Speaker 1: Hello everybody, and welcome back to That's Not Metal. We
I your weekly rock and heavy metal podcast, and welcome
here to an edition of Hyperblasts, where we come at
you every Friday with short form package of news and
releases and everything that you want to know that have
happened over the last us seven days or so. So
let's get into that very thing. My name is Parenthish
with me to do this. Sam Dignon, Hi, Sam, how's.
Speaker 2: Your week been.
Speaker 3: I've been playing a new Resident Evil. That's literally been
like my week. New Resident Evil came out. I've mentioned
many a time. It's one of my favorite things ever,
so I've been having a good time, all very scared
playing that.
Speaker 1: Yeah, I've seen lots and lots of good things. Apparently
I didn't really seen any specific details because I don't
keep that many tabs on it, but I've just seen
lots of people being like, wow.
Speaker 3: This is great, hooray, Yeah, this is this is one
of the like Rizzio has been like really good for
a while now, it's been on a really good run
and this it might be the best of the sort
of modern ones and just kind of like half the
game is like panshittingly scary, and the other half is
the most like insane, like you're John wicking through hordes
of zombies. But it actually feels really good. It's it's
like it kind of nails the two things I want
from Resident Evil. So I've been having a lovely time
with that. That's my video game, Tangent out the way.
Speaker 4: Let's talk about music, I guess right on, let's do it.
Speaker 1: So we have got a few I think interesting and
exciting album and record announcements and stuff over the next
couple of months, and we've got some singles to go on.
So let's get into that. First up, quite long awaited,
I think Basement this week have finally come back with
new stuff. They have announced their first been eight years.
It's called Wired. That's coming out May the eighth on
Run for Cover eight years since. Doesn't that feel crazy?
Since the last Basement album?
Speaker 4: Eight years since?
Speaker 3: I started to actually get into Basement on that last album,
like yeah, that when we say was like fucking know
what has been like again? There is a period of
when COVID happened in time disappeared, So that's why I
did it for like eight years. And then you can go, oh, shit,
now it has been that long, and I mean I've
been seeing Basement a bunch over the few five yeah,
really getting to the point I'm like, I do actually
really want.
Speaker 4: New material, so like, hey, it's finally here.
Speaker 1: Absolutely, and the last Basement album I think is great.
I also think that it has been weirdly almost like
underrepresented by the band themselves because they have spent so
much time like basically the entire you know, twenty twenty
so far that they have been around, and they have
been around a lot, right, they play Outbreak every single
fucking year.
Speaker 4: Every year, it's literally every other year.
Speaker 1: Yeah, and you know, around the same thing they did,
you know, prominent support thots for not lose on big doors,
and you know they'd be around Basement like they're not
a rarity. But they have almost all the time during
those years been inherently kind of looking backwards, right because
when they play, they if not doing a full on
Columny and Kindness anniversary set, as they have done you know,
at least one of those occasions, but just generally you know,
coasting on legacy, I suppose, and I think that Basement
are one of the better bands of you know, that
era and that generation of kind of alternative emo bands,
whatever you want to call them. But they have again
just not really like given you much to go on
in recent years beyond memories of them. So I think
it's about time. I think it's you know, this was
the time really where we'd have to start going, Okay,
you are around a lot, aren't you, But what are
you really doing if they did not produce new materials.
I think it is good finally that we have a
new Basement coming. There's two singles that have been put
out from it, which Ina bands on.
Speaker 2: I do don't know.
Speaker 1: They've got wired and broken by design, considering the Last
Basement album is their most prominent kind of venture into
what you might describe as like Naughty's pop emo like
the Last Basement, and I want to say it's kind
of underrepresented. I think it's because again people's rosy eyed
memories of Basement are more around records like Colom and
Kindness for example. That some of their best songs I
think are on that last record, and they don't even
make setlist these days, you know, But that going that
far in that direction of that again, that's sort of
you know, the Jimmy world kind of Well.
Speaker 3: That's again that's why that's why the anbum where Basement
clue for me was on the ABM where they went,
We're going to sound like Funeral for a Friend in
Jimmy Eat World and do that kind of thing, and
I was like, I've got to base that. And then
going back to the other stuff that that then fell
into place.
Speaker 4: But yeah, that that definitely was.
Speaker 3: Now that led more into that kind of like Naughty's
Poppymo nostalgia, what was kind of doing it through the
lens that Basement have always kind of gone about, but
where the last few a bin has been very much
about that twenty tens emo revival sort of sound, hasn't it.
Speaker 2: Yeah?
Speaker 1: And the the rougher side of that that is adjacent
to all the hardcore bands that they keep playing around with, right,
And so looking at these two tracks that have come
out from this advanced album as you can generally, I
think obviously the advantage of bands where they decide to
release two tracks as first glimpses if they tend to
showcase different sides of an album, and I think we
do have that here with these two songs. Neither of
them exactly sound like where they were on their last album,
but they do, you know again they venture into those
like if you were to take sort of mid twenty
tens Basement, update it to where we at in the
twenty twenties, and then take two songs that fire into
kind of alternative pathways of that, then that is pretty
well represented here and as you know, a first go
of returning Basement, if not not necessarily like absolutely blowing
you away with a chorus the way that you know,
let's say the lead Singleish from the last album did
or obviously their you know, their biggest ever moments with
the likes of c or whatever. I thought both these
tracks were quite pleasing in the different ways that they
move into. One really like kind of you know, impressed
me more than the other one chair we say, but
both I think, you know, fill their niche quite well.
Speaker 4: Yeah.
Speaker 3: I think this is very much like again, what if
you people like Basement? This does kind of just cover
the two kind of more extreme ends of like say
a hole and a cover almost like You've kind of
got like this album's version of that song where you
have Got Wired. The title track is on the sort
of like rougher, rowdier side of Basement where like again
like they put out like a teasing a couple of
months ago where they were like playing these songs to
fans at festival like, oh this is really heavy, and
them I was like, Okay, maybe you're over egging how
heavy this song actually is. But as you know, God
of Chorus that is like driven and kind of made
for stage dives. And then the other song is super pretty,
very kind of like that that pure kind of like
delicate emo side of Basement. And so if you if
you go go to base, those two things, these two
songs kind of yet this album is kind of going
to deliver that, but without it doesn't feel as much
as it's looking back, it's kind of just taking that
I said that Basement formula and kind of shining up
to be sort of fitting into twenty twenty six.
Speaker 1: Yeah, the song that jumped out of me more so,
I guess you know, it's probably the more media of
the two is Wired, the heavier song, and it has
this like more sort of practice room sound. Even the
quieter song of the two has this more sort of
particularly vocally like it's not got lots of layers and
harmonizing and stuff. It's pretty much just you know, the
singer out there almost unexposed. Right again, it's almost sort
of kind of raw practice room sort of sound. But
on the heavy track Wired, you've also got these like
really like rough chord ramps up in the chorus and
that kind of thing that makes it a little bit
more jagged and a little bit more of temperamental and
abrasive than you would maybe sometimes expect, you know, kind
of generally quite nice band Basement to be. And I
thought that was again in what was like a two
odd minute track, was you know, quite ear catching for
as well. So yeah, I am when it comes to
alternative rock records this year finally getting another Basement one,
and I think certainly they're you know, the last three
that they left off with the first time out are
all really strong individually. It's one of the ones that
I would be looking forward to this year. So we will,
you know, come back to that in in May when
that one's out. Much much sooner than that. Black Braid
have announced that actually today this Friday, as this is
going out, they are dropping essentially. I think you could
probably roughly clarify that as a surprise EP. It's called
Nocturnal womb As said it's out right now as you're
listening to it. They're three tracks on it, one of
their kind of ACOUSTICI instrumental type tracks and then two
new songs. As we are sat here right now, we
have one song to go and which is the one
that they've released a video for. It's called Celestial Bloodlust.
