Speaker 1: Hello, everybody, Welcome back to That's Not Metal on this
final day of January, of the first final January of
the first month of twenty twenty five. Fucking hell, this
is a great start, yeah, end of the end of
the first five is what I was saying there. And
we are, as always your weekly rock and heavy metal podcast.
We have some stuff from you know, the final day
of January twenty twenty five to talk about. Following up
last week we did our reviews for January. We spoke
about a couple of records that are actually out today
if you wanted to hear those, but also some of
the general best stuff that we had to talk about
in January. I hope that you've been enjoying the new
Great Old Ones record or you know, Trauma Bond or
whatever it was that kind of grabbed your fancy last time.
Today we out here with the Hyperblasts. We have got
some more new music to be talking about, and then
right after we're going to go hop over and do
another podcast that it's gonna be a lot of fun
to do as well. So I hope you're all doing well.
Here we go. My name is Baran Haish. Sam Dignon
is here to talk about this selection with me. Sam
as your week been when you're seeing the big metal
Bullet Trivium tours happening, so that'll be next.
Speaker 2: So I'm sing no sad, I've got mad Ball tomorrow
that almost mad Bull as in the today when this
goes live, I'll be seeing mad Ball that night, so
I'll being myself off a stage and then the day
after I will be off to see Bullet and Trivium.
Speaker 3: I mean, I've had a.
Speaker 2: Wonderful week for reasons we will get onto On top
of getting nine inch Noils ticket, I've got, I've I've
succeeded in securing the goods there. But yeah, this has
been that I've had an absolute free of week because
of what's going to happen after this podcast.
Speaker 3: I can't wait. But yeah, lots of gigs to chat
out next week, I'm guessing yes.
Speaker 1: But today we are going to rattle through primarily in
the news this week. We've got a few new singles,
quite a lot actually, more than we even going to
fully dive into. But I would say that this has
been a great week for you know, like just new
lead of tracks whatever. Overall, we've got a really good
selection here. The general kind of average of I would say,
is actually very high quality what we're getting here, So
it's only right that we should start with what the
universe decided to, I guess counterbalance all that with, which
is bringing the horizon. For some reason, releasing a cover
of Oasis is wonder Wall, and boy if that hasn't
just been fun to watch people react to hysterically online.
Speaker 2: Yeah, I mean, like I saw, I was like, oh,
they haven't, have they? And I was like, do I
want to listen to this? Because it just immediately the
idea of bring them covering Wonder War. I was like,
I don't think there's any way this works because either
they play it straight and it's it's sappy where Acoustic
Ballady bring the horizon, yeah, or they try and like heavier.
Speaker 3: Up and it just sounds a bit like a car crash.
Speaker 2: And I was like, I don't know which one I
dreaded more, but I was not looking forward to either option.
Speaker 1: Yeah, I guessed you would say they've done the latter,
which if I was gonna choose one, I would choose that,
I suppose because I just do not need to hear
like strangers bring me the Horizon just doing moping their
way through one like that would be the least appealing thing.
I can imagine. What they've done is they've done their
you know, sort of like they made it quite up tempo,
so now it's got the feel of like when they
do their slightly machine gun Kelly esque songs, which again
I get of the two options, I suppose like it's
they've done something to it. And it is quite funny
that Ollie screams in this more than he did like
al was the entirety of their last album. I I
cannot bring myself to care enough about this passionately hate
hate it. I don't think it's like, I don't know,
some completely fucked up disaster. They've just done the slightly
less boring route of what were two quite boring routes
that we've laid out there. And I think after this
week we'll never think about it again.
Speaker 2: Yeah, I mean I think this is I would say,
like bruin the Horizon, like they don't like have this
impressivebilities with when they get it wrong. They get it
so spectacularly wrong these days, like Die for You, that
electronic ep, like if They're gonna go if things are
gonna go wrong from the Ierson, it's gonna be like
truly abysmal, and I think that's where this cover adds.
I will forget about it in a week's time because
I don't have the brain space to come about Brown
and one will cover. But it is like really quite terrible. Yeah.
