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Speaker 1: Hello everybody, and welcome to That's Not Metal. This is

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your weekly rock and heavy metal news show. We are

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here with you.

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Speaker 2: Every Friday, and today it is.

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Speaker 1: It feels like it's quite soon, I guess, since we

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did the last little one with with Deathtones and Song.

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But we are back again with a big old reviews

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bag for another very big month. We are here in September,

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and today we are going to be discussing in depth

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the new album releases from Lorna Shore, Flesh, Water, Scorpion, Milk, Lad, Dispute,

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Modern Life is War to veg Isner, Fry, Height and Disputes.

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My name is Perry and Haish with me across from

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me ready to tackle every one of those titles and

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more is Sam Dignon.

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Speaker 3: How are we doing all good?

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Speaker 2: Yeah?

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Speaker 1: We had a big old week, didn't we in regard

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to some of the stuff that we've been building to.

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I suppose with the show because I actually realized, along

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with a turnover doing Peripheral Vision, who I spoke about

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on last week's show, I saw three bands playing albums

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in the course of about thirty four You've you've been

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like super busy with these big anniversary shows. I've only

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been at one of the many anniversary shows going on

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right now, but you've been at a whole bunch of Yeah. So,

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like I said, I spoke about Peripheral Vision last week,

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which was which was very good. The kind of the

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most last minute affair of these I supposed for me

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was go and see Cavin playing Jupiter, which we did

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an album club back at the start of the year

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at a point where I didn't actually know I was

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going to be seeing it because that UK shows what announced. Yeah,

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we just did it because you know, their roadburn was

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coming up and they were like, that's a cool album,

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let's do that. But pretty soon after that they announced

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a UK leg of playing their you know, seminal kind

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of progressive space rock from the realms of metallic hardcore

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record Jupiter. Brought that round around the UK, along with

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obviously two very different sounding albums that.

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Speaker 2: I saw on consecutive days here.

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Speaker 4: But I was about to say good weekend, I say

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the millennial metal core weekend of.

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Speaker 1: Ye, it was a big weekend for forty year old

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dudes with Jane Doe tattoos but.

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Speaker 4: Fannel shirts and like all yeah, yeah, obviously two.

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Speaker 1: Like even though you know, both like y two k

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as we say, East coast metallic hardcore bands. Two wildly

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different sounding records, and the Jupiter show was very very cool.

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I was a bit annoyed so in at the London

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show it was cave in with Torch doing their like

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you know, comeback show for it. But elsewhere in the

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UK they were split and talk were playing here like

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two days afterwards and just put them put them on

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the same thing again. But Jupiter was was really cool.

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It's you know, not an album I would say, necessarily,

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you know, unlike the opposite of December. It's not necessarily

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like a you know, big live, go crazy all the

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way through the type album. And it's really like, you know,

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when they're doing those lengthy tracks like Requiem and stuff,

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you can really kind of just get lost in it.

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But it's a wonderful record and you know, hearing you know,

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Nate Newton obviously is the basis now in Caven, having

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come over from Converge recently and seeing him and Brodsky

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there together, which just like these are some fucking icons,

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you know, and all the Jupiter stuff sounded fantastic. They

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also sort of towards the end of the album before

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new Moon the closing track on it, they inserted something

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that I think they used to do live around the

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time of Jupiter, which is why they brought it back.

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But they did a cover of Dazed and Confused by

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led Zeppelin and hearing Nate Newton's base tone on that,

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Wow we we was and you know, Brodsky doing the

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whole fucking you know the confew so long like that

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was sensational. And then you know that last little energy

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boost with New Moon at the end, and then they

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came out and did one of the long songs from

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the latest record, Blinded by a Blaze as an encore,

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but seeing so they led more.

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Speaker 4: Into sort of the proguia side of their sound to

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sort of match up with JUPITERI.

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Speaker 1: Yeah, yeah, it wasn't a Moshi Caban show at all.

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They had like some original pressings of Jupiter that they'd

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like dug out of a box or something like on

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the on the March with them. But yeah, I mean

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it's the kind of show that I imagine at like the

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at the thirteen Papodium where Roadburn happens in that venue,

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I imagine it would have been absolute magic. It was

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still like pretty damn cool in Manchester's Club Academy and

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the very following day a few days later for you

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and I know, just to complete the trinity because he

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did the special with us, Mark went to the Glasgow

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date as well. Poison the Well come around for their

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first proper UK tour in Forever because you saw them

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outbreak a couple of years ago, but a proper UK

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tour celebrating twenty five years of the Opposite of December,

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which is also a very short album, so we knew

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there'll be more than enough for lots of other material

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as well. If you're not aware, we did a full,

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deep dive, full discography analysis type special over that's what

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our Patreon earlier this year about Poison Well and what

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a phenomenal seminal. Also varied often at times band they've

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been and it's very rare actually that we do a

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special and then the opportunity to like actually see them

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in the flesh comes around so soon. You know that

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there have been lots of cases where we've done one

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and I've been like itching to see them, but then

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we don't actually get the shot for like a few

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years or something, or it still hasn't happened. Whereas you know,

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get doing that special and then within a few months

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having actual poison Well I hear and it's all still

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fresh in the memory, you know, like this was for

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that reason. This was one of the shows that I

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was you know, looking forward to more than most things

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this year.

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Speaker 3: So, I mean it's funny.

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Speaker 4: I've had a few people come up to us and

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say they've got tickets to this show off the back

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of us doing that special and them kind of going,

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I need to find out why I'm missing out on,

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which I'm that's great.

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Speaker 3: I like, that's why we do these specials sometimes.

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Speaker 4: And it is like for about like Poison role who

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like we fucking love and like so sort of cult

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sector medical fans. They are gods, but they are you know,

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relatively cult.

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Speaker 3: Band, you know London.

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Speaker 4: They were playing Electric Ballroom, which is the same when

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you like Botch played, so they're in that kind of

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like legendary but slightly remember but like people come hound

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and sort of being like, yeah, no, I've gone to

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Poison off the back up special when I had to

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go see this show, So it was about like that's

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what it's all about. But yeah, this was for me,

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you know, Round two of Poison role in just over

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a year. But I mean after waiting so long, I

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wasn't gonna, you know, pass up like another opportunity to

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see him again, especially playing Opposite of December and then

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some extra stuff in Fall.

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Speaker 3: So I was so geared up for this gig.

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Speaker 1: Yeah, this was my first time seeing Poison in the world.

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But because I spent so much time earlier this year

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watching live sets of theirs online, I almost felt like

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I was watching something I knew, you know, because it's

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like I I portrayed my brain to be so familiar

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with Poison wel and like their movements on stage, It's like, yeah,

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there's Ryan, you know, standing and going crazy playing guitar

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the way that he does.

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Speaker 2: There's Jeff.

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Speaker 1: So it was basically, you know, it was a fulfillment

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of everything I'd kind of already ingrained into my head

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from beforehand. Butts, god, what what an incredible band. I mean,

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Opposite December as a record, you know, they they did

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like they broke it up over the set, but a

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number of the tracks from other records spliced in as well,

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and the Opposite December stuff from you know, the opening

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salvo of twelve twenty three ninety three, which just immediately

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clicking to that really like hyped up way of opening

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the show, even though its.

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Speaker 4: Crowd went mental right away like zero to sixty.

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Speaker 1: But then you know, a couple of tracks in after

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that and a wish for Wings at work. They're dive

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in sideways into ghost Chant and then Bochela, which obviously

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you go off back onto a couple of ob December songs.

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Halfway through you're getting into the likes of Slice Paper Wrists,

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which I was just going so big for because you

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know that I remember.

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Speaker 2: The day is big.

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Speaker 1: But that was like the first, maybe after the Boxular,

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the first like absolutely insane moment of the set. I

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want to mention as well. Trembling level the new song

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which they released like was it earlier this year or

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last year or something, but it was.

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Speaker 3: Late last year. Yeah, Yeah, sounded great lively.

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Speaker 1: I really liked that song on record, but live it

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sort of slotted in so seamlessly without the difference in

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production and everything, and you go like, oh, yeah, that's

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just like that's a Poisono Well song like we all

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know them to be. So that was really promising. They

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did announce as well. I'm sure they did at most

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dates that the new poison Well album is basically finished

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and they're looking to get it out the beginning of

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next year. So hopefully, you know, this time, within six

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months or something, we'll have a new poison Well album

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to be discussing and talking about. When we got to

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the latter end of the show and obviously artists rendering

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of me huge moment. That's the moment where everyone just in,

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I will not swallow your false ideals, that whole moment.

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If you again, if you're not familiar with the poison

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the world, that is like the massive gang Chann't everyone

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in the room bellowing that moment.

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Speaker 2: But straight after that where they can believe it, where

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they hit let a thing, which, if again, if you've

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not heard, are Poisoned Well Special the fourth poison Wel

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album versions We knew you know very much so because

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they are the trinity that even advertised it as such

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on some of the tours recently.

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Speaker 1: The first three poison Well albums are the like universally

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agreed upon staple classic ones and so I knew you know,

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We're They're poison an opposite December set, but author with

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lots of time, we'd be getting songs from at the

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very least Tear from the Red and You Come Before You.

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In my head, I was almost geary up to be like,

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if only they'd thrown in something from Versions, then it

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would have been been perfect. When you're talking about the

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feedback we've gotten on the Poison Well Special, this is

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one of the most affirming things we've done lately. Is

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everyone who's gone into our Poison Well Special sort of

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blind not knowing the band too much, has come out

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being like that Version's album is fucking incredible. Why don't

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people tell us to listen to that one the way

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they do You Come Before You in an opposite December,

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because it's the secret masterpiece of the Poison Weld Cadin.

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When that sweet Air whole thing started going, I like

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was just like looking around me being like, oh my god,

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I can't believe they're doing this, looking for anyone else

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who would like be as enthusiastic.

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Speaker 3: There was a cup of us down the front go

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for it his own down lefting.

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Speaker 4: He's got like the slide guitar ring out and he's

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playing sort of like slide guitar, and he's sort of

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like thinking. I was like other medical bands aren't doing

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this like this is like the invention of poison Well

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on versions as an album, and they're kind of like

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we're going to try new things in metalcore. Like it's

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so to appreciated and I'm so glad at least at

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least that song, which is no just this such a

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sick way to open that album and kind of like

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being this like rageer, but that is like.

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Speaker 3: Experimentally different seeing it.

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Speaker 4: And again, like I said, like he's got slide guitar

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while he's playing these metal chor riffs.

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Speaker 3: It's so cool.