And this has been described as these are songs that
are too the wording they've used is too dark and
visceral to fit on the story of Black Braid three.
So that's the home they put out last year. I
was quite surprised to see new Black Bread so quickly,
but if these are songs that you know, emerge from
that time it didn't fit it, it makes sense as
to why we would and putting this you know, lead
track from this on that was I mean, I listened
to the song before I then read that quote, but
that makes sense because you put this on and Black
Braid are they're a very you know, metal, galloping, rousing
kind of band, but they can be more sort of
long form per se. Yeah, this starts with a symbol
choke and then just fucking straight away like oh shit,
we are like thrashing. We have got really aggressive, like
harsh picking the riff in this sounds like fucking like
Marduk or like dark Funeral or something maybe, but a
goat hale like just those really like blasty, frosty, straight
ahead rippin nineties black metal bands like Beyond the More,
I say, long form stuff that BlackBerry can do on
an album and as a again a sort of non
album track to be hit with that that was a
in itself, even if the song itself is you know,
it's quite familiar. It's not game changing. Having that at
that moment wasn't for me a really cool the price.
Speaker 4: Yeah, Like I'm a bit more of like a casual
Blackbrad fan.
Speaker 3: I was just kind of surprised at how immediately, like again,
it is dark and heavy, but it's rocking at the
same time. It's really like really like turbo charged up
in the kind of aggression and the sort of power
of it. Like the video is them playing live a
bunch of fans and everyone's just kind of like.
Speaker 1: If you watch the video, it's just people staging around them.
Speaker 3: Yeah, And I was like, yeah, that that kind of
just fits the vibe of the song of just fucking cut. Look,
this is that it has that like punk black metal
kind of energy or of like some like like Midnight
and that sort of stuff. It's got that like punk
rawness to it. Yeah, but with I guess maybe a
bit more of the kind of like grand that Black
Braid can bring to Like it still feels like bigger
than some of those bandsy, But I think this is
a really cool track. And I was like, I get
I can see why this is an epeeving. If these
two songs are kind of more in this lane, it
would it would feel very odd, kind of like sticking
these in the middle of that last album. They would
they would they would like be cool deviation, but they
would they I don't know if they would fit. I say
the story of the album as you put it by
I mean as like I say, as a standleingd release,
This is just a really cool kind of like the
blast of like white hot agro black metal.
Speaker 1: Yeah, there's a bit at the end when the double
bass really starts going, and I think I do think
sonically Black Paraid are just some of the like thickest,
most powerful, kind of charging black metal sounds that is
out there at the moment, Like they really have this
kind of knack for just that like clenched fist kind
of mite of it. And I say, getting a song
that is just like so unrelentingly aggressive and headbanging was
a nice little treat I didn't expect this week. I
hope the second track is as strong as this one
as well. But yeah, fun ep coming out this week
for you. We also have news of a new album
from Portrayal of Guilt which is called Beginning of the End.
I'm not sure exactly what the you know, the meaning
behind that title ret now would be, but that is
going to come out on April twenty fourth. Everyone put
in their diary. By the way, I always noticed this
doing this show. Every year, there are certain dates where
every single album comes out. April twenty fourth is one
of those dates. This year, everything is coming out on
April twenty fourth. This is another one to that list.
But Partrayler also on Run for Cover record. Isn't it brilliant?
This is on the same record label as those Basement.
Speaker 3: Basically, yeah, it's so funny that Portrayal of Guilt and
all bands are on Run for Cover because obviously unber
Cover is kind of like a hardcore adjacent label.
Speaker 4: But of all of like hard codjacent band Creek Portrayal
of Guilt.
Speaker 3: It's a nasty ones to pick, but yeah, I'm always
gonna be injured to see what Portrayal of Gilt are
gonna do, because they do kind of like shift things
about and try different tacks on album to album obviously, know, Yeah,
it was the last one, all the more orchestral stuff,
wasn't it.
Speaker 1: Like, yeah, the last one was the Devil Music album,
which was the one that had the same songs on
either side of the record, but on one side they
were you know, Portrayaler Guilt, heavy sludge kind of performed,
and the other side is these fucking evil chamber music.
Speaker 3: Yeah, it was like really cool that and then you know,
when they did Christ Fucker and every album My Friend,
and then they can that they were like really different,
Like they're an interesting band who they are like a sludgy,
noisy hardcore band, but they're always kind of finding new
lanes to go down, and I think again, that's kind
of what they're going down on this Again. It's still
in its base kind of like sludgy hardcore, but there
is like a bit more of like I don't know,
an alt rock kind.
Speaker 4: Of like thing going.
Speaker 1: On with it, Like there's more to it than that.
So this is another as well as Basement. There's also
another man who about two singles from this there's Ecstasy
and Human Terror and going from again if you if
you want to go for the sort of chamber music
thing that they have on devi as obviously that's you know,
like pre modern music, right that that orchestration, everything is
kind of drawn from going from that into evil dub.
I think particularly on the song Ecstasy, where I can
see where you're getting with the kind of oldntive rock thing.
Speaker 2: There's little bits, there's.
Speaker 3: Bits, a bit of that's just one kind of flavor
picked up. But yeah, there's there's like I said, there's
a load going on on these tracks.
Speaker 1: Yeah, Ecstasy is. But I like both tracks, but X
is the one that really like, you know, impressed me
of the two. Where As I say, there's this kind
of hip hop beat essentially like in obviously that your
guitars everything are still sludgy and heavy, but it has
this sort of evil dub kind of hip hop sort
of feel to the the programming of the percussion and everything.
That's obviously it's very sort of God Flush adjacent in
the way that they would do on their more sort
of again like dub Inflected Records, you could throw two
bands like you know, obviously Code Orange and stuff as well.
Maybe that's a little bit of that alternative rock kind
of flavor sort of you know, adjacent to that side
as well. I'm sure you as well saw the comment
that has been floating around the ether that's been picked
up something like, oh no, Portrayaler, Gilt are going Code Orange.
Speaker 3: And that's why I don't want to say, because I
just don't give that attention to some Like I love
hardcore core fans, we just hardcore didn't deserve Code Orange
at this rate. Like you're all stupid if.
Speaker 1: I genuinely think that the response to a couple of
years down the line now, the response to what Code
Orange kind of went on, has made me actively disinterested
in what hardcore fans have to say, and like it's
made me discredit the hardcore community's opinions so heavily, where
like if things are being gassed up, because genuinely you
have to kind of you have to look for bands
who are being creative but not too creative, else people
will fucking like reject it, and it's if bands are
being gassed up by the hardcore world. Now I go, okay,
are you actually good or are you like just good
and interesting enough that you've not upset anyone?
Speaker 2: Like it's genuinely.
Speaker 1: It's made me actively dislike the world of hardcore more
for how are they responded to some of the type
of things. And just like again, if if a band
like Portrayal of Guilt, who already flit around genres and
styles so heavily introducing a bit of kind of industrial
and you know, like this, this heavier, almost hip hop
at times inspired sound makes you fucking wary, Like these
are people who you would show an actual godflesh that
happened to and they would just shit the bed like
fucking losers, the lot of them. This is cool, This
is a really really cool move that I would also
be automatically interested in new Portrayal of Gilt, but hearing
this as the first taste of it has picked my
ears up even more so from sort of the default state.
I'm very curious now yeah.
Speaker 3: No, I remember, say Magan, I'm kind of just tuned
to like go with what Portrayal of Gil do. But again,
just as a complete different lane from where they were
with this change of music orchestral stuff. It's just kind
of go like, yeah, you are a really fearless band,
and I really appreciate that about them.
Speaker 1: Yeah, so looking forward to that new record that's coming
on April the twenty fourth, Fire Run for Cover Records.