Speaker 1: So that was, as said, what the universe decided to
offer up to counter the rest of the string of
what we're going to talk about here, because we have
got a really exciting slate of, you know, new album
announcements from some of the biggest and best of of
tnm land, and we are going to start with a
new Death Heaven track where which I believe was the
first one of these to be released. Death Heaven have
announced that they've got a new album which is called
Lonely People with Power. It's going to be coming out
on March twenty eighth via road Runner, which is quite
interesting because I think they were on Sergeant House for
the last seven the last one year, yeah, and road
Runner don't seem to be doing an awful lot these days,
so it's interesting. Death Heaven have signed onto their but
end of March new Death Heaven album. There's a new
track leadoff single from it called Magnolia, and this is
of course the follow up to the twenty twenty one
Infinite Granite record, and Infinite Granite I got over very
quickly in terms of, like, I don't know, whenever people
got hung up on Infinite Granite because it was not
a black metal record, I always viewed it as like
you're not really seeing the bigger picture, are you? Like
you can not enjoy it if you just didn't think
it was like, you know, if it wasn't material to
your taste, that's perfectly fine. But the idea that I know,
Death Heaven had somehow like shat the bed or like
thrown all you know, the baby out of the bath
or everything by making one record that was not like
super metal, Death Heaven I never really jived with. And
this is just absolute confirmations like, yeah, it was all
fine all along because Death Heaven have released a metal track,
and not only that, I guess you would say, aside
from Black Brick, which is a non album single, this
is the most metal track they've released since New Bermuda
in ten years.
Speaker 3: Yeah.
Speaker 2: Now this is like a real kind of like just
icy cold like black metal Assort on you because I've
remember when we reviewed the last album, you were saying,
like your opinion on this album will kind of like
cement itself when the next Death Eavan album comes alone
as to whether as whether this is you know, just
kind of an interesting experiment in their peer in their
sort of catalog where they've gone, we're going to zero
it on this particular sound, or if this is what
define is going forward. And I think now that we
kind of, I guess have some degree of confirmation that
this that even Grant was kind of like a we're
gonna try one.
Speaker 3: To swing and do something different.
Speaker 2: I've now been like, yeah, cool, I'm really glad that
even Grant exists in the sort of form it does,
because then we've they've come back and they've done this
and it's gone, oh yeah, when Death every want to
be a fucking just black metal band, they're fucking brilliant
it still and they're just as good doing the shoega stuff.
And I'm glad we can have all of it. I've
together individually Death haven't they did? There are just such
an interesting creative band, and I think this is just
really cementing that.
Speaker 1: Yeah, I think for what it's worth I think, like
Infinite Granite is a record that I really grew to.
I liked it first of all, but I really grew to,
you know, genuinely think it's great and that idea. Like
I said that if there was any worry about what
followed it, I kind of put it to bed fairly
quickly in terms of, like, I don't think Death Heaven
are just going to stay in that lane. Yeah, So
this wasn't a surprise. It was just like confirmations like, yeah, cool,
the next Death Heaven is going to be something, something different.
And when I actually heard the track itself, my only
thoughts were just a prevailing fuck yeah, because not only
is this you know, metal Death Heaven, which you know,
that doesn't make it inherently better than other kinds of
Death Heaven, but I do enjoy it. But this is
just such a strong track. I think it's only four
minutes long, which is very short by Death Heaven's standards,
but it's got this real, like per person focus to it.
I think, like the way it moved through those four
minutes is just so satisfying and direct, and I am
so locked in from the moment it starts and then
when it arrives at that like unreal like crunch groove
riff around the halfway mark, I just I just get chills.
I am very I'm always excited for you, Death Heaven.
But I mean not only do I not necessarily expect
this record to be you know, ten twelve versions of
this track, but just on the quality of this track,
I am like totally signed up for load of people
with power.
Speaker 3: Yeah.