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Speaker 4: And that of the back of Vice finding me was

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just like, ah, sets peaked. I can't believe I'm this

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because again I didn't know they were breaking up the

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album when I went in. I didn't know the set list,

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so I was like, I thought it would be you know,

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they do obviously, but then they probably come out kicking

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with Bocheler and then you know, do a couple of

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you come for You traps or something like that. That's kind

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of what I had him in my head mission going on.

242
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So when they broke up, I was like, oh, this

243
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is cool. It's keeping on my toes. And then like

244
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when they played my favorite song into maybe their most

245
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underrated song. I was like, Jesus, fuck, this is like

246
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the best gig right now.

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Speaker 3: I'm having the best time.

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Speaker 4: And there was there was a select few at the front, like,

249
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wasn't everyone going mad for let fing because yeah, versions

250
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of that, but there was enough.

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Speaker 3: I was kind of like things in the air for it.

252
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Speaker 2: It was.

253
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Speaker 3: It was sick.

254
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Speaker 2: Yeah.

255
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Speaker 1: And then from there straight into from a Bandaged Iris,

256
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which is my favorite song on you Come Before You

257
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just huge sing a long moments there all the way

258
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through to obviously you know they're going to end on

259
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on on Nerdy.

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Speaker 2: It was.

261
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Speaker 1: It was fantastic for me. Like I said, my first

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time seeing Poisoned, well, I've been a fan for at

263
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least a decade, you know, and but this year in

264
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particular because of our special has been the most I've

265
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ever been in a poison the World zone, getting it

266
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so kind of freshly, well I'm in that, and then

267
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just playing so many fantastic tracks, you know, one of

268
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the most iconic metal crabs ever in full, even throwing

269
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in some deep cuts for you know, the people who

270
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have spent the time in those trenches with versions and whatnot.

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Speaker 2: Yeah, seminal fantastic.

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Speaker 3: Yeah, just all around great night.

273
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Speaker 1: Yes, So that was that's the positive parts of our week. Unfortunately,

274
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a couple of days after for me the poison, the

275
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Well show and that high, we got some more fucking

276
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crushing news and Sam, here we are yet again again.

277
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Speaker 4: Like when you said the other week, you're tired of

278
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doing this, I've read this news is like, not only

279
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do we have to do to do this again, We're

280
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gonna do it again for fucking Thomas Limberg.

281
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Speaker 3: And obviously we knew he was in.

282
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Speaker 4: It was no secret that he had cancer and that

283
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he's like was tracking the album, so you were won

284
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in was he in recovery all that, but it still

285
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felt sudden.

286
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Speaker 3: Yeah, I feared.

287
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Speaker 1: I did fear this was coming because the appligate statement

288
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they put out last month where they said that Thomas's

289
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part of it had been written much earlier in the year,

290
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maybe March or something, and it sounded rough. You know,

291
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I obviously you never want to you know, you never

292
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want to dream of this stuff happening. But I did

293
00:13:29,799 --> 00:13:34,200
fear maybe that this news was on its way, but

294
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I wasn't prepared for it. Like a month after that statement,

295
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learning that he was ill, and us being here again.

296
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After I'm talking about Ozzie, I'm talking about Brent Hines

297
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and all the other people that we spoken about in

298
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the last few months as well, And some of those

299
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people are such giants who have been so integral to

300
00:13:55,679 --> 00:13:59,919
you know, our growth and our journeys as metal fan,

301
00:14:00,120 --> 00:14:02,120
whether it be you know, obviously Black Sabbath being the

302
00:14:02,120 --> 00:14:05,000
reason we're all here, mated on being a band that

303
00:14:05,000 --> 00:14:08,080
many of us have kind of grown up alongside. Here

304
00:14:08,120 --> 00:14:11,399
we are talking about someone whose music means just as

305
00:14:11,480 --> 00:14:15,639
much to me as as any of those and I

306
00:14:15,639 --> 00:14:17,919
I try not to use this term too often because

307
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you know, musicians are just people at the end of

308
00:14:19,919 --> 00:14:22,600
the day, and you don't want to lionize people too much.

309
00:14:22,639 --> 00:14:25,919
But Thomas Limberg was one of my heroes, like one

310
00:14:25,960 --> 00:14:28,919
of my actual if like, if you're going to idolize anyone,

311
00:14:29,480 --> 00:14:32,080
it might as well be someone like Thomas Limberg.

312
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Speaker 3: I can under agree with live that.

313
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Speaker 4: I mean, I came to at the Gates later would

314
00:14:38,440 --> 00:14:41,759
have been mid to early's, mid twenty tens when I

315
00:14:41,759 --> 00:14:43,720
really got into them, But it was kind of the

316
00:14:43,720 --> 00:14:46,519
realization of like, oh, all of these bands, I like,

317
00:14:47,279 --> 00:14:49,120
this sort of melogic death metal band that I kind

318
00:14:49,120 --> 00:14:51,840
of thought was a different thing, kind of just like

319
00:14:52,039 --> 00:14:54,360
laid the ground up for those bands and then kind

320
00:14:54,399 --> 00:14:58,240
of through that discovering what a sort of legends Thomas

321
00:14:58,240 --> 00:15:01,240
Limberg was and like the stuff he didn't how he

322
00:15:01,279 --> 00:15:03,279
just seemed like the coolest guy who was like ride

323
00:15:03,360 --> 00:15:06,200
or die for all kinds of like heavy music and

324
00:15:06,360 --> 00:15:08,840
just did it for the like again, you know, the

325
00:15:09,000 --> 00:15:10,519
love of the game, Thomas Limberg was one of those

326
00:15:10,519 --> 00:15:12,720
guys who did like everything.

327
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Speaker 3: And seeing the tributes.

328
00:15:14,960 --> 00:15:19,240
Speaker 4: From so many again it like metallic, hardcore, medical bands,

329
00:15:19,320 --> 00:15:22,080
like like different bands, all comments are like, yeah, Thomas

330
00:15:22,080 --> 00:15:24,519
Limberg did this for us, Like he helped us through this,

331
00:15:24,600 --> 00:15:26,799
he got us linked up here, and it feels like,

332
00:15:26,799 --> 00:15:29,080
again we've lost one of these like not just like

333
00:15:29,320 --> 00:15:32,919
great vocalists, great musicians, but someone who was a figurehead

334
00:15:32,960 --> 00:15:36,679
for the music that they that they were part of,

335
00:15:36,679 --> 00:15:39,039
that they were like an actual like iconic figure who

336
00:15:39,440 --> 00:15:40,720
lifted everyone around him.

337
00:15:41,440 --> 00:15:45,200
Speaker 1: Yeah, and I I really hope that he was celebrated

338
00:15:45,279 --> 00:15:50,360
enough while he was alive, because I he generally he's

339
00:15:50,600 --> 00:15:53,000
one of my favorite people to ever meet music like

340
00:15:53,080 --> 00:15:56,600
in terms of people who I just when I when

341
00:15:56,600 --> 00:15:58,519
I hear their when I hear their art, when I

342
00:15:58,559 --> 00:16:01,600
hear their voice or just one I hear you know,

343
00:16:02,120 --> 00:16:04,240
about them and what they were doing and what they

344
00:16:04,320 --> 00:16:07,639
like you're saying, what they did for people. He's to me,

345
00:16:07,840 --> 00:16:12,159
Thomas Limberg is everything it means to be cool in

346
00:16:12,480 --> 00:16:15,720
heavy music. And I mean that both in a again

347
00:16:15,759 --> 00:16:20,720
as an artist and just as a person because he

348
00:16:22,000 --> 00:16:25,840
for years he was renowned for being one of the

349
00:16:26,120 --> 00:16:30,360
just like the most good people in this scene in

350
00:16:30,480 --> 00:16:35,679
terms of being one of the most intelligent and considered,

351
00:16:36,240 --> 00:16:40,120
you know, raising the bar for kind of intellectual thoughtful

352
00:16:40,200 --> 00:16:42,440
lyricism and whatnot within the kind of the realm of

353
00:16:43,159 --> 00:16:46,840
death metal. But one of those people whose you know,

354
00:16:47,240 --> 00:16:50,919
fingerprints is in the scene everywhere, just like you know

355
00:16:50,919 --> 00:16:53,360
you're talking about some of those the tributes. Go and read,

356
00:16:53,519 --> 00:16:57,039
for example, the tribute that Darkest Hour posted where they

357
00:16:57,080 --> 00:16:58,519
just tell the story of like how they went and

358
00:16:58,559 --> 00:17:00,279
recorded one of their albums in Sweden and it was

359
00:17:00,320 --> 00:17:03,720
Thomas Limberg who basically like set you know, got them

360
00:17:03,720 --> 00:17:05,680
completely on that path and set everything up for them.

361
00:17:05,680 --> 00:17:08,559
Go and watch Matt Haythee's tribute video where he you know,

362
00:17:08,799 --> 00:17:11,119
spoke for about three minutes in a little video recording

363
00:17:11,160 --> 00:17:12,519
of being like this is all the stuff that At

364
00:17:12,519 --> 00:17:14,759
the Gates you know, sort of laid down for us.

365
00:17:14,759 --> 00:17:17,240
But then you can also go to you know, go

366
00:17:17,279 --> 00:17:20,200
and read someone like Matt mcnerney's tribute to to Thomas Limberg,

367
00:17:20,200 --> 00:17:22,119
who is coming out from a totally different angle. And

368
00:17:22,160 --> 00:17:25,400
it's not just the you know, at the Gates set

369
00:17:25,400 --> 00:17:27,759
the standard for what became metlicor in the two thousands

370
00:17:27,759 --> 00:17:30,200
and so on, but like a whole other side of

371
00:17:30,240 --> 00:17:33,960
what Thomas Limberg's met work meant to, you know, underground,

372
00:17:34,000 --> 00:17:36,640
the kind of grassroots of heavy music. I mean, he

373
00:17:36,680 --> 00:17:40,720
designed the Dark Throne logo, like a top ten metal

374
00:17:40,720 --> 00:17:42,640
logo of all time, that one of the most easily

375
00:17:43,079 --> 00:17:48,759
like parodiable recognizable logos evert logos. Y yeah, came from

376
00:17:48,799 --> 00:17:52,519
his pen because everyone who particularly if he reads you

377
00:17:52,559 --> 00:17:54,799
know what the guy is in the Gothenburg bands, whether

378
00:17:54,839 --> 00:17:56,839
it be obviously band members about the Gates or people

379
00:17:56,839 --> 00:18:00,160
from Dark Tranquility, Arch Enemy or whatever like ever on,

380
00:18:01,160 --> 00:18:04,319
kind of points to him as being like the the

381
00:18:04,359 --> 00:18:06,799
heart of that scene, like the most important both in

382
00:18:06,880 --> 00:18:10,279
terms of being an inspiration because Thomas had you know,

383
00:18:10,319 --> 00:18:12,359
bands like Grotesque before at the Gates, who were kind

384
00:18:12,400 --> 00:18:15,319
of the the standard setter for a lot those bands

385
00:18:15,319 --> 00:18:18,519
when they were forming. But then as we're saying the

386
00:18:18,680 --> 00:18:22,079
you know, the the personal kind of lifting up and

387
00:18:22,079 --> 00:18:27,319
the linking everyone together, it is Thomas Limberg, I think

388
00:18:27,400 --> 00:18:29,559
is one of the people who, you know, every mainstream

389
00:18:29,559 --> 00:18:31,799
metal publication will run their story about how Slaughter of

390
00:18:31,799 --> 00:18:37,000
the Soul changed things, But I think his touch goes

391
00:18:37,839 --> 00:18:42,599
as far and in an abstract sense, just in terms

392
00:18:42,640 --> 00:18:45,759
of handed down inspiration right up to the most direct,

393
00:18:45,960 --> 00:18:49,759
you know, hands that he had in things. It goes

394
00:18:49,920 --> 00:18:53,279
as far as any metal musician of his generation. Like

395
00:18:53,319 --> 00:18:58,440
it's it's unfathomable what our world would be like without

396
00:18:58,759 --> 00:19:02,640
Thomas Limberg, and he did that while being one of

397
00:19:02,680 --> 00:19:05,359
the most lovable people in that world.