If you, of course, are needing more in the way
of shady dance beats and all that kind of thing,
then Nine Its Nails this week, of course, dropped a
sort of surprise remix release. It's based around the tron
Ares album that they put out last year, but it's
full of again additional tracks and reworkings and that kind
of thing, which now it Nails. Whenever they do a project,
basically you are likely to get some sort of feast
of extras and stuff like that down the line. The
ARCA remix of as a Live as You Do Need
to Be is like a really cool, almost like sort
of chill like the aftermath of the crazy club scene
or whatever that you would imagine the original version of
that song to be. It's very very cool. We also
have news that Zachy Vengeance from Even Sevenfold Zachary Baker
as his you know, real credited name for this album
will be is going to be putting out a sort
of dark country styled solo album later in the ear,
which is one of those things where this is so
sort of common now and so like so many artists
have done this that there's no like question really of
what this will sound like. It's just do you like
Zachy Vengeance. Hopefully he's good at writing some acoustic songs.
Speaker 3: I mean, Avenge, You've always kind of like, there's been
no avengtions that I've dabbled in that kind of like
some off So I imagine that there's kind of like
some thru line to it. So I'm sure fans of
Fold will probably get something to like here.
Speaker 1: Yeah, I'm sure it'll be fine. And maybe it'll also
have crazy daft punk detours because that would be really
really amusing with the if. Also, there were also the
plastic daisies emerging all over Zachi Venders's country album.
Speaker 2: But there you go.
Speaker 1: Let's move on to festival news, and we are going
to go to of course two thousand trees, who have
I think is this the complete lineup?
Speaker 2: Now?
Speaker 4: Yes, they've said this is the full lineup.
Speaker 1: Yes, Well, there you go I'm going to say they've
added the final headliners, but in that case they've added
final everything. The final headliner added for the final day
of the festival the Saturday, is neck Deep, and there
are also additional bands added onto it, including Sunny Deale
real Estate, quite nice and prominent there on one of
these days, Logo Wise, Higher Power, a Black Era, Mouth Culture,
Mallory Knox, The excerpts a bunch more bands as well.
Let's go to next obviously as the headliner. The three
headliners of two thousand Trees being Alkaline Trio, if you
and for a friend and neck Deep, that is I
think a like we said a couple of times, maybe
there's not a lot of sort of you know, mad
surprise factor or whatever to that, But you don't necessarily
have to have that as three like strong solid headliners.
I mean that would that was three bands that if
I was present, I would, you know, go and watch
and hope.
Speaker 3: You would enjoy every two thousand Trees headliner there. That's
like a sort of a bit of like an outline
for you. Isn't it to have like all of them
be one?
Speaker 4: You'd be into?
Speaker 1: Yeah, Like the years that I've been to two thousand trees,
that hasn't been necessarily true. So this is like as
a trio, I think that's what an alkaline tree, if
you will. But then plus more's pretty strong.
Speaker 3: Like I can't believe I hadn't ever considered neck Deep
as a potential two thousand trees headliners.
Speaker 4: Like a fucking course, Neckti for two thousand you said
that is like one of the most no brainer picks.
Speaker 1: And like apparently haven't played it in a decade, which
is maybe that's why you haven't had that fall.
Speaker 4: Yeah that's it.
Speaker 3: But I was like, I was like, yeah, of course
neck Deep like that to me. Again, there isn't like
a let live into Alex on fire. Holy shit, that's
like one of the best nights that you can have
on there. But yeah, I look at that like it's
still really strong, like three really like rock solid headliners.
That will be good times for people who go to
two thousand Trees. Then you go down the lap and
like again there's sort of the font bands a lot
of the days are really strong, like there's very few
on the sort of the font bandages are kind of like,
oh that that's a bit weak, Like it's nicely like
you said, like Dinosaur pile up and the excerpts and
all all on the Saturday Glass or high visim Marmsets
is kind of like an immediate.
Speaker 4: Wrung below neck deep like that.
Speaker 3: If that is like your top of your main stage
on that day, you're having a good old time there.
I think this is, like I say, it's not maybe
the most like revolutionary two thousand Trees on it, but
in terms of just like knowing their audience and booking
a strong, just good time festival for that audience, I
think they've smashed out of the park.
Speaker 2: Yeah.
Speaker 1: So that is your complete list of two thousand Trees
headliners for this year. There's been some news and updates
about the Twisted Sister fiftieth anniversary planned reunion shows, which
last thing we heard of that is they were, you know,
up in the air as to if they would be
happening or not, because Dee Snyder completely pulled out of
it for health rated reasons, and you would naturally assume
that no d Snyder means a Twisted Sister aren't going
to come back. But as it happens, for at least
some of these shows, Twist's Sister have announced that they
are going to be bringing in none other than Sebastian
Buck of course, a former singer of skid Row. And
it's not Twisted Sister as you know it right, Like,
when you go and see Twisted Sister, you're gonna probably
going to want to see d Snyder because like he
is so central to the character of that band. And
in terms of I mean, I'm really glad that I
you know, I got my one time seeing Twisted Sister
on their you know, last run out the first time.
So is this exactly Twist's Sister as you know, as
we say.
Speaker 2: No, but it's a pretty good time.
Speaker 1: I would imagine like if you if you have to
go and do these anniversary things, not as a you know,
full time coming back, but if you're just doing a
run just to kind of go, hey, let's have a party,
you might as well get a singer of, you know,
one of the other best bands of that era and
sort of lane of band.
Speaker 3: Yeah, I think, like obviously the big thing is like
D Snyder is such a like maybe one of the
biggest large in life characters that you could ever have
as a rock vocalist, like, and that is so kind
of central to what when I think of Twisted Sister,
like sometimes I come of picture the other band members.
I just kind of picture d Snyder because he is
just that sort of a magnetic persona. But you know,
Smashing Buck is like as good a substitute as you
can probably find in this situation.
Speaker 4: And that you you know, if you're gonna go along
and watch Spashing Back sing a bunch of Twisted Sister songs,
that's a good night out.
Speaker 3: You you like, you're not gonna have a bad time
watching that, even if you kind of go it's not
Twisted Sister, because it's not you know, D Snyder bound out.
Speaker 4: We're not gonna take it.
Speaker 3: But I'm like I said, I think if they if
they are doing this in a version of it's okay
of every member like this is gonna give the usson
like go ahead without me on this one, do it
because do the celebration, then I think, like, yeah, why
not go and have a good time with spatshing.
Speaker 1: But yeah, you know, someone our discord sumed it up
quite well, just saying like it's just old people having fun.
Speaker 2: Who cares? And yeah, fair enough, let the man fun.
Speaker 1: So that is the current fate of the tsis anniversary shows,
a few tour announcements. We're gonna first of all go
to the other side of the Atlantic, just because this
kind of caught my eye. Killswitch Engage have announced a
US run and the support acts are machine Head, Iron
Reagan and Havoc, So overall pretty metal bill, right like
going out to say, obviously, big fucking bands kill switching
machine here with you know, Iron Reagan who have only
just returned as well, and Havoc then yeah, thrash metal.
The thing that got to me about this is seeing
machine Head, not even this isn't a co headline. This
is machine Head build with a small all a logo
under Killswitch Engage, and I was like, that's that's a
mad thing. Isn't that's a switch because I always assumed
that at the very least there'll be co headlining here
in the UK it tends to be machine Head, who
would be the bigger drawer and bigger ticket seller of
those two bands. But in the US, I imagine, you know,
both legendary bands are co headline. Sure, apparently machine Head
just aren't very big in the usually.
Speaker 4: Of those things.