Speaker 2: No, I think this is like super focus, super direct,
and like anyway, it is kind of like efficient by
Death Evan Sanders, and you're just kind of like throttling
you about for four minutes. Hear you have some big riffs,
and that again, even when they're being moment can be
a little bit uncharacteristic for them because they they don't
until you know, kind of stick in to this sort
of lane for a whole song. But it's a really
cool thing and it just yeah, it's just a great
bit of songwriter that it's gonna be going if definitely
kind of gonna be like this like at it, even
if it's gonna be in different guys as a cross
the album.
Speaker 3: Yeah, sign me the fuck up.
Speaker 1: Yeah, like the Death Evan that reminds me of the
most of our tracks, like the metal halves of tracks
like Brought to the Water and Lunar and stuff in
Bermuda and the like from the Cattle the Coil single
They're Dinner around that time, just like the most purely
direct metal side of what they do. And that's kind
of it takes me back to a nice point about
ten years ago when you know, that was all the
conversation with Death Evan and we were so excited about
not say that we ever really dipped in Death Evan,
but like it's just like, yeah, remember how great Death
Evan can be. So excellent stuff. They've also announced, if
you're in the US, a support in a you know
tour for that record with Gatecreeper and Trauma Ray as
the opening as Trauma Ray, not to be with Trauma Bond,
who reviewed last week. I'm not really familiar with with
Trauma Ray, who aren't Gatecreeper opening for At this stage,
they are the busiest band of twenty twenty five. It
seems like they're.
Speaker 2: They're locking in and and sort of just going out
on every big tour they can.
Speaker 3: I think that's what they need to do.
Speaker 2: You know, they are a real kind of pivotal point,
so get them out as many audiences and that should
take them up a step further.
Speaker 3: Yeah.
Speaker 1: Yeah, so good for Gate Creeper and very good and
exciting for Death Heaven. We also have the news of
a new Behemoth album, which is going to be out
on May the ninth, though you know, a little bit
over the horizon compared to the other records that we
are talking about coming out on on Nuclear Blasts, all
of their last you know, many have been and it
is called The Shit of God of of course with
a V. And they've released the title track from that
album as the lead single, only an eight track album,
so we're kind of but dialing things back a little
bit seemingly. But this has resulted in the last twenty
four to forty eight hours in the general tediousness that
I associate, not even necessarily with Behemoth themselves, because Phemouth
are literally one of my favorite bands in the world,
but they're one of those bands who, for how much
I love them, I hate their album rollouts now just
because of everything that seems to fallow in their wake
and for what we essentially have here. As we get
onto the track in a minute, like we've got some
new music that I really really like, but just everything
that comes with it, I just go, oh, for fuck sake,
can we just skip forward to the bit where only
I am the guy who is like still listening to
and thinking about the album and the press, like when
everything has moved on, because I just really tiresome.
Speaker 3: I get that.
Speaker 2: I mean it frustrates me being up him off, because like,
I think the music has very rarely dipped in quality
since the kind of like period of PHEMI if I've
got into I think the last album probably the weakest
because of just some weird questional production choice and all that.
But there's always been great music. I like, it's the
stuff that surrounds me with that. I just kind of like, ah,
for fuck's sake, like like bit cringe press quotes or
album title song titles all of that, and it's like,
man on the safe this you weren't doing this, You
didn't have to try this hard. You were majestic and
evil and look or inspiring all those things we talked
about in that twenty fourteen special. You can still be
that music. Clearly, you don't need the edge lord kind
of like set dressing.
Speaker 3: Yeah, and It's bizarre because.
Speaker 1: People act like every single Behemoth album has some kind
of terrible title something. It's like, I mean, just a
game for the record, like I Loved Ya Darkis. Some
people didn't like that title because I know it sounded, I.
Speaker 3: Know, fine, like the God equals Dog is the only sort.