398
00:19:05,799 --> 00:19:07,559
Speaker 4: Yeah, I always got the vibe that he just seemed

399
00:19:07,599 --> 00:19:10,880
like a really good dude, Like like you never saw

400
00:19:11,000 --> 00:19:13,039
anyone like I never got to sort of interview me

401
00:19:13,039 --> 00:19:14,920
and everything, but anyone I know people have interviewed him

402
00:19:14,920 --> 00:19:16,559
and they've all just said, like, just one of the

403
00:19:16,640 --> 00:19:18,559
nicest interviews you can do. He was just like always

404
00:19:18,680 --> 00:19:22,079
very approachable, really interesting to chat to. I think he's

405
00:19:22,119 --> 00:19:23,640
again you've seen, like the bands have just sort of

406
00:19:23,640 --> 00:19:26,640
said anytime we've cross pass with Thomas, he was like

407
00:19:27,680 --> 00:19:31,480
such a great guy and he just seemed like, again,

408
00:19:31,599 --> 00:19:35,480
everything you would want as of extreme metal vocalists or

409
00:19:35,519 --> 00:19:38,680
of a band figurehead to be that, Like, he just

410
00:19:38,759 --> 00:19:39,759
kind of embodied it all.

411
00:19:40,279 --> 00:19:42,519
Speaker 1: That's it, everything that you would everything that you would

412
00:19:42,519 --> 00:19:47,000
hope your heroes to be. Thomas Linberg felt like he

413
00:19:47,079 --> 00:19:49,200
was that. And At the Gates are one of the

414
00:19:49,200 --> 00:19:52,960
most important bands in my life. And I, you know,

415
00:19:52,960 --> 00:19:55,400
I got Slot of the Soul when I was fourteen,

416
00:19:55,480 --> 00:19:59,680
and it's immediately became like this is like one of

417
00:19:59,720 --> 00:20:01,079
my new favorite albums, Like this is one of the

418
00:20:01,079 --> 00:20:03,319
best things I've ever heard, and still to this day

419
00:20:03,920 --> 00:20:06,039
it is, and I don't think that will ever change.

420
00:20:06,079 --> 00:20:07,519
And from that point on, I was a you know,

421
00:20:07,680 --> 00:20:10,680
a diehard At the Gates van. When they announced the

422
00:20:10,920 --> 00:20:15,039
you know, the return album at War Reality, one of

423
00:20:15,079 --> 00:20:17,920
the most excited I've ever been about an album coming out.

424
00:20:17,960 --> 00:20:19,200
You know, I couldn't believe that we were going to

425
00:20:19,200 --> 00:20:21,599
get another At the Gates album. I got to see

426
00:20:21,640 --> 00:20:23,799
them for the first time at Damnation twenty fifteen. Off

427
00:20:23,839 --> 00:20:25,359
the back of that album coming out, and I just

428
00:20:25,359 --> 00:20:29,000
remained fifteen when I sell them. Yeah, yeah, that old

429
00:20:29,240 --> 00:20:32,279
lead Student Union Hall just being torn apart for like

430
00:20:32,960 --> 00:20:35,640
definitely Labyrinth, for Blinded by Fear or whatever, all the

431
00:20:35,640 --> 00:20:37,799
way through to like every album they released in the

432
00:20:37,799 --> 00:20:41,240
Reunion era, I have. I have memories attached to it,

433
00:20:41,279 --> 00:20:43,240
going to see them the Netherlands and the Netherlands Death

434
00:20:43,279 --> 00:20:45,240
Vest but around the time they were releasing through It

435
00:20:45,240 --> 00:20:48,119
from the Night itself. The last show I went to

436
00:20:49,480 --> 00:20:52,279
before COVID shut everything down within a matter of weeks

437
00:20:52,680 --> 00:20:56,720
really or days even was Dysphere in London last the

438
00:20:56,759 --> 00:20:58,680
only time I got see Dysphere, and it was just

439
00:20:58,799 --> 00:21:02,480
one of the most high energy everything a cross punk

440
00:21:02,559 --> 00:21:06,440
show should be. Kept me kind of going for weeks

441
00:21:06,440 --> 00:21:09,359
into the COVID period and then I guess the last

442
00:21:09,400 --> 00:21:12,039
time I will have seen Thomas Limberg now is that

443
00:21:12,519 --> 00:21:14,880
Damnation show a few years ago when Out the Gates

444
00:21:14,880 --> 00:21:17,880
played thought of the song and then on on the

445
00:21:17,960 --> 00:21:21,160
last album, The Nightmare of Being, I interviewed Thomas for

446
00:21:21,160 --> 00:21:23,200
the first time. He also he awkwardly shook my hand

447
00:21:23,200 --> 00:21:25,400
at this Spear show once because I was standing off

448
00:21:25,400 --> 00:21:28,319
to the side waiting to buy merch and like I

449
00:21:28,359 --> 00:21:29,839
think his wife or someone was there and she was

450
00:21:29,880 --> 00:21:31,839
talking to someone and him just sort of like standing

451
00:21:31,880 --> 00:21:34,559
on the side awkwardly locked eyes and just shook it

452
00:21:34,640 --> 00:21:35,960
to the hands. He had no idea who I was,

453
00:21:36,720 --> 00:21:39,359
but I did. I interviewed him on the Nightmare of

454
00:21:39,400 --> 00:21:43,240
Being album, and it is one of my favorite conversations

455
00:21:43,240 --> 00:21:45,160
I've had in that kind of context with a musician,

456
00:21:45,200 --> 00:21:49,359
because he was so thoughtful and so considered in what

457
00:21:49,400 --> 00:21:51,880
he was saying and the content of the album, which

458
00:21:52,240 --> 00:21:55,119
at the Gates albums particularly as I guess you know,

459
00:21:55,880 --> 00:21:58,839
as he got older and more wisened, but even in

460
00:21:58,839 --> 00:22:00,359
the very early days at the Gates album were all

461
00:22:00,400 --> 00:22:03,839
that album in particular. Yeah, but you think about the

462
00:22:03,880 --> 00:22:06,759
lyrics on Slaughter of the Soul and how many you know,

463
00:22:07,039 --> 00:22:09,720
only the dead are smiling under a certent son we

464
00:22:09,720 --> 00:22:12,160
all live as one, you know, all of that stuff.

465
00:22:12,519 --> 00:22:15,119
It is so it felt so real in a way

466
00:22:15,160 --> 00:22:20,640
that you know, much death metal is quite cartoony, at

467
00:22:20,680 --> 00:22:23,039
the Gates always felt like there was real, you know,

468
00:22:23,119 --> 00:22:25,799
emotional purpose to it. And when I spoke to Hi

469
00:22:25,799 --> 00:22:28,000
about the Nightmare of Being album, he was he was

470
00:22:28,000 --> 00:22:30,559
wonderful to talk to and I always hoped that I

471
00:22:30,559 --> 00:22:33,119
would get to, you know, do another one on another

472
00:22:33,160 --> 00:22:36,680
album cycle or something, and it's it's it's a heartbreaker.

473
00:22:36,720 --> 00:22:38,920
That's not going to happen. And I mean that, you

474
00:22:38,960 --> 00:22:41,680
know the at the Gates tour for a War Reality

475
00:22:42,319 --> 00:22:45,680
where it was trip to con Morbus, Cron and Code Orange, right, Like,

476
00:22:46,079 --> 00:22:50,240
that's a Thomas Lindberg bill. That's him bringing bands who

477
00:22:50,160 --> 00:22:52,839
would not go together normally, but because he was a

478
00:22:52,839 --> 00:22:54,680
fan of all of them, particularly those two openers. They

479
00:22:54,720 --> 00:22:58,000
are newer bands that he wanted to you know, put forward.

480
00:22:58,400 --> 00:23:01,440
That's that tour bell right. There is evidence of who

481
00:23:01,440 --> 00:23:03,359
Thomas Limberg was and what he would do for bands.

482
00:23:03,720 --> 00:23:06,720
Speaker 4: I mean, like I can think back to like Small Man,

483
00:23:06,799 --> 00:23:09,279
like Counting Days, you know they really like they used

484
00:23:09,279 --> 00:23:11,400
one album and the sting of that had a Thomas

485
00:23:11,440 --> 00:23:14,079
Limberg guest spot on it, like he was always he

486
00:23:14,480 --> 00:23:16,960
was on those figures. It was like down with new

487
00:23:16,960 --> 00:23:18,640
bands kind of like lift them up and see what

488
00:23:18,640 --> 00:23:20,160
he could do. I think like he helped record their

489
00:23:20,200 --> 00:23:22,720
album and he did that guess well, which is like

490
00:23:22,880 --> 00:23:25,200
again one of the hardest guest spots on a sort

491
00:23:25,200 --> 00:23:28,880
of a UK hargre song Thomas fucking Limberg, like he

492
00:23:29,039 --> 00:23:31,319
was just that guy. Like I say, I saw at

493
00:23:31,359 --> 00:23:33,359
the Gates twice over a couple of days when it

494
00:23:33,400 --> 00:23:36,000
was they played the main stage at Download, which again

495
00:23:36,039 --> 00:23:37,640
maybe not like the most evil sense in but seeing

496
00:23:37,680 --> 00:23:41,079
them storm that Download main stage and be one of

497
00:23:41,079 --> 00:23:44,319
the best bands of that weekend even that saw the

498
00:23:44,359 --> 00:23:46,279
soul go and getting the circle going from that was

499
00:23:46,319 --> 00:23:47,839
fucking amazing. And then I saw him again the following

500
00:23:47,920 --> 00:23:50,079
night at like those out of the Melhammer Golden Gods,

501
00:23:50,079 --> 00:23:52,359
which was that was when it was like just losing

502
00:23:52,359 --> 00:23:54,519
that absolute shit, just like a mini at the Gates set,

503
00:23:54,519 --> 00:23:56,480
and I was just like, he's just the corners guar

504
00:23:56,519 --> 00:23:58,240
up there. The one for me now is never getting

505
00:23:58,240 --> 00:24:00,279
to see dis fear is the is like one of

506
00:24:00,279 --> 00:24:03,200
the ones. I'm just like that that that that fucking

507
00:24:03,279 --> 00:24:06,519
hurts because, like I go into this obviously, when Alec

508
00:24:06,599 --> 00:24:08,279
did his tot on the Alms of All Time and

509
00:24:08,319 --> 00:24:10,720
then like this song I heard that, I was like,

510
00:24:10,880 --> 00:24:11,599
why why.