Speaker 3: I've always noticed that they aren't that they're kind of
biggest or drawers in that the UK and Europe for
the machine Head. But I I too, I just I
was like to be I thought kills Yous were kind
of in that simme situation of you know, they'll play
the decent size like theater venues in America.
Speaker 4: I thought that that's.
Speaker 3: Where like these bands, but machine Head, like the coast is,
they are like trivium in that regard.
Speaker 4: Now where they just they're.
Speaker 3: Not unpot from the s, but they are not the
drawer that they are over here. So yeah, I right,
this is me would have made sense. This would have
been like a perfectly sort of logical co headliner machine
Head and Killswitch. It always like I was like, oh yeah,
machine that their popularity isn't kind of what you in
nessially expected to And again I kind of was like,
is this why they made that last album just being
the most kind of like US Radio, kind of like
Dirge than it Is to try and kind of like
rebuild their sort.
Speaker 4: Of platform over there because it like that.
Speaker 3: Maybe it's a bit of a cynical jab for me
because I was trying to just justify the reasons that
machine would make those decision.
Speaker 4: They made on that last album.
Speaker 3: But it is just like odd to sort of see
them playing sort of second fideld to a band you
imagine they are like surely would have been on par
with Yeah.
Speaker 4: I don't know, because they are.
Speaker 1: I said, in Europe they are like certified festival headliners.
Obviously they'll do they'll do Bloodstock here they can do
much bigger than that in mainland Europe, Like they are
total fucking like Vakan festival type legends and for the
but the idea that that isn't true in their actual
home country. It's just like really alien to me. And
like We've got a question later on about sort of
generational fadeouts and stuff like that, and maybe Killswitch have
a of you know, metalcore nostalgia kind of you know,
sort of legacy status from just how popular metal core
still is kind of with them, And I was thinking,
do you think anyone born after two thousand, certainly like
two thousand and five, do they care about the Blackening?
Because the Blackening is so legendary to our generation role
we remember it so fondly as like basically like the
benchmark modern heavy metal album. And you know at the
time that we would have got the Blackening it was
like twenty years or whatever since the likes of you know,
Master of Puppets and all the type of records, and
we still went back and got those. But the the
you know, the current generation coming into the modern crop
of bands, maybe you know, hopefully a lot of them
do have reason to go in and find kill Switch
and Trivia and these that bands who are still around.
But I were thinking, do under twenty five year olds
care about The Blackening? Do they see that as a
like notable record and maybe not.
Speaker 4: I think they only care about Burn My Eyes.
Speaker 3: I know, I know from that in hardcore, like younger
harg fans they like Burn my Eyes.
Speaker 4: Yeah, that was like like Davidian, you know, like a load.
Speaker 3: Of Harkavans cover Davidian. Yeah, that's the thing. But you're right,
the Blackening that like monumental modern metal classic it I
don't think it has much clout with sort of and well,
again this is speculation, we could be toking. I just
know the fact that when I see sort of younger
like music circles I operate in, they only really go
for Burn my Eyes.
Speaker 2: Yeah.
Speaker 1: I was thinking about that because it is it's a
legendary seminal record, and I don't think it's moving from
that in what I would like to consider the objective
use of the word if that if we can have
such a thing. But I do think in terms of
generational popularity, I think it has kind of been phased out.
And when was the again, when's the cutoff or when
machine Head kind of factor into the question. I don't know,
midlife crisis questions, but this is all spurred on from
a combination of qu that we had later and seeing
machine Head supporting under Killswitch engage. Also just similar America
in this one, Whitechapel have announced a run of like
headline shows. I'm not sure what they're doing around this,
but they've got kind of a sort of little weird
string of like individual headline shows in various cities around
the US with.
Speaker 2: Individual support acts.
Speaker 1: And the first one of the things that I saw
is because it was shared by the support Act on
social media, where of course follow them. Inter Arma supporting
Whitechapel in Norfolk, Virginia put that in the real Norfolk
and I'd be tempted to go.
Speaker 3: Fair Fox, so like Whitechapel bringing out inter Ama because that,
like again Whiteple, I have kind of graduated him being
that kind of just like big kind of where they
probably can afford to like take more out of things.
And I imagine some of the members of White Cheople
probably are down to bringing something a bit more avant
garden out there.
Speaker 4: I just wanted the people who are like the White Fans,
who you know, are a.
Speaker 3: Bit more octane pilled because there is a their family
like that. Them having to watch into armor is sort
of a fascinating thing to me.
Speaker 1: I just want to know how this happened. Who reached
out to who, like did Whitechapel Maybe there is someone
specifically in Whitechapel who fucking loves New Heaven, in which case,
like salutes to whoever that is, of course, But did
they just go we need a who's available in Virginia?
Which is I think you know where I Who's available
in Norfolk, Virginia with Interronma were like us, I guess
who book. This is so bizarre, but it does look
really good if you fall into that unlikely ven diagram
of we we are we we.
Speaker 4: Land on that men diagram. Now, Yeah, like I said.
Speaker 1: If I was in you know, remotely in the area,
I would go that looks awesome, but the most I
did a double take of support apps this week, that's
for sure. Black over here Nuova Testamento are running doing
a EU and UK tour in May and they are
arriving in the UK in June. They're playing London, Liverpool,
Manchester and Glasgow here. I think that band have become
increasingly popular in like actual heavy music sphere despite just
being an a disco pop band.
Speaker 4: But if you want to go see.
Speaker 3: Lining a hardcore festival in Italy, like as in Italy,
they're the headliners on it.
Speaker 4: Now, that's that's the kind of like they've got Italian cred.
Speaker 3: Like everything's on the poster, is that Venezia hardcore?
Speaker 2: Like whoa like they are.
Speaker 3: That's a hardcore fest like a Day's or like a
really small one, but they're the headliners. I'm like, that's
so fucking cool that this eighties gonna disco like pop
band are just like so respected hard so now that
they can headline the festivals.
Speaker 1: Yeah, go see over Testamento when they come through near you.
That band are fucking great. I was curious if you
had any response to this Rise and Fall, the Belgian
hardcore band from the noughties primarily a band who feature
you know, as you would imagine in the Belgian hardcore scene.
They have connections to like some of oath Breaker members
gone and been in either of these type bands. Rise
and Fall have not been a band for like fifteen
years or something, and they've randomly be announced to be
playing a show in November in Ghent. Of course, in
Belgium are even any dalliant sort of Rise and Fall.
Obviously this is the conveyor belt of endless article bands
going away and coming back and stuff. But there's a
bit of excitement that Rise and Fall back.
Speaker 3: Yeah, they're never I've definitely had a few tracks for
but I've never kind of gone deep in. But I
was I was like, oh, yeah, this is another just
kind of like veteran hardcore band because they're all just
all coming back for shows.
Speaker 4: Now.
Speaker 3: Is this going to go beyond you know, playing showing
again in Belgium. I don't know, but I think it's
still pretty cool. So so see those guys get back
together and you're like, ah, let's just like rip it
out at least one more time.
Speaker 1: Yeah, And significant news I think came from the Godflesh
camp specifically of course, justin Broadrick, the frontman, primary sort
of mastermind behind Godflesh, he has announced that he recently
underwent surgery to remove a hernia, and if he is
to kind of scream and perform with Godflesh the way
that he does, then he is at risk of essentially
blowing out his abdominantle wall. And because of that effective
immediately Godflesh has retired from the live environment. He also
seems to have some kind of plans about bringing the
overall project to a whole on a sort of a schedule,
I suppose, because he says that he's currently you know,
basically completed work on the penultimate Godflesh album, with a
final one to come as essentially been sort of written
by this point as well.
Speaker 2: So it does look like the.