Speaker 1: Of that that was the signal from that record. The
next one Opus Contranataram. Again, it's a usual just sort
of like flowery Latin black metaly type title. But I
like the I like the title, I like what it
kind of translated to, and everything all good. This is
their first bad album title in at the very least
a very long time. I don't remember that one of
the last one you'd say that would be. But it's
just so like I think this is also exactly why
they've done it to a degree. Is it's it's feeding
the hatred towards them, isn't it. It's Likenurgle for whatever reason,
whatever's going on is weird head. He clearly to some
degree gets off on the fact that so many people
don't like him and so many people think he's a
charlatan or whatever, and so he almost just like intentionally
puts his foot in his mouth again to do the
dumb thing. And and it's annoying to me because it's like,
I am just a fan of this band and their
music and generally what they stand for and everything, but
it means that like both Behem with themselves and then
just everyone who doesn't like Behemoth and wants to make
it vocally normal the time they don't like Behemoth. Uh,
it's just it's so impossible to get away from. And
this before we'd heard a note of music, was like, Okay,
the album's called The Shit of God. That is like
literally like the last album was for whatever comments or
whatever around that, Already the entire album is going to
be completely like over overwritten and overlooked just because of
like what they've slapped on the title. And it's not
like it's not a I don't know, questionable offensive title
or anything like that. It's like no worse than most
day aside titles.
Speaker 3: Yeah.
Speaker 1: Again for the like the pure you know, black metal
gremlin out there who don't like Behemoth because they're too big,
it's no dumber than a profanatica title. Even like you know,
when portrayler guilt, did Christ fucker or something. It's just
blunt and obvious. I get it, and it feels, you know,
it is try hard and it is uninspired and it
suggests a lack of things to say, which is unfortunate.
And it does make me laugh a bit that the
chorus in this song he basically does like an acronym
and he just spells out like the the was it
the Christ the ground like Jesus acronym thing and it's
like a it is for you know whatever. It's it's daft.
But I just I'm tired already of how the album
is going to get completely overlooked because of that, and
it's always gonna have this asterisk. So even the people
who like the album are going to come out and say,
but the title's dumb. I just want to talk about
the music.
Speaker 2: Yeah, I mean for me as well, Like you look
at the pre shots and the video for that, there's
there's so much amazing artistry to be him like, and
these sort of things get in the way of that,
and I'm like it kind of contradicts itself, where like
they have these like really like majestic, impressive kind of
visual side of things and then they slap on the
shit of God on that and it's just kind of
like okay, like and I'm with you. I will get
over the ship of God and I will you know,
by the time the album comes out, I'll have like
put that type with a little box and he's gone, okay, yeah, fine,
what's the music up to?
Speaker 3: Like I've done with this soul and so like, yeah,
should we go into that then?
Speaker 2: Yeah?
Speaker 1: Just last thing again, just looking over the track lists
and stuff, even beyond the title of the album and
the title track, people have like been roasting the fact
that the last track, I think it's called Avenger. It's
Avenger the dread Vulture that every single year is you know,
there's a there's an excessive amount of v's in that thing,
and I think with the Vultures that the vv yeah,
which again I'm just viewing it like I'm literally right now,
I'm wearing a d Aside hoodie right like, I'm I'm
okay with stupid people in metal, stupid things in this
kind of vein. I'm just gonna take it like that.
You know, like Behemoth, they are are big budget, insanely overblown,
you know, blockbuster extreme metal band. I just want them
writing big music on a batshit kind of grand scale,
and as we get onto the tackle track of the
Shit of God, I think that's what they've done, because
it is really I mean, I wouldn't say there's any
surprises in it. I would say that certainly these last
couple of records feel like, you know, wherever a decade
now since a Satanist, they've everything post Satanist through some
degree or another, has sort of settled into that post
Satanist kind of lens. And I don't think we're seeing
many grand swerves or anything, but if you like that thing,
this is a genuine banger of the kind which I
put on and I was immediately lifted in just terms
of like all the yeah, the nonsense, whatever. But it's
so direct and it is so immediate in what it's
doing to a degree that I don't think many extreme
metal bands can be because they don't write songs as
kind of instantaneous beam with yeah.
Speaker 2: I mean, i'd say the only thing I sell on
the immediate thing is that the very first thing here
on the song being that kind of like noble kind
of growling and then go oh yeah.
Speaker 3: I was like, oh no, But then that riff hits
and you get this.