511
00:24:11,400 --> 00:24:12,960
Speaker 3: Does this have not been in my life?

512
00:24:13,039 --> 00:24:15,839
Speaker 4: Like yeah until now and and knowing that you like

513
00:24:15,920 --> 00:24:17,880
again that there was that Discar show just before the

514
00:24:17,880 --> 00:24:19,720
world shut down, and I was something that was like

515
00:24:19,880 --> 00:24:21,920
maybe one day, you know, they they will just dust

516
00:24:21,960 --> 00:24:23,960
off this for again and do another show and like that.

517
00:24:24,160 --> 00:24:25,960
Like that's when I was like, ah that that that

518
00:24:26,160 --> 00:24:28,440
just really fucking sucks against the disscause would have killed

519
00:24:28,440 --> 00:24:30,759
to see those songs live. But again, like that's how

520
00:24:30,759 --> 00:24:32,559
many projects did he have where everyone would kind of

521
00:24:32,599 --> 00:24:34,799
be like, that's what I would have killed to see live.

522
00:24:34,880 --> 00:24:38,400
He was such a like prolific and again none of

523
00:24:38,400 --> 00:24:41,319
his projects felt like duds. Everything, Like every product he did,

524
00:24:41,359 --> 00:24:43,039
everyone's like, no, that's the one for me. Actually, that's

525
00:24:43,079 --> 00:24:44,880
that's the one, you know at the Gates's call w

526
00:24:44,880 --> 00:24:48,119
It's this big one but grotesque or like yeah, that's

527
00:24:48,119 --> 00:24:49,000
the one that they'll kind.

528
00:24:48,920 --> 00:24:49,680
Speaker 3: Of like that's on me.

529
00:24:49,839 --> 00:24:55,079
Speaker 1: I would argue that Thomas Lindberg was in three legendary bands,

530
00:24:55,559 --> 00:24:57,920
like not just three good bands. Lots of people have

531
00:24:57,960 --> 00:24:59,599
their their main band and then they've got their really

532
00:24:59,640 --> 00:25:01,440
cool side project that people who are you know, they

533
00:25:01,480 --> 00:25:04,160
know they know Thomas Limberg has those. You know, his

534
00:25:04,480 --> 00:25:08,640
main bands are so good that somehow the likes of

535
00:25:09,240 --> 00:25:11,359
lock Up, you know, the grindcore supergroup he was in

536
00:25:11,359 --> 00:25:14,160
with Shane Embury, you know, Skit System is of a

537
00:25:14,200 --> 00:25:17,440
crosspunk band, the Lurking Fear, the Great Deceiver, which is

538
00:25:17,440 --> 00:25:19,440
a more experimental band he was in like the two thousands.

539
00:25:19,519 --> 00:25:22,440
Somehow those are all like the you know, the down

540
00:25:22,480 --> 00:25:24,519
the kind of line after thoughts, the niche one.

541
00:25:24,599 --> 00:25:24,759
Speaker 2: Yeah.

542
00:25:25,000 --> 00:25:25,200
Speaker 3: Yeah.

543
00:25:25,240 --> 00:25:29,240
Speaker 1: But his three legendary bands. Obviously, there is At the Gates,

544
00:25:29,240 --> 00:25:32,160
who for me, like I said, are a top ten

545
00:25:32,200 --> 00:25:36,319
metal band of all time in my opinion. There is Grotesque,

546
00:25:36,319 --> 00:25:38,200
which I mentioned is his you know, his death metal

547
00:25:38,279 --> 00:25:41,079
vanpri At the Gates, who uh you know, only released

548
00:25:41,079 --> 00:25:44,839
a small amount of material but was so inspirational and

549
00:25:44,960 --> 00:25:49,079
so founding for that Swedish death metal scene. If you've

550
00:25:49,079 --> 00:25:50,400
never heard like you know, you can go and get

551
00:25:50,400 --> 00:25:53,359
the compilation album that has like their you know, EPs

552
00:25:53,359 --> 00:25:56,519
and demos on it, and it's just unreal. And I

553
00:25:56,559 --> 00:25:58,400
think they did like a one off reunion in like

554
00:25:58,440 --> 00:26:00,519
the late two thousands or something, and you can just

555
00:26:00,559 --> 00:26:03,640
see Tompa there covered in like grave dust doing this

556
00:26:03,720 --> 00:26:05,319
really gnarly odd school death net was shit.

557
00:26:05,359 --> 00:26:06,079
Speaker 2: It's fantastic.

558
00:26:06,599 --> 00:26:10,400
Speaker 1: And then this Fear, who not only you know are

559
00:26:10,440 --> 00:26:12,720
at the Great Gates the greatest melodic death not that

560
00:26:12,839 --> 00:26:16,000
of all time, dis Fear in my opinion, the greatest

561
00:26:16,079 --> 00:26:19,480
like crust d beat band of all time, and the

562
00:26:19,519 --> 00:26:21,720
two records that he's on Your Misunpropit Generation and then

563
00:26:21,759 --> 00:26:26,799
Live the Storm are masterpieces of that kind kind of music.

564
00:26:26,920 --> 00:26:28,720
Like I put Live the Storm on the other day

565
00:26:28,720 --> 00:26:31,559
when when this news dropped and I literally I accidentally

566
00:26:31,640 --> 00:26:34,640
punched myself in the nose at one point.

567
00:26:34,680 --> 00:26:38,359
Speaker 4: It's too hard like as an opener, like as E said,

568
00:26:38,400 --> 00:26:40,720
I put on like, ah, it's still just gaming that

569
00:26:40,799 --> 00:26:42,400
fix with like that's a power that he had, was

570
00:26:42,720 --> 00:26:44,920
I Get It Off where they like in the sounds

571
00:26:44,920 --> 00:26:46,799
where I was like, ah, man, he's still he's still

572
00:26:46,799 --> 00:26:48,400
got that way, like he will get you.

573
00:26:48,319 --> 00:26:51,160
Speaker 3: So fired up, and yeah, like what an album.

574
00:26:51,519 --> 00:26:54,960
Speaker 1: I mean, he might be the best extreme metal vocalist

575
00:26:55,079 --> 00:27:00,279
at shouting commands ever. Fucking on disphere, the stand up

576
00:27:00,279 --> 00:27:02,559
and be counted. Towards the end of Get It Off

577
00:27:02,720 --> 00:27:07,880
is unreal and obviously, without exaggeration, one of the greatest

578
00:27:07,920 --> 00:27:12,920
moments in recorded sound. Go one word, if you've ever

579
00:27:12,960 --> 00:27:16,400
seen Out the Gates live, and it's you know, it's obviously.

580
00:27:16,440 --> 00:27:17,440
I know a lot of people haven't seen That the

581
00:27:17,440 --> 00:27:19,400
Gates live, and now they won't get the chance and

582
00:27:19,599 --> 00:27:21,599
I saw Out the Gates I think maybe about five

583
00:27:21,599 --> 00:27:23,680
times over the sort of decade or so. After all

584
00:27:23,759 --> 00:27:26,319
reality and it doesn't feel real. I'm never going to

585
00:27:26,319 --> 00:27:29,559
see that moment again. But that moment is it's like

586
00:27:29,599 --> 00:27:31,680
it unlocks a part of your brain, you know, it's

587
00:27:31,839 --> 00:27:36,119
just staggering. And I think At the Gates are I

588
00:27:36,119 --> 00:27:37,880
think they're a special band, you know, as in like

589
00:27:37,960 --> 00:27:40,000
our things that we do, like you know, let us

590
00:27:40,039 --> 00:27:42,200
know if that's something that you'd be interested in us doing,

591
00:27:42,359 --> 00:27:43,920
and we'll do it next year or something. Because I

592
00:27:43,920 --> 00:27:46,960
think the breadth of their influence and importance across their

593
00:27:47,000 --> 00:27:49,519
whole you know, seven albums, not a dud amongst them

594
00:27:49,559 --> 00:27:53,839
and they're all different, is so so huge. And that's

595
00:27:53,880 --> 00:27:56,200
the thing with Thomas Lindberg and even At the Gates

596
00:27:56,279 --> 00:27:59,799
is they were so many different things to so many people.

597
00:28:00,160 --> 00:28:04,680
They are, you know, these constantly name checked inspirations to

598
00:28:05,240 --> 00:28:08,359
the mainstream and what metal became in the two thousands.

599
00:28:08,519 --> 00:28:10,440
But at the same time, if you are a crust

600
00:28:10,480 --> 00:28:14,599
punk you probably worship Thomas Limberg and the bands he

601
00:28:14,680 --> 00:28:20,200
was in in that scene. If you like strange, progressive, experimental,

602
00:28:20,240 --> 00:28:23,160
heavy music, Thomas Limberg was right in there, not only

603
00:28:23,200 --> 00:28:25,359
making it, but you know, championing so much of that

604
00:28:25,440 --> 00:28:28,200
kind of music obviously to the real death metal underground,

605
00:28:28,559 --> 00:28:31,640
the early At the Gates records like the Rednsky Is

606
00:28:31,640 --> 00:28:34,079
Ours and with Fearchis, the Bennydartness and the grow Tesque

607
00:28:34,079 --> 00:28:37,759
material of course as well, like they meant so much

608
00:28:37,799 --> 00:28:41,720
to so many different people in so many different ways

609
00:28:42,079 --> 00:28:43,799
that the king of trucker hats.

610
00:28:44,160 --> 00:28:45,759
Speaker 2: No one ever wore.