Speaker 1: Recorded works of Godflesh are going to be coming to
an end within again the sort of the next year
or so, perhaps, but certainly right now. Immediately Godflesh the
live entity is done, and this is one of those
moments where I think there is some pause for reflection
because Goldflesh, well one of those bands like Napalm Death,
like Trip to com whatever, where you could go and
see the ogs essentially of like their brand of heaviness,
like we were literally talking about Portrayaler Guilt earlier, and
how continually influential these sort of hard, heavy industrial sounds
in heavy music can be. And Goldflesh where o case,
Like I said, there's other bands I mentioned where you
could go and see them today and still be like
fucking hell, like this is so heavy, you are so
destructive still and uh did you see the was it
Damnation twenty two or three? Whatever?
Speaker 3: Never got to see Godflesh, And it's because because they
were about so often.
Speaker 4: I was like, oh, catch him at some point, yeah,
and now.
Speaker 3: This has hit me And I was like, ah, fuck
like that like that that that's just it, because they
were like god Fleshers pop up on random shows, that's
what they just would do. So I was like, I
will catch them at some point and I said, I
was like, ah, this one really sucks. And again like
don't blame him one bit, like when you see like
the like because again how heavy Godflesh, how intense. Yeah,
his performances are like yeah, if he's had that honeymoon
and it's gonna like weaken the air of his body
stop like look after itself and and do you've got to.
Speaker 4: Do, but it does.
Speaker 3: It's still just like, ah, I've fucking missed my opportunity
by just kind of assuming taking it for granted that
they were kind of just always popping up.
Speaker 1: Yeah, and there certainly you know that that's a word Leicester,
I think lots was gonna apply to many such cases.
I was thinking whether you were there for the last
time they played Damnation, which must have been like the
year before you started. Yeah, yeah, yeah, So it was
the year that you know, Godflesh performed Straight Cleaner at
the Gates perform slot of the Soul which there's another
band obviously who were not with us in the same
shape or form, Converged play Jane Doe.
Speaker 2: That year.
Speaker 1: That's the last time I saw Godflesh. Unfortunately, it was
when Godflesh is Set was the one that like majorly
got kind of undercut by a lot of technical issues.
So it's unfortunately that's the last time I saw them.
But my last kind of prevailing memory of Godflesh life
will be the year before that when they played the
final year in Leeds at Damnation and they fucking stole
the weekend, like everyone was just talking about, oh my God,
did you see Godflesh.
Speaker 2: They were just like so.
Speaker 1: Oppressively nightmareish heavy, like everyone walking out with fucking like
nosebleeds and banging headaches, being like Jesus Christ and I
saw Godflesh. I think about four times, like in between
the you know, the kind of the first reunion album
coming out and then now we know within the last
like ten years or so, and aside from again the
the you know, not really their fault stuff that went
on with that last appearance, they were always just like
properly as a destructive like you could feel It's one
of those bands where you could feel like the masonry
of the building yourself surrounded by just quivering under the
weight of it. And again now that that is a
phenomenon that is, you know, put up on the shelf.
Speaker 2: Now I do.
Speaker 1: I treasure that, and I feel lucky to have kind
of have been started going to extreme metal shows and
stuff like that around the time that a reactivated Goldflesh
was around, because, like we were saying earlier, some of
these bands and I think we will continue to do
it for years to come. Golflash so absolutely pioneering and legendary,
and I guess you know, certainly when it comes to
the recorded output in the studio things, there's absolute a
timeline of when that is coming to an end. We'll
keep tabs on it for sure. I guess it's I'm
not necessarily surprise. Obviously it's been hastened by you know,
a particular health that's that's called time on it. But
I think bands like Goldflesh are they're naturally going to
come to an end.
Speaker 3: Yeah, so you can't do that, Yeah, say like that
level of like visceral, like devastating performance as long as
some bands who aren't doing that, So I can keep
dying exactly.
Speaker 2: So it's going to happen sooner or later.
Speaker 1: But if this is the moment for certainly the live
version of it, then just absolute hats off to Justin Broader.
It one of the greatest, one of the most integral,
Like the entire timeline of extreme and heavy music looks
different without the works of that man. And that's not
just limited to Goldflesh, but Goldflesh as perhaps the most
synonymous with his name outfit out there.
Speaker 2: Just one of the absolute greats.
Speaker 1: So all the love in the world to the fucking
legend that is just In Broadery and if you got
to see golf Flesh, then treasure those memories because they
were they were something else. So yeah, Goldflesh. Let's have
some questions right now as we move on to Marcus
Franz is gonna kick us off. All of these questions
come from the That's Not Metal forum over on Facebook.
We don't have questions every single episode, but when we
feel the time is right for them and you've recharged
them enough, we go back over there and when we
grab them. This question I think was put in there
like a couple of weeks ago, and I just banked
it because I thought it was interesting. Marcus Franz asked,
if you could only listen to music from one city
for the rest of your life, which would it be
and why I was.
Speaker 3: This is one that I found like weirdly difficult to
kind of actually mmm because I was like, oh, no,
that's a state and they're from all different cities within
that state.
Speaker 4: Because so many of my favorite bands are.
Speaker 3: All from different cities in Pennsylvania that I could have
quite easily said Likenvania because I could go code Orange,
the Mensingers, The Wonder Is like.
Speaker 4: All of that sort of stuff. I was like, fuck
I can't, I like.
Speaker 3: And then you go like California Punk where again that
California state, so again like you trying to narrow it
down to that.
Speaker 2: I mean, like La, I'm sure has loads individuals like.
Speaker 4: You probably could say that like the.
Speaker 1: Probably Cisco Bay area, you know.
Speaker 3: Yeah, if I had to point down like part was like,
I could be basically like I could just happily listen
to a load of New York hardcore. You know, I
could just live off mad Born, sick of it all,
an agnostic front.
Speaker 4: I can. I can ride that out if I really
had to.
Speaker 3: I'm like, but there was like New Jerseys just across
from New York, And what if New Jersey?
Speaker 4: Who do I lose? I lose Bruce Springs.
Speaker 3: Like it's like if it's a stakes, it would be
like I'd have more watchs, but like cities because it
just narrows it down. But I probably would just like
I'd probably just be like I like I said, I'd
be content with like New York hardcore. And there's other
cool New York sort of music that kind of like
delve into because New York has this like incredible music
kind of like Underbelly that goes on.
Speaker 1: I think New York is probably a top three answer because,
as he said, you gravitate strats to the hardcore, which
of course you know you do. I would like less
we forget. You get Imperial Triumphant.
Speaker 4: Exactly like that. I get that. I'm cool with them now.
Speaker 3: I'll happily have that as part of my like soundaries
in between mad and agnostic front.
Speaker 1: Like, yeah, obviously you know the New York just musical
lineage is for huge, right, all of the punk bands
you get kiss and you know, New York doles and
fucking all of like I mean the New York jazz scene,
like endless stuff coming out New Yors. I think New
York across because what you want here is breadth, right,
You want lots of you know, different kinds of things
all gathered in one place so that you can kind
of as much as you can fit as many moods
as you can using just the one area. And like
there are certain cities and stuff that have like particular
scenes that I love, of course, Like particularly if I
look at a lot of Scandinavian places, like you know,
Stockholm and Gothenburg and like Uppsala in Sweden, and then
obviously like Oslo and Bergen and these type places. But
I think, and I don't know if this is me
just maybe being a little too patriotic or whatever, I
genuinely think the answer I would take is London because
in terms of breadth of stuff, like you were saying,
you go to America, and aside from maybe a prominent
one like a New York, you take the totality of
America or even large US states and you can really
like put together an incredible be like.
Speaker 4: Yeah, like cities, it's so spread.
Speaker 1: But then you take it specifically London and I get
Iron Maiden, Motorhead, led Zeppelin, who I ever thought were
a black country band, but apparently they kind of got
together informed in London, Pink Floyd, Kate Bush, The Police,
Queen Amy Winehouse, Burial, The Clash, The Sex Pistols, The
Damned Killing Joke, Susie and the Bansheese, The Sound E Rhythmics,
the Pet Shop Boys, David Bowie.