Speaker 2: Just big, like mean kind of swinging groove mixed with
the kind of like again just like grand cinematic blockbuster
black belting that may do.
Speaker 3: And it was like, oh, this sounds wicked.
Speaker 1: Yeah, I mean the first thought I had when the
riff hit is it sounds a bit like a black
metal Swerve City.
Speaker 3: Yeah, it does like that. Yeah, it's just elastic. He
kind of bounced and swing to it.
Speaker 1: When you think about just the immediate like head bobbing
kind of thing that I feel like Swerve City has been,
you know for every decade now, kind of like a
go to example in your head of what that is.
This is like a kind of black metal you know,
choirs laid over it kind of version of something like that,
and totally signed me the fuck up for that. I
did think it just we're gonna got one track to
go on, But sonically I had like no real problems
with it. Like, I think the production on this produced
much better than the last album.
Speaker 3: Yeah that was the other one.
Speaker 2: Outside of the initial bit, I was like, Okay, it
sounds better, it sounds bigger. They're not shooting themselves in
the foot with the production.
Speaker 3: Cool.
Speaker 1: Yeah, because I thought the last album was really really excellent,
and I probably I'm not gonna maybe expect loads to
this album, maybe beyond what was on the last album,
but purely sonically, it is better and it sounds more
like the kind of you know, like I loved your
darkst going back to the Satan, this kind of approach
to sonics, which I'm totally down with, and it makes
it sound so thick, It makes it sound so tall
in terms of the amount of different sounds they put
on top of it, with the choirs and everything. The
music video is great and a typical Behema stuff, but
again it's just kind of imagery that they just have
such a like iron grip over.
Speaker 3: I love it. I love that sort of shit. They
make it look so cool.
Speaker 1: Yeah, and again I've seen some points about the artwork
as well, and I don't really mind the artwork. It's, uh,
you know, it looks like a kind of a gargoyle
from some kind of like ancient culture or something that
had show up in an old horror movie, like like
Knight of the Demon or something. It's not their best
album cover, but I don't think it's worth you know,
getting upset about either. It's just just a face, So yeah,
I really I've listened to it a bunch of times.
I think it's a big old banger. I think for
our again, our blockbuster, you know, high punching, heavy hitting
kind of extreme metal band. It's exactly the kind of
song that you'd hope they'd be putting out. It's just, please,
let's just stop with the asterisks around like, oh, I
like the Behemoth, but every single time, because it's going
to get so so tiresome and boring. I'm already bored
of it. They've they've done it to themselves. But tune
a tune, so new Behemoth A shit of God coming
later in the year. We do not have news of
a record of this, but it is of course momentous news.
Poison the Well have announced this week that they have
signed to Sharp Tone Records. They've generally been ramping up
the wheels, haven't they, after I guess a few years
of sort of like minimal activity likes doing that's here
and there. But it feels like Poisoned Well are now
like truly actually back and act as a band because
there have been so many too announcements and stuff, primarily
of course, you know, doing operate at December anniversary stuff,
But we haven't song the first Poison the World track
in I believe like over fifteen years. The track is
called Trembling Level. It is just over two and a
half minutes, so it doesn't give you a lot of
time to get bored of Poison Well if you were
going to get immediately bored with them coming back. Sam
Poison the Well a really beloved, revered band for fans
of classic metalcore, of which you certainly myself as well.
You certainly are very much a part of I guess
you know, Poison being around, there would have been some
hope there'll be new material. We did get news end
of last year that they said there was a record coming.
Presumably it will be honest, But the first two Poison
the World track, I mean presumably in the time that
you and I have like both really been fans and
aware of them. So what do you make of it?
Speaker 2: So I could when I put it past out, I
was like, like, set expectations because I love the only person.
I was like, you're not going to get opposite Simpati
from that. Fine, I was like, I will take better
than the tropic roll, which is the one Poison Well album.
I'm not really like I don't think I think. I mean,
I think that's fine. It's my least favorite by some way,
so it's like I will accept better than that as
like cool, great, I'm still I was really impressed by this.
Speaker 3: Like it is for a song that is like.