611
00:28:45,839 --> 00:28:49,200
Speaker 1: Trucker hats the way that Thomas Limberg wore Trucker hats.

612
00:28:49,200 --> 00:28:52,039
If you've never seen the photo shoots of early Grotesque, right,

613
00:28:52,079 --> 00:28:55,440
go and google you know Grotesque in the nineties there

614
00:28:55,279 --> 00:29:00,519
the graveyard photo shoots are still what every single death

615
00:29:00,559 --> 00:29:03,559
metal band aspires to be. You know, they all want

616
00:29:03,599 --> 00:29:06,920
to be Thomas Limberg in that graveyard in nineteen ninety

617
00:29:06,960 --> 00:29:09,799
with with Grotesque, and I mean even you know we're

618
00:29:09,799 --> 00:29:12,920
talking about some of this less discussed stuff. We've been

619
00:29:12,920 --> 00:29:16,279
getting messages from people who haven't even heard Slought the Soul, right,

620
00:29:16,319 --> 00:29:19,039
and it's it's like if you've not heard, if you're

621
00:29:19,079 --> 00:29:21,559
getting to hear Slought the Soul, now, that is like

622
00:29:21,680 --> 00:29:27,079
a whole like a canonical masterpiece, one of probably like

623
00:29:27,119 --> 00:29:29,519
the best ten metal records ever made that you're just

624
00:29:29,640 --> 00:29:31,519
finding and getting to enjoy.

625
00:29:31,640 --> 00:29:31,759
Speaker 3: Now.

626
00:29:31,799 --> 00:29:34,559
Speaker 1: It's like you've left rain and blood or something in

627
00:29:34,599 --> 00:29:36,279
the corner up until this moment, and now you have

628
00:29:36,359 --> 00:29:38,319
this whole new thing to love and appreciate, and it's

629
00:29:38,359 --> 00:29:40,920
just incredible that the amount that he gave us, and like,

630
00:29:40,960 --> 00:29:43,000
you know, if you like metal in the two thousands,

631
00:29:43,400 --> 00:29:47,480
everything is in that one album, but his career as

632
00:29:47,519 --> 00:29:49,599
a whole and what he gave to I mean fucking

633
00:29:49,880 --> 00:29:53,200
Converge Wolverine Blues cover with Thomas Limberg on vocals. You

634
00:29:53,240 --> 00:29:56,319
know that one of the coolest fucking like I said,

635
00:29:56,319 --> 00:29:59,960
he one of my heroes, like one of my genuine

636
00:30:00,119 --> 00:30:05,119
favorite people in metal of all time. And to have

637
00:30:05,160 --> 00:30:09,640
lost him so relatively early is is ungodly sad.

638
00:30:10,119 --> 00:30:14,160
Speaker 4: It is is crushing on the UK like what a

639
00:30:14,240 --> 00:30:17,680
beast for like his last act, like his tracking vocals

640
00:30:18,200 --> 00:30:22,000
for one final album apparently so we'll have it like

641
00:30:22,000 --> 00:30:23,359
like I hope that alm like I say it is,

642
00:30:23,640 --> 00:30:25,519
and then and like it stands as like the sort

643
00:30:25,519 --> 00:30:29,000
of fitting final tribute to Tom because he is worthy

644
00:30:29,039 --> 00:30:31,720
of it. But it is just eive way like this

645
00:30:31,759 --> 00:30:34,119
one was like a really sad one because he just

646
00:30:34,200 --> 00:30:35,519
he seemed like the best guy.

647
00:30:35,880 --> 00:30:39,920
Speaker 1: Yeah, rest in peace, Tompa the fucking king see you

648
00:30:39,960 --> 00:30:43,200
in the red in the sky. Elsewhere in news, we've

649
00:30:43,200 --> 00:30:46,599
got a Coachella announcements. Nine inch Nails are going to

650
00:30:46,640 --> 00:30:48,960
be their turnstile obviously for that turnstyle and they're basically

651
00:30:48,960 --> 00:30:52,200
every year now suicide tendencies, iggy pop, joins, Man, a

652
00:30:52,240 --> 00:30:53,519
lot of stuff. It feels like a good time for

653
00:30:53,680 --> 00:30:55,839
nineich Nails to do it, like they've been off the

654
00:30:55,839 --> 00:30:59,920
back of both how raved about their touring production for

655
00:31:00,000 --> 00:31:02,440
this has been, but also them doing the Tron soundtrack

656
00:31:02,480 --> 00:31:04,920
feels like nine Nails Night Nails are always cool, but

657
00:31:04,920 --> 00:31:07,039
it feels like in twenty twenty five they're particularly cool.

658
00:31:07,039 --> 00:31:09,400
Speaker 4: So, yeah, isn't it they're doing it like the nine

659
00:31:09,440 --> 00:31:11,799
inch noise thing, isn't it? So they're doing like particularly

660
00:31:11,839 --> 00:31:15,480
the the dance in the cube in the center that

661
00:31:15,480 --> 00:31:16,759
than that as like a full set that would be

662
00:31:16,799 --> 00:31:19,200
really cool to see, you know. I think it thinks

663
00:31:19,240 --> 00:31:21,000
that a good coachure like Drain are kind of like

664
00:31:21,039 --> 00:31:24,359
the proper hardcore band who've kind of been ordained on

665
00:31:24,440 --> 00:31:28,319
their dispits are like I see them on there after

666
00:31:28,319 --> 00:31:29,680
this sort of like putting their album in.

667
00:31:29,759 --> 00:31:32,480
Speaker 3: But yeah, like you're seeing that.

668
00:31:32,519 --> 00:31:34,519
Speaker 4: I think more and more each year now all terms

669
00:31:34,519 --> 00:31:37,799
of stuff actually kind of like start to find a

670
00:31:37,839 --> 00:31:41,519
presence in coach and actually know nice, see those kids

671
00:31:41,559 --> 00:31:43,759
in black Flag, get get a slot like this.

672
00:31:46,799 --> 00:31:49,559
Speaker 2: Get a head up. That's good. Yeah. Interesting.

673
00:31:49,559 --> 00:31:53,880
Speaker 1: The band announcement, The mock Ups is a band consisting

674
00:31:53,960 --> 00:31:58,119
of Gerard Way and uh am I saying basically all

675
00:31:58,200 --> 00:31:59,079
of the interrupters.

676
00:31:59,559 --> 00:32:02,519
Speaker 3: I think three out four of the interrupters are in there.

677
00:32:02,960 --> 00:32:06,799
Speaker 1: Okay, but Gerard Way and a lot of the Interrupters

678
00:32:07,160 --> 00:32:08,680
have at you band called the mock Ups when they

679
00:32:08,720 --> 00:32:11,240
were eased a song earlier this year as well earlier

680
00:32:11,279 --> 00:32:14,839
this week, which is called I Want to Know Your Name.

681
00:32:16,079 --> 00:32:18,240
I mean this has in terms of the people involved,

682
00:32:18,240 --> 00:32:19,200
this has you written all over it.

683
00:32:19,200 --> 00:32:20,559
Speaker 2: How are you? How are you? You know?

684
00:32:20,640 --> 00:32:23,839
Speaker 1: Reacting to Gerard Way and the Interrupters getting together, I mean.

685
00:32:23,680 --> 00:32:24,440
Speaker 3: I was so confused.

686
00:32:24,440 --> 00:32:26,680
Speaker 4: I saw I was like, hey, what like what Gerard

687
00:32:26,720 --> 00:32:27,440
Way and the Interrupters?

688
00:32:27,480 --> 00:32:30,359
Speaker 3: How does that come about? But also when I.

689
00:32:30,319 --> 00:32:31,839
Speaker 4: Saw those kind of things, I was like, I but

690
00:32:32,000 --> 00:32:35,200
I know exactly what this sounds like and it sounds

691
00:32:35,240 --> 00:32:37,039
like this single they've put up. It's that kind of

692
00:32:37,079 --> 00:32:40,160
like punk rock but with that kind of like classic

693
00:32:40,519 --> 00:32:44,079
It's not very kind of like Blondie. It's not Scarphone,

694
00:32:44,079 --> 00:32:47,039
but it is that kind of like like it makes

695
00:32:47,359 --> 00:32:49,119
it like Blondie and that sort of side of things

696
00:32:49,160 --> 00:32:51,680
and like, but it's like very just sort of upbea

697
00:32:52,119 --> 00:32:54,759
fun punk rock but without kind of like I guess,

698
00:32:54,759 --> 00:32:57,720
like fifties rock and roll sort of like flavored at times.

699
00:32:57,720 --> 00:32:59,119
Speaker 3: But yeah, I think this is really fun.

700
00:32:59,319 --> 00:33:01,839
Speaker 1: Yeah, it sounds to me almost like an old Misfits

701
00:33:01,880 --> 00:33:04,799
chord progression, which, considering the fifties thing you're mentioning, is

702
00:33:04,799 --> 00:33:07,480
a common you know ground there. But yeah, curiously, if

703
00:33:07,480 --> 00:33:09,920
we get a record or something from from the mock ups.

704
00:33:10,240 --> 00:33:12,839
Limp Biscuit also released a song. They played this live

705
00:33:12,920 --> 00:33:16,960
and then it surfaced officially later in the week. The

706
00:33:17,039 --> 00:33:20,680
song is called making Love to Morgan Wollen. I have

707
00:33:20,759 --> 00:33:22,920
listened to the song. I still don't know.

708
00:33:22,880 --> 00:33:23,279
Speaker 2: Why it is.

709
00:33:24,880 --> 00:33:27,319
Speaker 4: There are times when I'm like, Olimp Biscuit just like

710
00:33:27,440 --> 00:33:29,720
parodying themselves at this point.

711
00:33:29,759 --> 00:33:31,759
Speaker 2: The first line of the song is like I miss

712
00:33:31,799 --> 00:33:35,000
you Chester Bennington it's like why are the song called making.

713
00:33:36,519 --> 00:33:37,119
Speaker 3: That Hot felt?

714
00:33:37,160 --> 00:33:40,440
Speaker 4: And then of course like hey ladies, hey.

715
00:33:40,279 --> 00:33:43,920
Speaker 3: Fellas, it's like it's just a weird tonally all over

716
00:33:43,960 --> 00:33:44,599
the place.

717
00:33:44,400 --> 00:33:47,279
Speaker 4: Song with a massive fucking riff. To be fair, it's

718
00:33:47,319 --> 00:33:51,279
an odd one can't figure out the biscuits. Sometimes yeah,

719
00:33:51,559 --> 00:33:52,559
it's not a riff.

720
00:33:52,359 --> 00:33:54,119
Speaker 1: Like straight out the gate, but eventually when it goes

721
00:33:54,160 --> 00:33:56,240
hey ladies, it does get there.