Speaker 4: Our Favorite Cocksparough, Cox.
Speaker 1: Sparrow, absolutely Orange Goblin. I get, like, you know, the
black metal conglomerate of like Aca Cocker Voices, code like
that kind of scene, which is some of my favorite
black metal ever made. I think US and Finland would
maybe argue custody for Matt McNerney because he goes off.
But like Scorpion Milk is a very London centric kind
of thing. Even if I was to go to I
know this, this does break the rules, I wouldn't be allowed.
But if I were to even look at the surrounding areas,
similarly to if you were to look at like New
Jersey across the water from New York or whatever, I
would get the cure. If I venture into Essex, I
get depeche Mode and the Prodigy. If I was to
go up to like Watford, I get Gallows, right, And
they went on.
Speaker 3: About London and not close enough, but again again it's
ex but like, no, London is a really good shout
and you're like, again you look at the breadth of
like legendary ship and again maybe it's just just too
close to home that you don't like sometimes think about that,
but yeah, London might be the best answer.
Speaker 1: Yeah, yeah, that's you say that they're in Watford, but
London is the reason. So I'm taking Gallows.
Speaker 2: Fuck you.
Speaker 1: I'm sure there's lots of other hardcore bands from.
Speaker 4: Ship Loads of London hardcore you could have.
Speaker 1: I mean even just right now, there's like high Viz
and London based, aren't they, And like fucking Final Dunes
there are well no the singers from Birkenhead, but the
band themselves are fair enough. Yeah, the as like yeah,
because that's that's the voice you hear, but the band
themselves so like there's I genuinely think, I think, and
that's this is to also then say, obviously the whole
range of like other musical cultures that exist in London
that I am, you know, much less knowledgeable than don't
belong to so much. But if you were to pull
it all together, I think you can take you know,
the whole of the US and you obviously get something
incredibly hard to hard to tackle. But I'm gonna tentatively
say I don't think any other city around the world,
with the possible exception of New York actually for a
sheer amount of like, oh that's the best band ever
bands they exist from here. I'm going to take London
and I think I would be fairly happy just existing
on London based music.
Speaker 4: So there fuck everywhere else.
Speaker 1: Let us go to the next question, which comes from
Simon Nash, who says thoughts on the oz Fest announcement
for next year at Villa Park to the event possibly
so yeah, this is another news announcement from this week.
Sharon Osbourne has been saying that they would like to
in twenty twenty seven and have basically, you know, plans
to bring back Ozfest at Villa Park, and naturally, you know,
tongues are wagging about what what could possibly beyond that.
My immediate reaction to it is until there's a bill,
I don't really care. And I think part of this
is oz Fest has never been I know, obviously, I
know the legend of oz Fest, and I know from
just history looking back at how significant bills from you know,
the late nineties and the tournam with anyone, that kind
of thing, how huge apart of the culture Ozfest was.
If you have been going to shows in the last
fifteen years, which is basically all of the shows that
I go to because that's the time that I have
been involved in the music another Ozfest. It briefly came
back as that like not Fest versus Ozfest, kind of
you know, cross branding thing, but like I've never been
to an Ozfest. I imagine lots of people listening who
are our age or younger certainly won't have been to
an oz fest. And I think about this and I
look at just the endless you know, those Danny Wimmer
Presents type festivals in America or the Endless, I mean,
the ones that we always pull up were to the
Red State rock festivals as they call them, where you
go like, is this like how like how have you
got a three day festival and all three days of
being headlined by Daughtry, Like what's going on?
Speaker 2: Without a bill to go on?
Speaker 1: I just kind of assume that it will be a
big rock event with the big same kind of bill
you expect to see everywhere else, and it'll be very,
very expensive.
Speaker 2: So I hope it's good.
Speaker 1: But I'm not immediately like taking my top off and going,
oh my god, oz festers back, because I don't think
we have the the same relationship with it necessarily.
Speaker 4: Yeah.
Speaker 3: I mean, I'm like like there was like I was first,
like twenty ten, I want to say it was.
Speaker 4: When I was first starting going to last they did it.
Speaker 3: Yeah, I was like it was like just born corn
murdered dolls, like skin dured on it.
Speaker 4: I remember that, and I was like, that'd be pretty
cool to go to.
Speaker 3: But I was like, it didn't feel like it was
like the sort of legendary thing that OZ Fairs had
kind of like the history it kind of told you, Like,
I mean I look at this like, well, yeah, like
I'm not shocks that they're like that, They're going to
know that they want to do some event as like
a sort of truth thing a like Villa Park where
that legendary back to the beginning show.
Speaker 4: Yeah, and it makes sense they're doing that.
Speaker 3: Part of me again slightly joking me, but also I
would not be shocked if I've just dubbed it as
Blood Sabbath is the headliner, Like I wouldn't be shocked
if we got like maybe not even the headline it,
but if if we had a young Blood fronted Black
Sabbath appearing at it for like a multiple song set,
like I wouldn't re s it, And that would kind
of just sour the whole thing for me. But if
they put together, you know, a cool metal line up
that's going to fill a stadium, great, I think it'd
be great exposure if they get the right bands on there,
Like I do want it is it just gonna fill
a stadium due to the like kind of like oz
fas Branning and the kind of like tribute to us.
Speaker 4: He but like, yeah, right now, I'm kind of like
wait and see on it.
Speaker 1: Yeah, I mean, obviously it's nice that, you know, in
his absence there would still be an event bearing the
Odds name, right, like carrying on. That's that's obviously a
very nice kind of gesture and a nice thing to
happen if it was to be filled with bands who
deserve the exposure and who could make use of it
in the way that Ozfest historically was built on doing that. Again,
the famous stories you hear about Slipknot on the original
Odsfest and that.
Speaker 2: Kind of thing.
Speaker 1: If it was to do that, then then great, I
don't you know, considering like probably fucking live Nation booking
it the same thing as everything else, right, So I
don't necessarily see how this vin.
Speaker 3: Ticket for a day, Like, yeah.
Speaker 1: It would be that, but it would also be I
don't necessarily see you know, many different bands beyond the
bands who are already on all of these regular type events,
and we have so many events anyway, right fucking again,
like all points of the East and download and yeah,
so much the stuff happens. If it happens and it's
cool and it has I mean, I'm thinking of what
would get me to have to, you know, go and
buy a big stadium ticket and go to Birmingham. But genuinely,
like Tony martin front of Black Sabbath is about, would
want to go and receive Tonaomi returning to do. But
if it happens and it's cool and it becomes you know,
an annual pilgrimage Mary BOROI, and then great, that's brilliant.
But I'm not like, actually, I don't think it's going
to be a game changer, right suddenly having an old's
fest when we haven't had one. But so that's you know,
in terms of just insie announcement with no news as
to any bands or anything. That's my initial kind of
responsor to it's basically, you know, largely neutral. I suppose
Peter hen asks, in light of the team being less
than enthusiastic about Reef's nineties Mega hit, place your hands,
what is your generation's equivalent, i e. The undeniable smash
that you remember fondly but leads people younger than you
utterly bewildered. I think this is a deceptively very hard question.
I agree, because we're in an era now where nothing
goes away because mister Brightside has been this song for
twenty years, you know, and if if the Killers were
on reefs, like you know, shelf Life, then that would
have gone on time it goo and we have like
why took nostalgia both in like the pop world and
the rock world is all the fucking rage. So finding
stuff that you know, we remember growing up it's very
very easy. Finding stuff that hasn't also then been immediately
handed on and passed down to people who come after
us is more difficult. And this is where I was
genuinely reaching for, Like do Jen Alpha care about l
n FAO.