Speaker 2: Two and a half minutes, it covers quite a lot
of ground in that sort of time that they are
not kind of like it's not you know you kind
of in and out just kind of fast heavy, let
let's sort of go song that there is a real
kind of sense of like packing in ideas and kind
of like it is a again, It's like it's basically
saying but like you know, this is an older poison
while coming back, it's not gonna be as kind of
like savage, as opposite of December, or as like heart
on sleeve emotionals tear from the Red. But it is
just a kind of weathered, mature, like kind of like
grown up sending poison or that goes hard but it
needs to has a real kind of somber melodically when
needs to do, and it just kind of like say,
packs it all in in like like a really nice
type package.
Speaker 1: Yeah, I mean It's funny you say that because I
actually thought this to me sounded like promise of something
that I hoped that would be the case if poison
Well came back, which is how contemporary it can actually sound,
because it's got this like, you know, thick kind of
you know, sharp tony production to it opening, like you know,
just stabs of guitar. It's like, you know, full on
just metal crunching up in the pact feel, and then
the switch into the pace is great. It's got wild,
raucous vocals, and then when it switches into the melodic chorus,
it kind of again, it took me off god a
little bit because I was so enjoying the pace of it,
but it is a cool switch and it has that
you know, airy kind of dreamy feel.
Speaker 3: Yeah, yeah, I look for the chorus.
Speaker 1: Yeah, a lot of contemporary you know, metal or hardcore whatever,
if it goes from a lot of vocal does kind
of take on. And that's the thing that Poisoned Well
have done for a long long time. So I don't
think that it's not like they are switching switching up
what they do to kind of fit in or whatever.
But it's like it's like yeah, this is I mean,
if you ever like Poison Well, there's something in this
song from a different era or another that kind of
should appeal to you. But the way it's just kind
of put on tape sounds contemporary to me. And it's
because you know, like they are, they're still being ripped off, right,
It's like they're kind of you know that we've seen
this sort of second second wind of like Poison Well
appreciation and you know, inspiration in a lot of contemporary metalcore,
and so I guess that has kind of played in
their favor here at least where it's like they can
fit in with a lot of what is contemporary in hardcore.
Like if you like any Sharp Tone Records type metalcore release, it's.
Speaker 2: Kind of like, you know, the Dying Wish album from
the other year, like any of that sort of stuff.
I can't see why you would hear it like, yeah,
this rips.
Speaker 1: And my hope is, like I think to a degree,
they probably will. You know, they're not going to suddenly
become an enormous band. I think they will probably just
continually be overshadowed by what is genuinely commercial in metal
core at the moment. But at least on the kind
of you know, like respectable hardcore kind of level poison
Well kind of that with this, to me, sound like
they sound like they can hang with what you're currently
going on, and it's in big part because of how
much of that they have inspired. But it's just really
nice to hear them totally fitting into and slipping into
the current landscape.
Speaker 3: Yeah. Absolutely, Yeah, so very much.
Speaker 1: Looking forward to more news really of more Poison Wol
material to come, a couple more album announcements, because they
just keep on coming. In Human Nature, the UK based
crossover thrash band have announced that they have got their
I believe, their second full length studio album. It's called
Greater Than Death and that's going to be out on
April twenty fifth. There is a track from that out
if you want to go hear it. And also Epocha
have announced their new album, the follow up to twenty
twenty one's Omega album, which both me and Sam were
mega fans of. That record is called The Aspiral and
that's gonna be on April eleventh.
Speaker 3: And as looking Busy yea, I.