722
00:33:56,559 --> 00:33:57,440
Speaker 2: This is interesting.

723
00:33:58,400 --> 00:34:02,359
Speaker 1: Announced for later this year in November, taking place in

724
00:34:02,480 --> 00:34:07,240
South Paolo in Brazil, Massive Attack and Max and Igor

725
00:34:07,279 --> 00:34:12,760
Cavalira are going to be doing a collaborative show called

726
00:34:12,800 --> 00:34:16,159
The Answer is Us. So that is the you know,

727
00:34:16,199 --> 00:34:19,960
the obviously the the the trip hop legends of you know,

728
00:34:20,000 --> 00:34:24,960
early nineties UK music scene and obviously the brothers of Sepultura,

729
00:34:25,599 --> 00:34:28,880
and the kind of the description of the event is

730
00:34:28,920 --> 00:34:34,239
it's very much sort of engaging with, uh, the you know,

731
00:34:34,280 --> 00:34:38,119
indigenous peoples in Brazil and the Amazon rainforest and preservation

732
00:34:38,239 --> 00:34:40,559
of those things and so on, which is something that

733
00:34:40,639 --> 00:34:44,360
you know, Sepultura have a long long history of engaging with,

734
00:34:44,480 --> 00:34:45,800
going back to the you know, the roots and the

735
00:34:45,880 --> 00:34:47,239
KOs A d days.

736
00:34:47,719 --> 00:34:48,440
Speaker 2: Massive Attack.

737
00:34:48,960 --> 00:34:51,639
Speaker 1: If you follow what Massive Attack are just generally like

738
00:34:51,760 --> 00:34:54,239
and how they kind of make themselves known. They just

739
00:34:54,239 --> 00:34:56,960
seem like one of the coolest bands around of their

740
00:34:57,280 --> 00:35:00,679
kind of stature. Yeah, this sounds I can't retine what

741
00:35:00,719 --> 00:35:02,719
it will sound like, but that it sounds like the

742
00:35:02,840 --> 00:35:08,000
kind of awesome creative crossover shit that like Prime Sepulteura

743
00:35:08,039 --> 00:35:10,320
when we're doing our special you know, could have been

744
00:35:10,360 --> 00:35:11,400
doing this sounds awesome.

745
00:35:11,960 --> 00:35:12,199
Speaker 3: Yeah.

746
00:35:12,239 --> 00:35:14,599
Speaker 4: Like so like if you can add mix something, but

747
00:35:14,639 --> 00:35:16,199
then when you kind of like dig in some of

748
00:35:16,239 --> 00:35:17,440
the other elements of you can go.

749
00:35:17,719 --> 00:35:18,760
Speaker 3: I guess it does make sense.

750
00:35:18,760 --> 00:35:21,320
Speaker 4: And I mean giving you know, like I say, like

751
00:35:22,119 --> 00:35:25,639
that problem, we're like quite eager to try different things. Yeah,

752
00:35:26,559 --> 00:35:27,880
I guess it doesn't make sense that these kind of

753
00:35:27,920 --> 00:35:29,840
two acts of land it's going to be like, let's

754
00:35:29,840 --> 00:35:31,760
do this kind of big show for like an actual

755
00:35:31,840 --> 00:35:34,519
like important cause that we want to like raise awareness

756
00:35:34,559 --> 00:35:37,440
for and just kind of offer something totally unique.

757
00:35:37,639 --> 00:35:37,880
Speaker 2: Yeah.

758
00:35:37,960 --> 00:35:39,480
Speaker 1: I don't know what it sounds like right now, but

759
00:35:39,519 --> 00:35:42,519
I'm very keen to here what it ends up being.

760
00:35:42,599 --> 00:35:42,679
Speaker 2: Like.

761
00:35:43,079 --> 00:35:46,280
Speaker 1: Mike Patten is back with another new band. He is

762
00:35:46,519 --> 00:35:50,599
joining Force with the Avett Brothers for a project that

763
00:35:50,639 --> 00:35:52,719
I believe I guess would be we be said as

764
00:35:52,800 --> 00:35:56,480
a vet slash pattern. They have got a self titled

765
00:35:56,519 --> 00:35:59,239
album that's coming out on November fourteenth. So if you're

766
00:35:59,239 --> 00:36:01,679
interested in all the myriad works of make Patten and

767
00:36:01,679 --> 00:36:04,239
there is something new on the horizon, there's also a

768
00:36:04,239 --> 00:36:08,000
new Lamp of Murmur on the Horizon, their fourth fullixth album.

769
00:36:08,079 --> 00:36:10,239
They follow up to Saturnian Bloodstorm, which we reviewed a

770
00:36:10,239 --> 00:36:14,119
couple of years ago, one of the best contemporary blackmount

771
00:36:14,119 --> 00:36:16,559
of bands in the world. Their new album is also

772
00:36:16,599 --> 00:36:18,639
coming out that day, November the fourteenth. It's called The

773
00:36:18,719 --> 00:36:21,840
Dreaming Prints in Ecstasy, and they released like a nine

774
00:36:21,840 --> 00:36:23,599
minute single from this, and I would just say it

775
00:36:23,679 --> 00:36:24,719
sounds kind of different.

776
00:36:24,800 --> 00:36:25,079
Speaker 2: Again.

777
00:36:25,320 --> 00:36:27,360
Speaker 1: It doesn't sound like the early Lamp of Murmur stuff.

778
00:36:27,440 --> 00:36:29,559
It doesn't sound like the pure immortal worship of the

779
00:36:30,000 --> 00:36:33,079
last album. It still kind of sounds a little bit more.

780
00:36:34,159 --> 00:36:36,800
It's more accessible, maybe like the last album was to

781
00:36:36,840 --> 00:36:39,480
people who aren't fully in the dingy stuff. But there's

782
00:36:39,519 --> 00:36:42,760
like synths and symphonic stuff and shit going on with this.

783
00:36:42,880 --> 00:36:45,360
So you know, of course I'm excited but interested to

784
00:36:45,400 --> 00:36:47,840
hear what the New Lamp of Murma ends up being like.

785
00:36:48,320 --> 00:36:50,559
Very fresh news is that Iron Maiden have announced that

786
00:36:50,559 --> 00:36:52,559
their Run for Your Lives tour is going to be

787
00:36:52,559 --> 00:36:55,960
continuing and coming back to Europe in twenty twenty six.

788
00:36:56,039 --> 00:36:58,760
So they're doing a number of dates across the European continent,

789
00:36:59,119 --> 00:37:01,960
including one at the Paris Arena, which is gonna have

790
00:37:02,000 --> 00:37:04,320
like a no phones policy because I think they're sort

791
00:37:04,320 --> 00:37:06,599
of implying that they're maybe going to film that particular show,

792
00:37:07,079 --> 00:37:10,679
but also the eleventh of July, currently, the last date

793
00:37:10,719 --> 00:37:14,239
of this tour is a mystery UK show. They have

794
00:37:14,280 --> 00:37:15,920
said that on the eleventh of July they will be

795
00:37:15,960 --> 00:37:19,960
playing in the UK, but the actual details of when

796
00:37:20,039 --> 00:37:23,719
and where have not been unveiled yet. And this is

797
00:37:23,719 --> 00:37:26,000
interesting for a number of reason. I mean, for one thing,

798
00:37:26,519 --> 00:37:28,119
people were wondering on maybe I made and will come

799
00:37:28,119 --> 00:37:29,679
around to do download next year for the Run Your

800
00:37:29,719 --> 00:37:32,920
Lives tour. Obviously, if they're doing one UK show on

801
00:37:32,960 --> 00:37:37,920
the eleventh of July, that is not download times. But yeah,

802
00:37:37,920 --> 00:37:40,400
I considering they've already done like a big stadium show

803
00:37:40,599 --> 00:37:44,559
with the London date, I am very curious as to

804
00:37:44,639 --> 00:37:46,239
what I made and have cooking up for a special

805
00:37:46,280 --> 00:37:47,320
mystery event in the UK.

806
00:37:47,719 --> 00:37:48,559
Speaker 3: I'm not just sure on this.

807
00:37:48,960 --> 00:37:50,840
Speaker 4: I wonder if it will be London, if they'll do

808
00:37:50,920 --> 00:37:53,519
something big up north for some because obviously they did

809
00:37:53,519 --> 00:37:56,480
the massive London stadium shows, so maybe they'll do a

810
00:37:56,480 --> 00:37:58,599
big stadium show in Manchester or something that I know.

811
00:37:58,639 --> 00:38:00,000
Obviously the tal they did like if you have a

812
00:38:00,039 --> 00:38:01,320
dates on the tour in the UK the earlier this

813
00:38:01,360 --> 00:38:04,079
year did there wasn't just or was it was this

814
00:38:04,119 --> 00:38:04,719
from just London?

815
00:38:04,800 --> 00:38:08,000
Speaker 1: No, it was That's why I'm in Manchester and London

816
00:38:08,039 --> 00:38:09,760
and I know they played at least like Glasgow as well, so.

817
00:38:11,320 --> 00:38:14,559
Speaker 4: Yeah, so yeah, I wonder what else they've got planned

818
00:38:14,559 --> 00:38:17,880
to mean, it's another thing at the start of like

819
00:38:18,000 --> 00:38:19,559
early July, which is.

820
00:38:19,559 --> 00:38:24,039
Speaker 1: Just yeah, System of It added another stadium day at

821
00:38:24,079 --> 00:38:26,519
the top of the hospital that July. For some reason,

822
00:38:26,559 --> 00:38:29,159
every band is deciding to do their big UK There.

823
00:38:29,159 --> 00:38:32,679
Speaker 4: Two Metallica shows, two My Chemical Romance shows, two System

824
00:38:32,719 --> 00:38:34,920
of Down shows and now an I'm Maiden show to

825
00:38:34,960 --> 00:38:36,880
fit in somewhere like too.

826
00:38:36,800 --> 00:38:41,679
Speaker 1: Much good Luck Picking and Bloodstock have announced they had

827
00:38:41,679 --> 00:38:44,119
already said that for this you know, big anniversary event,

828
00:38:44,840 --> 00:38:46,599
they for the first time ever, we're going to be

829
00:38:46,639 --> 00:38:50,519
opening the Thursday open air main stage on you know,

830
00:38:50,559 --> 00:38:53,480
the Thursday nights, and so they have announced a few

831
00:38:53,480 --> 00:38:56,880
bands for that lineup and on the main stage we

832
00:38:56,920 --> 00:38:59,840
already had on the Sophie Anka stage on the Thursday,

833
00:39:00,239 --> 00:39:02,760
the likes of Kryptopsy playing which is good, and the

834
00:39:02,800 --> 00:39:05,599
hell Are playing on Thursday, and Black Spiders as well,

835
00:39:05,639 --> 00:39:09,280
But the main stage event currently has been announced as

836
00:39:09,320 --> 00:39:14,960
being Saxon, Evil Scarecrow and the already announced band Heavy Saurus,

837
00:39:15,199 --> 00:39:20,239
which is the like Dinosaur Puppets, Sam looks like you

838
00:39:20,280 --> 00:39:21,119
can't stay away.