Speaker 2: To go with this? Do they do they know the
party rock anthem?
Speaker 3: Because my point with this is there are tons of
songs that kind of fit this mold of that they
were like omnipresent because I was like growing up in
the two thousands when Landfill Indie was everywhere you couldn't escape,
you know, the fratellis or the feeling or bands beginning
with that.
Speaker 4: Those songs were sucking everywhere.
Speaker 3: But those songs are always shit, they were just husually popular,
and mister Bryanston is the only one you can kind
of go to. Is like, I do think mister Bryan's
like again, come with me if you want. But mister
Brid's side is massive and like and it is only
present and it's still omniprison, it's never going away.
Speaker 4: And then I was like, what about the new Mail Bangers?
Speaker 3: But again, as you say that, nostalgia still that alone
still fucking goes off for Rolling, because Rolling is you know,
a classic that I have so much fun fondness for,
but also go for it. The pop punk songs, you know,
even something like Girls and Boys by a Good shild Like,
they're not as big.
Speaker 4: As that song, still you know, massively popular.
Speaker 3: So all the songs that I like that could fit this,
they're still popular because they're good songs that have kind
of endured. They're not Reeves placed your hand a shit
song that was popular in the nineties.
Speaker 4: This night is brick pop stuff was naff.
Speaker 1: But here's the thing with this nineties brit rock is
some of it's good, some of it's bad. Right, The
general point we're making here is that it is very
confined to the memory of the nineties, Like, very very
few people who are not in on nineties brit rock
at the time give any shit about that crop of bands.
This is kind of the point that we were making
on our recent special, So finding again stuff that is
of that same equivalency but has not survived gender, A
natural next step is to go, okay, what about the
brit rock of era? Right and again, I just like
what you were saying about songs that are always shit.
I don't like these fucking bands. But this is when
maybe you go to the likes of UNI at six
and so on, and you go, do people who are
you know, twenty or younger. If you were to play
Underdog by UNI at six at X Rock Club, if
the demographic is like thirty years old slightly over, then
they will go crazy for it. If it is younger people, it's.
Speaker 4: Maybe the best answer.
Speaker 3: I've still seen face down pop off for Underdogs, so
like and that's younger card's there, so like I don't know,
like again from my answer has been like again this
sort of the naughties indie bands, like you know, people
like there will be people who are like, look back
really fondly at the Kooks and all of those terrible
bands and they'll have those songs from that era that
they'll be like, oh, that that's great. And I think
people look back on the now and go like, no,
that stuff was was rubbish. That's close because again it's
so of that era, like the nineties brit rock stuff is,
and people who like it would still look back really
fondly on it. But those songs are for the most
part completely enough, and you're probably right the close thing
to me, and maybe I'm too close to it with
maybe I'm that person with Morty split Rock.
Speaker 4: Like here's the thing, like with the exception of.
Speaker 3: You Me at Six, how many of those bands actually had,
you know, major crossover hits that were like really popular
on the radio all the time you would like new
Music's are pretty much the only one who had any
kind of enduring it that you could say was probably
popular enough.
Speaker 4: To be that so underdog you're probably is the right answer.
Speaker 1: Like yeah, if you like, you could throw the similar
things and I don't know, like Bones by Young Guns,
like you know, that crop of songs. But this is
where I then I also, this is when I started
think about machine Head, you know, and I was like,
do younger generations enough give any shits about their classic
songs from their sort of second classic era. You know,
your imperiums, your halos, all that kind of thing. Do
Jen Alfer care about Bullet of my Aretine? In terms
of the metalcore revival, there is a lot of Obviously
Naughty's nostalgia is all the rage, but how much does
that translate to tears don't fall?
Speaker 3: Like?
Speaker 2: Tears don't it? Does it?
Speaker 3: Does?
Speaker 2: I see?
Speaker 4: I've seen tiktoks and its sacam reels.
Speaker 3: Of like like Zoomer kids being like, oh, you know,
tears and four is a classic like that, like there
is enough for the poison. I don't mean, I don't
mean it goes anywhere beyond the point. I don't mean
they've ever heard of the last fight?
Speaker 2: You know?
Speaker 1: Okay, your betrayal then is an answer then or screaming fire.
But the thing with the Reef song as well, and
what we all said about it, is that essentially it's
a song that sounds like it is made to be
played at kids' birthday parties. And on that line, I'm
not playing fucking Uni at six at a kid's birthday party.
What might instead be played is what was that song.
Speaker 2: Like hey hey baby, ooh ah, like.
Speaker 1: Maybe that song maybe slide like you know, yeah the
Church are slide. Those are the natural equivalence that fucking
reef song. So there's a very spread out collection of
answers that might vaguely fit, but it is hard because
stuff doesn't fucking go away anymore. Everything is nostalgia pilled,
and certainly our era of like the Y two K,
you know, naughty stuff is very very present in that
and when you get to the early twenty ten stuff,
aside from your sen paternals, maybe it's not canonized enough
in the first place to h Yeah, I don't know.
There you go and Leon Barnes asks bands who you
are once desperate to hear more from, but the passages
time has flipped that hope you either don't care anymore
or you actually hope they called it a day System
of a Down. For me, they just carry on being
a legacy act for all I care. Now, I think
you've absolutely nailed it with System of a Down. And
I think there is a better answer really than like
there was a period when everyone was waiting. Will System
of Down then they've gotten back together the first time?
Will they make new music, and it's now been so
many years and they released like two songs that have
been completely forgotten. No one cares about the system of
a down music. I am the same. Similarly, I guess
I have you know, I like Creation Machine, but I
have no interest in whatever Tom Morello is doing that
kind of thing. But I assume we are taking this
in a different way to bands just getting bad, you know,
like Green Day or Architects, what have you.
Speaker 2: You know, this is.
Speaker 3: Like bands you haven't done anything for a long while,
and like you kind of we're holding out for coming back,
and it's against me and it paints I just, I
just I don't have it, like again, the low sort
of stuff. There's been sporadic things I like in those
solo albums, but none of them have ever kind of
wowed me, and I just I just feel like that
that that ship has like long since sailed. I'm happy
to have like those like Fondness and the love for
those against Me albums. I will cling onto that, but
as a whole, I don't think I want you against
me material anymore.
Speaker 1: Yeah, that's a heavy but worthy shout. I think, like
Food Fighters every other album, I don't know.
Speaker 3: As I said, one a decade, we get one a
decade of food fighters, and that's what we've got to
deal with.
Speaker 1: Yeah, two names that sprung to mind for me. Isn't
it really annoying that MCR seemed to have fallen into
this because the foundation of the K When that came
out in twenty twenty two or whatever it was, we
were all like, oh my god, a new MCR song.
And I know that maybe you know different people a
different things on it.
Speaker 2: I really like.
Speaker 1: So I thought it could have been a really awesome
first taste of like a new MCR album going in
that kind of direction, and now they have become they've
fallen into. For me, what is the We could kind
of term it the system of a down memory pocket
of them being a band who exists and play shows,
but you don't actively think of them as being like
a functional, active band.
Speaker 4: You're right, But.
Speaker 3: I also know if there was any England again, if
they dropped a new song, I would be back.
Speaker 4: I would be back in.
Speaker 1: I would be the same. But that's for the last
couple of years. This is where they have been and
it's again this black praise again. I'm going to you know,
the Black Praye shows.
Speaker 3: I'm look forward to seeing that show, but I'm like,
I want when this run is done, I either go
away again and kind of like for at least a
couple of year or dos or actually do something because
you're they're a really good answer, but they're the one
that I'm like, no, but I would, I would be
back in if if it happened, I would immediately.
Speaker 4: Yeah, come back on.