Speaker 1: Think March is the real hotspot right now, but again,
April's stacking up as well, so lots of new records
to get excited about before summer arrives. We got confirmation
this week. I guess that xenier A Xenoyar, the black
haired male model looking guy from Neoblivers Garus, has in
fact left the band. We saw Neoliscaris at Damnation recently
and one of their two co vocalists was absent. They
had a filling guy with them. He's announced this week
that he has in fact, like fully, you know, kind
of annatelely but you know, stepping back from Neioblivis Garus
and the guy from Black Crown Initiate who was the
filling singer when we saw them, is now permanently filling
that role. So just confirmation on what's going on in
the Neoblivis Garis camp. And a handful of show announcements
seemingly every single week on Hyperblasse. Here we have the
Frank Carter fronted version of the Sex Pistols announcing another
new show somewhere. They're very, very busy. Why not? This
time they are announcing a Teenage Cancer Trust show at
the Royal Albert Hall, which features a bill also including
Kid Kapechi supporting on that that is March twenty fourth.
We also have news that Wasp are going to be
bringing their fortieth anniversary debut album tour, which at the
end of last year went around the US in quite
a fashion, didn't it, That is going to be coming
to Europe and the UK later this year. That in
you know, the UK for example, it's going to be
sort of mid to late July is when that is
coming around. And wait, no, hang on, no, sorry, they're
doing a few right so the mid to late July,
and then also they're coming back and playing Manchester in
London and so on in September. I god I as
we've given ad nauseum, I love that first Wasp record
so much and I would love to see this show.
But also what unfolded at the end of last year
on the US dates, so this makes it I don't know,
it's a it's a whole dilemma right now, isn't it, Wasp.
But you know, for the fellow Wasp fans out there
with a political conscience, I suppose.
Speaker 3: Like me, we make that choice as it comes.
Speaker 1: And Godflesh have announced that they are going to be
playing in London, actually a London in dub show. So
basically for the first time since the late nineties there
was one show where Godflesh did a live kind of
dub performance with Justin doing kind of live dub mixing
as part of the sort of general mix of Golfer.
So a weird, different, unique Godflesh kind of experience. They're
doing that for the first time in you know, since
since that point had a show at the Scala later
this year, so live news there. We are going to
skip questions this time because right after this I said,
we have to go and record the album Club Pack
that will be out everywhere as you are hearing this now.
We'll bring questions back for Hyperblasts next time. But I
suppose that neatly leads us on too if you want
to go and join us over on the that's not Patreon,
Patricon Slash, that's not now all that is where you
will hear so far this year, we have done the
first part of our Black South special. The do years
will be picking that story up very very shortly, you know,
in a couple of weeks time. But right now, as said,
up available for you all as this Hyperblast goes out,
there will also be this week's this month's album club Pack,
which features the likes of Saboton's Corollas, Rex, Family, Force Five,
Business Upfront, Party in the Back, Hate Breeds, Satisfactions, Death Desire,
and Visigoths The Revenant King. We have not yet, as
we are recording this right now, had this conversation, but
we have been talking about it in our TNM host
group chat, just unable to contain ourselves essentially the whole time.
And you know, I think there's one album there that's
going to kind of grab the what the fuck are
you guys talking about? Thing? But just to say, I've
really been enjoying doing my work on the other albums
around there as well. So if you want to hear
that right now and get involved with all that, you
can go to patreon dot com slash that's non Mattal.
Your support there is what has after all of these
many many years, kept this podcast alive and afloat so massive.
Thank you to everybody who does that. Let's sign off
this with the releases. First of all, because last week
was a reviews week for us, there are a few
records that came out last Friday that we haven't spoken
about that we can just quickly shout out here one
of them quite you know. A notable one is that
Dax Riggs released his first solo album in about fifteen years.
Speaker 3: It's called Seven.
Speaker 1: Songs for Spiders. If you don't know the name Dax Riggs,
you might, after last year know the name acid Bath,
the sludge band who in crazy fashion reunited. He is
that band's frontman. Post acid Bath, He's done all sorts
of stuff. He had a solo career but obviously kind
of went quiet, went you know, very not doing a
lot of you know, productivity there. And then, bizarrely, at
the exact same time Acid Bath announced the re united,
he was also like, by the way, I've got my
first solo album in a long fucking time coming out.
That is now out. You know, I've listened to it.
It's kind of cool, you know, sort of dingy alternative rock.
You know, if you've heard Acid Bath, the cleaner side
of what that guy does with his voice. It's available.
Then it's a really short record. It was like twenty
five minutes long, so it's worth a little spin elsewhere.