839
00:39:21,480 --> 00:39:23,679
Speaker 4: Good for Saxon, they seem like a no brainer picked

840
00:39:23,719 --> 00:39:27,960
to headline the Thursday of Bloodstock, But as a sort

841
00:39:27,960 --> 00:39:30,760
of a day of those three bands is hell, my

842
00:39:30,920 --> 00:39:33,960
dear hell, I wish nothing but misery for everyone. Heck,

843
00:39:35,000 --> 00:39:38,639
I mean like like Evil Scarecrow, We've chatted them for

844
00:39:38,719 --> 00:39:42,159
years now, whatever, Heavy shorts for me like fine as

845
00:39:42,199 --> 00:39:44,159
a thing for kids, you know, I'm fine with that.

846
00:39:44,159 --> 00:39:45,360
Speaker 3: But if we're gonna actually start.

847
00:39:45,159 --> 00:39:48,000
Speaker 4: Putting that on festival main stages, we've got to start

848
00:39:48,039 --> 00:39:50,119
having a serious conversation about like what mel fans are

849
00:39:50,159 --> 00:39:53,360
letting happen, Like me, now, please be serious.

850
00:39:53,679 --> 00:39:55,280
Speaker 1: The funny thing about this is it's Basically, if you

851
00:39:55,320 --> 00:39:59,239
remove Saxon from this, this looks like every Thursday Bloodstock lineup.

852
00:39:59,320 --> 00:40:01,440
You know, there's a couple good bands in there, like Cryptopsy,

853
00:40:02,119 --> 00:40:06,079
some nonsense novelty bands in terms of like this basically

854
00:40:06,079 --> 00:40:08,280
looks like they've opened the mainstage on this day specifically

855
00:40:08,280 --> 00:40:11,079
because they had the opportunity to book Saxon for it,

856
00:40:11,159 --> 00:40:13,000
which Saxon are good.

857
00:40:13,400 --> 00:40:16,679
Speaker 4: Saxon are a I don't like Saxon, but I get

858
00:40:16,679 --> 00:40:18,079
this booking Saxon?

859
00:40:18,119 --> 00:40:21,360
Speaker 1: Are you a Bloodstock original type band? Seeing Saxon at

860
00:40:21,360 --> 00:40:24,960
Bloodstock is always fantastic. It's always the perfect environment to

861
00:40:25,039 --> 00:40:27,800
do so Saxon is a third and that headliner is

862
00:40:27,800 --> 00:40:29,480
a genuine you know, at least for me, that'd be

863
00:40:29,559 --> 00:40:32,199
you know, it's a good that's a good time. But

864
00:40:32,280 --> 00:40:33,320
the rest of it does look.

865
00:40:33,239 --> 00:40:34,920
Speaker 3: Like not the worst headliner this year.

866
00:40:35,639 --> 00:40:39,239
Speaker 1: No, no, far from it. But the rest of it

867
00:40:39,239 --> 00:40:41,159
does look like a normal Thursday bloods lit lineup. But

868
00:40:41,159 --> 00:40:42,920
they just happened to open the main stage because they've

869
00:40:42,920 --> 00:40:45,440
got the opportunity to get Saxon. So yeah, that's that's

870
00:40:45,480 --> 00:40:49,679
the Thursday deal at Bloodstock this year. We over the

871
00:40:49,760 --> 00:40:52,239
weekend as well as seeing poison the Well, et cetera.

872
00:40:52,360 --> 00:40:54,960
We also put out on them pictureon a T and

873
00:40:55,079 --> 00:40:58,840
M does horror episode closing off the summer with maybe

874
00:40:58,880 --> 00:41:01,880
the two big winners at least, you know, box office

875
00:41:01,920 --> 00:41:04,199
numbers and everything wise of the summer for the horror world,

876
00:41:04,320 --> 00:41:07,519
which was Zach Kreiger's Weapons, and we had a very

877
00:41:07,519 --> 00:41:10,239
long discussion about all of the myriad things that you know,

878
00:41:10,360 --> 00:41:12,400
could be doing and could be about because it is

879
00:41:12,400 --> 00:41:15,519
a very enigmatic, multifacted kind of film. And then we

880
00:41:15,599 --> 00:41:18,000
just had a daft time talking about Patrick Wilson and

881
00:41:18,039 --> 00:41:20,519
Via farm Eager like punching mirror demons or whatever the

882
00:41:20,519 --> 00:41:24,239
shit's going on there with the conjuring last rights. Good time,

883
00:41:24,440 --> 00:41:27,960
good a nice double to end off the summer in

884
00:41:28,159 --> 00:41:29,599
horror with with our horror podcast.

885
00:41:30,079 --> 00:41:30,280
Speaker 3: Yeah.

886
00:41:30,320 --> 00:41:32,960
Speaker 4: Absolutely, I mean Weapons is the is the big one.

887
00:41:33,159 --> 00:41:35,119
It's the move that has stuck with me the most

888
00:41:35,159 --> 00:41:37,559
of all the summer horror fics. I've had just the

889
00:41:37,559 --> 00:41:39,280
best time of it. And it was also going to

890
00:41:39,320 --> 00:41:41,679
like dig into and kind of like get beneath the

891
00:41:41,679 --> 00:41:43,079
surface and the movie that some people have kind of

892
00:41:43,079 --> 00:41:45,039
been a bit confused about all kind of had very

893
00:41:45,039 --> 00:41:47,280
surfs of readings on and kind of go into the

894
00:41:47,320 --> 00:41:50,920
do things and then as like you said, Conjuring last

895
00:41:50,960 --> 00:41:55,199
Rides stupid popcorn horror, Patrick Wilson via Farmiga are great,

896
00:41:55,239 --> 00:41:57,039
and it was just kind of like, yeah, this is

897
00:41:57,079 --> 00:41:59,599
you know, just kind of like looking back on that

898
00:41:59,599 --> 00:42:02,760
that whole franchise and also how like this movie the

899
00:42:02,800 --> 00:42:06,679
surprise like blockbuster like hit of the summer I guess

900
00:42:06,719 --> 00:42:07,440
for horror.

901
00:42:08,280 --> 00:42:10,880
Speaker 1: Yeah, looking forward to what we got, you know going

902
00:42:10,960 --> 00:42:12,800
for the rest of the year on that show. I

903
00:42:12,840 --> 00:42:15,280
am thinking that when that new Predator movie comes out,

904
00:42:15,440 --> 00:42:17,559
we've done an alien episode, we could probably do a

905
00:42:17,559 --> 00:42:20,760
Creditor episode that'll be fun, So you can expect that

906
00:42:20,800 --> 00:42:22,800
over the year. Also, of course, we will be moving

907
00:42:22,800 --> 00:42:27,239
on to our next Metal specials very very soon, so

908
00:42:27,400 --> 00:42:30,000
patroon dot com slash that's that Metal is the place

909
00:42:30,039 --> 00:42:32,119
to go to get all of the best stuff that

910
00:42:32,159 --> 00:42:34,599
we make. And also if you would like to contribute

911
00:42:34,599 --> 00:42:37,519
and help keep the show alive in its tenth year.

912
00:42:37,880 --> 00:42:41,159
Now that we've past our tenth anniversary birthday show from

913
00:42:41,159 --> 00:42:44,079
a couple of weeks back, so thanks everybody. Let's get

914
00:42:44,119 --> 00:42:47,719
on to the meat of today's episode, which is the reviews,

915
00:42:47,920 --> 00:42:51,599
and we're going to start with our two leading albums

916
00:42:52,000 --> 00:42:55,639
are both you know, big events in their scenes. For me,

917
00:42:55,840 --> 00:42:58,719
just to kind of maybe gauge this, we're gonna be

918
00:42:58,800 --> 00:43:00,280
leading with some yes.

919
00:43:00,119 --> 00:43:01,920
Speaker 2: Spots, help and reviews.

920
00:43:02,280 --> 00:43:07,239
Speaker 1: First, obviously Lorna Shaw I feel the ever blackfestering within me.

921
00:43:07,480 --> 00:43:11,239
This is Lorna Shaw's second album as a thoroughly big band.

922
00:43:11,440 --> 00:43:13,159
I think that's fair to say, because obviously they had it.

923
00:43:13,159 --> 00:43:15,239
They've had a number of albums throughout the twenty tens,

924
00:43:15,519 --> 00:43:19,119
but it's the turn of the decade into the twenty

925
00:43:19,159 --> 00:43:24,480
twenties when Lorna Shaw have skyrocketed into I mean in

926
00:43:24,519 --> 00:43:27,280
terms of what is currently you know, reflective of what

927
00:43:27,360 --> 00:43:29,639
is popular and what defined what bands are kind of

928
00:43:29,639 --> 00:43:31,519
you know, in and out right now, I'd probably say

929
00:43:31,519 --> 00:43:34,079
they're one of the ten most significant metal bands in

930
00:43:34,119 --> 00:43:36,840
the world right now, which is why obviously this is

931
00:43:36,880 --> 00:43:40,480
one of metals big deal albums this year. This album

932
00:43:40,519 --> 00:43:44,039
cycle is about sustaining the momentum that first the and

933
00:43:44,119 --> 00:43:46,960
I Return to Nothingness EP and then twenty twenty two

934
00:43:47,039 --> 00:43:49,599
is Pain Remains album built for them, and it's that

935
00:43:49,719 --> 00:43:53,239
momentum that sees them now gearing up to be like

936
00:43:53,400 --> 00:43:55,480
actually one of the biggest metal bands in our world.

