range veil
of Maya with Mother, I'd say Brackett m and other Velamiah got a new
record out, Left to Suffer, a little kind of fresher their record Feral.
That's again the kind of sort of death core meets new metal, sort
of you know, upcoming younger band range a long time kind of you know,
old favorite for a lot of people in the UK. Black Spiders are
back with Can't Die, Won't Die. I would never really in on Black
Spiders to be and I say never really kind of you know, tickle my
fancy in a particular way. But I know a lot of people who are
sort of you know, nostal for the twenty eleven UK rock scene always kind
of viewed them as, like, you know, one of the most good
time components of that scene. Similar if you want some kind of stone a
rock, there's a band called Deaf Forbanddy and Miniska. I'm presuming that is
scand Scandinavian of some kind, but I mean those Scandies love their kind of
stone rock and the Sundlits and decent stuff. Here Foot back at Home Island
of Love with their South record Island of Love. This is kind of a
I believe, I think London based kind of alternative rock band elsewhere we have
kind of kind of getting more metal Omnero the amnsal rise at some kind of
progressive metal kind of bits of Devin Towns and engageera and stuff like that.
And then to take us home in the extreme area, Ascended Dead even Fall
of the Apocalypse is a pretty damn good death metal band. Their last records
are are worthy, so I will be checking this one out some kind of
noisier end of that particular area, there is Impetuous Ritual with an incredible extrememental
album title Iniquitous Barbaric Synthesis, and not to be outdone, Foch Trillium,
which is one of the kind of if you're into suit with your like bizarre
vant guard bandcamp extreme metal. In recent years he pats out so many strained
records with title like Astral Constellations of the Magical Zodiac. And if that's too
much for you, you just want some Brazilian fucking black metal ripping Grave Desecrator
and I Mundissime's Spiritus. There you go. Thank you for listening, if
any of you are so cult as to be in on that, and then
you will be at the Lamp of Murmur Devil Master show in leads the night
that this goes out, I'll see you there. Next Friday, we will
be reviewing records from the likes of Catal Decapitation, Frozen Soul Drain, The
Dirty Nil have got one out in a couple of weeks, and before then,
our one shot Oathbreaker special is at patreon dot com slash that's non metal.
See you next time.