One of the current contemporary I don't know what you
would even call them, sort of brit rock whatever you
would call them alternative. I suppose bands Vukov they put
out a record called My God Has Got a Gun,
pure Swedish style heavy metal, like just the most Swedish
thing you can imagine, having not moved any further part.
In nineteen eighty three, basically the band Century put out
a record called Sign of the Storm. Staying in that
region of the world. The band Avatarium that used to
be a quite doomy candle mass spin off and then
turned more and more into a kind of prog band.
They have put out a record called Between You, God,
the Devil and the Dead. If you just want some
more basic sludge metal fair there's a band called Negative thirteen.
You put a record called Recover What You Can. The
post black metal band, sort of depressive post black metal band,
Harry Kiriy for the Sky put out a record called
Scorched Earth. That is, if you've heard of this guy,
you know the kind of to expect. But you know,
there's a guest appearance from some Serena Cherrys and Fourebard
on there. There's a radio head cover at the end
for some reason, but there you go. Harry kier for
the Sky, and there was also an ep of again
sort of sludgy, noisy fair sun rot passages. Let's move
on to today the thirty first. Firstly, two records that
we reviewed on last week's show are now out in
the public available for you to hear. Those are then
Night Flight Orchestras Give Us the Moon if you want
to hear what a Jam, Shooting Velvet and all those
other tunes are. And then there's also Grief Rituals Collapse,
which was the UK super like nihilistic misanthropic heavy hardcore
metallic hardcore band post hardcore supergroup. The band that features
Frankieero and members of Thursday and so on. LS Junes
have got their new following record out called Violet. I
don't know how much people seem to care or like
about Ellis Junes. They seem to put out records that
really come and go. What do you think?
Speaker 2: Yeah, Like, I think there are people who will follow
what Frankiero does and will always just be there for them,
And I think there are people who just like that
kind of potographing they do it, but as a supercrep,
it kind of feels that they're kind of just existing,
like for giving those guys something to do what's their
main bands will take forever to do anything.
Speaker 1: Yes, then we have the debut following album from the
band called Taine. The record is called Love that is
you know, sort of industrial rock, very much in the
vein of like health and of course nanich nails and
stuff like that. I also, I very much appreciate the
fact that their name Tane comes from the Paul Rudd
cellery man. Can I get a new Taine sketch if
anyone knows what the hell I'm talking about there? But
that record is out, UK based band. If you want
some more hardcore, metallic hardcore, fair Great American Ghost put
out a record called Tragedy of the Commons. The Swedish
garage rock legends the Helicopters they have put out I
think it's their second record since coming back from a
bit of a creative hiatus. Their record Overdriver is out
and if you are in that kind of seventies mood,
then you can go to you know, the the band
know iconic band Pentagram, who released their new record Lightning
in a Bottle, first Pentagram record in a long long time.
Jonathan Holton, the former Tribulation guitarist who then left and
turned into yeah, he's the guy. He now does like
strange ethereal folk stuff. His second solo record, Eyes of
the Living Night, is out now, and I haven't heard
the full record yet, but it sounded even more like
the first record was kind of acoustic. This one sounds
even more kind of I don't know, all wide screen
ethereal like airy stuff. So yeah, I don't really know,
but I'll check it out because of course, you know,
he was in one of my favorite bands and if
you need out and out scum scum, scum nastiness, one
of the most infamous war metal bands of all time.
The band Revenge have released their record with of course
full stops in between every single word violation, strife, abominate
and a European sort of blackened crust type band Screwda
with umlapped on the You have released a record called
Fury Ruin. So that is the end of January releases
on our end here. Thank you very much for listening.
Let us know what you make of all the little
tracks that we spoke about earlier. Please don't get too
upset about titles or whatever. Let's just talk about the music.
And we are about to go on and record that
album club Pack for you all, which clearly we are
absolutely chumping at the bit to do so. So we'll
be back here next week with another Hyperblast, more news
of what else we have going on, and have a
lovely weekend. Everybody cheers, Bye bye,