Speaker 1: Okay, And I imagine this next one is going to
also probably be the same in that way. But this
came to mind because they were on the two thousand
Trees lineup. What you said about Glass show, because here's
the fact Material Control next year.
Speaker 4: Is ten decades old.
Speaker 1: Yeah, and they again, they exist. They play shows seemingly
quite regularly.
Speaker 3: But worshiping tribute and so everyone knows about Silence and
like anniversary and celebration shows, so they very much feel
like they're sort of set into that nostalgia pocket.
Speaker 4: So again, like, if that's what Glasses is, I'm fine
with that.
Speaker 3: Again, I believe that Glass Or have a great album
in them if they, like, if they wanted to, I
think they would release another incredible album because they feel
like a band who if they're putting something out, there
is care and thought that's gone into it. It's just
whether they actually want to, you know, dedicate the time
to that.
Speaker 2: Yeah.
Speaker 1: But this whole sort of phenomen we're talking about, I
think you could almost name it after system of it
down like they are the absolute, ye, the type case
for what this is. So thank you for your questions everybody.
We will return to that well, you know when we
get the Inkling Too over on the Patreon this week
it is the special which goes from Reef all the
way to I mean, I listened to the ninety ninety
seven Brutal Truth album today and let me tell you
there's no Reef adjacent stuff on that. It really does
cover a lot of spread the nineteen ninety seven special.
This coming week we are going to be finishing that.
We have a third and final part. We're gonna be
looking at the underground metal they came out that year,
and then we are going to be closing the special
by all picking our favorite albums from that year as well.
If you've come along with the first two parts, we've
had a lot of really nice feedback from people, a
lot of fun going on memory Lane or you know,
digging stuff out that they weren't aware of at the time,
all that kind of stuff it is. I mean, we're
gonna move on something else after this. And I feel
like the last like two months, our brains have just
been stuck in nineteen ninety seven. You know, it's been
really intense. It's been a lot of stuff going on.
But as said, we are going to be finishing that
over on Patren look on Slash that's not ELVI coming week.
So get involved this that grabs a bit of your fancy.
Let's end this episode with the releases. And so last week,
of course, was our February reviews bag. Do go and
check out all of those albums if you have not already,
everything from Pony to Halass to a lot of Cryptic Shaft,
all of that stuff or worth checking out.
Speaker 2: So go and do that.
Speaker 1: But albums that came out last week that we obviously
didn't get a chance to mention. Rob Zombie is probably
the most prominent one of the bunch, with an album
called The Great Satan. And if you heard me chuckle
a little bit earlier when I said, David Bowie, it's
because I shared on my Instagram story a Rob Zombie
lyric from this and Rob Zombie for fucking twenty five
thirty years just makes monster mash bollocks, right. I mean
I say this from Tom total love. I always enjoy
the monster mash bollocks, but it like mad libs, you know,
it's gibberish. And the one time, yeah, just rhyming fucking
different monsters with each other, and the one time I
pull out just this daft little lyric and put it
on my story is the time that then people call
up me out. I go, actually, don't you know that's
a David Bowie reference, and I go, sorry, everyone, I
just I don't really care or listen to like Ziggie
Stardust era David Bowie's not my Thing, which sent our
Discord into a fucking melt.
Speaker 4: What is going on here?
Speaker 1: So unfortunately it's made me more angry at Rob Zombie
than I was when I listened to the album and
this is now the album it's the one with the
David Bowie reference that then spilled into stupid mayhem because
I don't listen to that era of David Berwie. I'm sorry,
But the Great Satan from Zombie it's kind of more
industrial flavored and a bit heavier than his previous bunch.
I always have fun with them. We also had a
new Carpenter Brutes with Leather Temple, which is the third
of the sort of leather trilogy I suppose of Carpenter
Bruce albums. This this one, unlike the prior to it
is a pretty much an entirely instrumental like synthwave record.
It's not got the kind of guest features which to
me were like my favorite part of the previous two albums,
hearing like Greg Piccatto and Johannah's from Tribulation and all
these you know, Matt McNerney, the guy for Alva, like
all of these different people carrying choruses and stuff on
Carpet Bruit records. This one doesn't have that. It's just
kind of pumpy thins wave. But if you like that,
then that is they're available. Australian metalcore band with an
emphasis on kind of you know, over the top cinematic
sort of flare. The Gloom in the Corner put a
record called Royal Discordance Nothing, the kind of grunge shoe
gayze type band returned with their first album in a
good sort of five or six years I think called
a Short History of Decay sound.
Speaker 4: Do you like nothing?
Speaker 2: Are you interested in nothing?
Speaker 3: Yeah?
Speaker 4: I do like nothing.
Speaker 3: The more Phone Bands are something, but they're one of
those bands I think I'm very kind of like they're
just very good at this sort of thing and very
well respected, and this album is kind of just more
of that, like kind of cool, sort of quite cinematic,
chee gays kind of I mean, this is good. Yeah.
Speaker 2: Yeah.
Speaker 1: Then there was also out on Relapse Records, I think
Final Gasp with an album called New Day Symptoms. This
is kind of like post punky, gothy, thick heavy metal.
I suppose a lot of people seem to really really
be into it. I need to spend a little bit
more time with it. But that is out there for
your tastes. If you like sort of proggy, post metally
doom metal type stuff. Then from the UK there's Matador
with above below and so over in the Scandinavian death
metal world there's Harrowed with the Eternal Hunger, and also
mainland European death metal a great band called Possession who
returned with the record after about sort of eight or
nine years out of nowhere. The literally just Surprise dropped
it in the middle of the week. But really good
band Possession the Mother of Darkness that's like really like
filthy underground death metal. And in the sort of melodic
black metal sphere, there was also necro Fire with Transcend
into Oblivion. Today's releases start with from the metal core
world era with all lowercase silence outlives the Earth and
the lowercase startle means I will not hear a note
from that record, Lost Society. Also, I've lost track of
whether this band is still a metal core band or
for a thrash metal band or whatever, but finish thrash
slash later years metalcore Lost Society hell is a state
of mind more old school thrash. I think believe a
band returning after like a good number of years away,
like a couple decades first album Whiplash with their album Thrashquake,
which has an album cover that signifies a thrash metal
band coming back from the dead after twenty years as well,
I'll say that much. Then there is in the kind
of like alternative punk sort of world, a band called
surf Bot particular name surf Butt, Reality Star, Death Doom,
Temple of Void have the Crawl another returning band, not
quite a couple decades away, but long enough. The first
album from the Black Gays band Bostonage, one of the
more earlier years pioneering black Gays kind of post black
metal bands. Boston their first record and I think something
like Decade, Hidden Fires, Burn Hottest.
Speaker 2: So if that is.
Speaker 1: Your flavor of stuff, but you don't know that band,
and it's a good time to jump back onto them.
More Scandinavian, there is Reed with the sky's term black,
and then quite a few EPs out today. One of
them is, of course, the Black Braid EP that we
mentioned being announced earlier, Nocturnal Womb. If that's not your
flavor of black band, then there is Blackstone Cherry, who
have an AP today called Celebrate moon Tooth, the sort
of prog metal band I suppose I've gone EP that's
called Bustard and from the hardcore world, very like aggressive
chaotic Needles in your Ears kind of hardcore band. Nailed
shut Na with an EP called a Promise Made, a
Promise kept. So that's your lot today. Thank you very
much for being here with us. Let us know what
you made of all the stuff we spoke about today.
Those new releases those questions as well. Get involved over
on the patren if you want to hear us closing
out with all of like the heaviest, most extreme nasty stuff.
Sam's going to listen to some shit, I'm going to
tell you that much on this final part of the
Night in seven special. As said, Patroon is a place
to be with that, and we will return here on
the weekly feed next time.
Speaker 2: So bye bye everyone,