937
00:43:55,559 --> 00:43:57,800
They're about to tackle an arena show of sorts here

938
00:43:57,840 --> 00:44:01,320
in the UK Alexandra Palace, and for a death core band,

939
00:44:01,679 --> 00:44:05,679
that is pretty much, you know, unprecedented territory of firsts

940
00:44:05,679 --> 00:44:08,519
that we are seeing Lorna Shaw go into. What is

941
00:44:08,559 --> 00:44:12,320
happening with Lorna Shaw here is new and I think

942
00:44:12,360 --> 00:44:16,679
it's definitely novel and in some ways encouraging as someone

943
00:44:16,800 --> 00:44:21,199
following metal and what it adds up to creatively is

944
00:44:21,239 --> 00:44:24,119
a different and you know, in some ways as interesting

945
00:44:24,519 --> 00:44:29,400
question Sam, the thing that Lorna Shaw do, I think

946
00:44:29,480 --> 00:44:33,920
in theory we both like because certainly, you know, if

947
00:44:34,039 --> 00:44:37,239
the two massive breakout death gore bands at the moment

948
00:44:37,559 --> 00:44:42,039
are Lorna Shore and Slaughter Prevail, then Lorna Shaws like

949
00:44:42,239 --> 00:44:47,199
sweep it sweeping, you know, epic symphonic bombas thing over

950
00:44:47,800 --> 00:44:52,000
Slaughter Pvail's belligerent meat heead music much so my preference,

951
00:44:52,280 --> 00:44:56,760
and rather than a dumbing down of this type of

952
00:44:56,800 --> 00:44:59,400
music to cross over, Lorna Shore are really trying to

953
00:44:59,519 --> 00:45:02,039
like at it and they're really trying to like take

954
00:45:02,079 --> 00:45:04,840
it to your different untapped heights.

955
00:45:05,199 --> 00:45:08,639
Speaker 4: Yeah, no'm they clearly are like committed to the epic,

956
00:45:09,360 --> 00:45:11,440
sweeping in front of thing. And I agree if if

957
00:45:11,519 --> 00:45:14,599
like of the two sakes, death got bands who are

958
00:45:14,679 --> 00:45:17,239
doing big numbers, I would much rather see a band

959
00:45:17,320 --> 00:45:20,800
like Lawn go for this kind of like sweeping, epic, stirring,

960
00:45:21,480 --> 00:45:25,599
occasionally progressive sort tinged thing that's like being quite emotional

961
00:45:25,679 --> 00:45:27,519
and all that. Like that's all things I find much

962
00:45:27,519 --> 00:45:29,639
more palatable than what Sword fella doing.

963
00:45:30,320 --> 00:45:31,000
Speaker 3: It's fascinating.

964
00:45:31,000 --> 00:45:33,679
Speaker 4: How again, this has been the one to really catch

965
00:45:33,719 --> 00:45:37,320
on because when you look at everything I surround it,

966
00:45:37,400 --> 00:45:40,880
since when have the crowds that have latched on and

967
00:45:40,960 --> 00:45:43,719
kind of like Champion Launch for the most.

968
00:45:43,599 --> 00:45:45,960
Speaker 3: When have they ever cared about symphonic metal?

969
00:45:46,480 --> 00:45:48,199
Speaker 2: Is like, it's very unusual.

970
00:45:49,639 --> 00:45:53,079
Speaker 4: I'm not the first death core band to add spok elements.

971
00:45:53,079 --> 00:45:55,280
You have fucking like betraying the Martyrs in the twenty

972
00:45:55,320 --> 00:45:59,159
ten's doing it, and no one like outside of like

973
00:45:59,159 --> 00:46:01,800
like can't yeah exactly, you had bands doing this sort

974
00:46:01,840 --> 00:46:04,000
of thing, and outside the people who were like in

975
00:46:04,039 --> 00:46:06,159
on the death Cord trenches going to every Never Say

976
00:46:06,199 --> 00:46:09,159
Die tour like myself, at that point, no one else

977
00:46:09,239 --> 00:46:11,119
really cared. So it was kind of like no it's

978
00:46:11,119 --> 00:46:13,000
not a new thing Lorna Shaw have done. And again

979
00:46:13,039 --> 00:46:15,280
they would Lorna Show were doing it in the twenty

980
00:46:15,320 --> 00:46:18,679
tens and to kind of like be second on those

981
00:46:18,760 --> 00:46:22,079
never Say Die bills they like. So it's not something

982
00:46:22,159 --> 00:46:25,519
new that, but they just something about how Lorna Shop

983
00:46:25,559 --> 00:46:28,119
have now presented it since the turner, like say, since

984
00:46:28,119 --> 00:46:31,119
this another decad in the twenty twenties has just completely

985
00:46:31,159 --> 00:46:33,920
captured a crowd who could not give a toss about

986
00:46:33,920 --> 00:46:38,760
symphonic music and now it's the biggest of its kind.

987
00:46:39,239 --> 00:46:41,880
Speaker 1: Yeah, and I will say that now Lorna Shaw are big,

988
00:46:41,960 --> 00:46:44,159
and they are continually kind of building on this momentum.

989
00:46:44,159 --> 00:46:46,760
They are able to take it to places I think

990
00:46:46,760 --> 00:46:49,000
you'd probably say it hasn't been done before. You know,

991
00:46:49,159 --> 00:46:52,920
this record, I don't think is one that has exactly

992
00:46:52,960 --> 00:46:56,320
been you know, it doesn't exist yet, you know, and

993
00:46:57,079 --> 00:47:00,519
since I think, you know, pain remains. Really we all

994
00:47:00,519 --> 00:47:02,679
had our interest kind of peaked by this like sudden

995
00:47:02,760 --> 00:47:04,960
jump in virality that they had with to the hell Fire,

996
00:47:05,000 --> 00:47:07,760
and then we were appreciating again even if you know,

997
00:47:07,760 --> 00:47:11,119
their fan base maybe has not necessarily fully you know,

998
00:47:11,199 --> 00:47:13,840
gone kind of into this this realm the way they

999
00:47:13,840 --> 00:47:17,639
were bringing these you know, textures of bands like Winter

1000
00:47:17,719 --> 00:47:21,079
Sun and dimu Borgia and so on to like a

1001
00:47:21,119 --> 00:47:23,800
massive mainstream out of place. I love that as an idea,

1002
00:47:23,840 --> 00:47:25,679
you know, like that excites me when when I hear it,

1003
00:47:26,320 --> 00:47:31,480
but it also comes with a certain sanitization and a

1004
00:47:31,559 --> 00:47:36,280
homogeneity where I was hoping Lorna Shore to really be

1005
00:47:36,360 --> 00:47:40,000
able to kind of embrace the dynamics and the depth

1006
00:47:40,079 --> 00:47:40,639
that that kind of.

1007
00:47:40,679 --> 00:47:41,599
Speaker 2: Music has to offer.

1008
00:47:41,880 --> 00:47:45,920
Speaker 1: Where what kind of has happened Is I like that

1009
00:47:45,960 --> 00:47:49,599
Lorna Shaw are doing that thing. But the world that

1010
00:47:49,639 --> 00:47:51,480
we've got in the you know, the general realm of

1011
00:47:51,480 --> 00:47:54,039
death corps, we've gone from a you know, however, many

1012
00:47:54,079 --> 00:47:56,719
years ago lots of bland death core bands all trying

1013
00:47:56,760 --> 00:47:58,679
to be you know, job for a cowboy or whatever,

1014
00:47:59,039 --> 00:48:01,679
to a b of bland death core bands all doing

1015
00:48:01,679 --> 00:48:06,440
their kind of glossy synth orchestra soup, and lorn A

1016
00:48:06,480 --> 00:48:08,320
Share as you know, the head of that kind of

1017
00:48:08,480 --> 00:48:11,840
battering ram. They are very intent on pushing their records

1018
00:48:11,880 --> 00:48:15,119
to be more and more epic and grandiose. This one

1019
00:48:15,159 --> 00:48:18,599
is now sixty six minutes long. I think this record

1020
00:48:18,679 --> 00:48:22,360
is really good in parts, but I also know that

1021
00:48:22,480 --> 00:48:25,000
after our review of it is done, I am not

1022
00:48:25,280 --> 00:48:26,800
likely to ever sit down and listen to it and

1023
00:48:26,880 --> 00:48:27,320
fall again.

1024
00:48:28,000 --> 00:48:29,960
Speaker 3: I mean that is exactly how I feel as well.

1025
00:48:30,880 --> 00:48:35,599
Speaker 4: I think, like you're right, this is like the biggest, glossiest,

1026
00:48:35,599 --> 00:48:37,320
most epic of all of these kind of again, the

1027
00:48:37,480 --> 00:48:40,239
current crop of symphonic death core bands like they were,

1028
00:48:40,480 --> 00:48:42,679
like you know, well that's brand of Sackfires or any

1029
00:48:42,679 --> 00:48:45,119
of those bands, Lornas will clearly have the most sort

1030
00:48:45,119 --> 00:48:48,280
of cinematic scope for it, and I can really respect that.

1031
00:48:49,119 --> 00:48:51,280
Like I don't want to kind of like come down

1032
00:48:51,280 --> 00:48:53,199
hard on this album because I want to get behind

1033
00:48:53,199 --> 00:48:55,159
what this album is pushing.

1034
00:48:55,679 --> 00:48:57,760
Speaker 3: And I think there are songs of this album that

1035
00:48:58,000 --> 00:49:00,760
are like really great. I mean they are like as

1036
00:49:00,760 --> 00:49:03,119
one will kind of get for it. But my problem

1037
00:49:03,159 --> 00:49:07,519
with this album is a lot of bluster and bombast.

1038
00:49:07,639 --> 00:49:10,400
Speaker 4: But as you said, the sort of the nuance, the

1039
00:49:10,440 --> 00:49:13,920
texture and the kind of like intricacies of some of

1040
00:49:13,920 --> 00:49:16,079
the best sort of symphonic music a if you want

1041
00:49:16,119 --> 00:49:17,480
to say, like Winter Sun is the kind of like

1042
00:49:17,559 --> 00:49:20,320
gold standard like with those well, like the Time Records

1043
00:49:20,400 --> 00:49:23,280
is kind of like the fully expung the intricacies and

1044
00:49:23,440 --> 00:49:26,800
like all of the different elements that play with symphonically

1045
00:49:26,800 --> 00:49:29,679
and again when Sun can be overblown and bombask as hell,

1046
00:49:30,360 --> 00:49:33,400
but they can also be yeah, no no, but they

1047
00:49:33,400 --> 00:49:36,760
have they do have moments of subtlety like weaved in

1048
00:49:36,800 --> 00:49:37,400
there as well.

1049
00:49:38,159 --> 00:49:40,679
Speaker 3: One of my problems with this album is it's kind of.

1050
00:49:42,280 --> 00:49:44,920
Speaker 4: Always dialed up to the max at all times, whether

1051
00:49:44,920 --> 00:49:47,880
that is like the guitars, the vocals, the symphonic stuff.

1052
00:49:48,079 --> 00:49:51,960
I think like the symphonic motifs they use get very samey.

1053
00:49:52,119 --> 00:49:54,480
There's not a lot of like kind of like texture

1054
00:49:54,599 --> 00:49:56,760
in the sort of the digital orchestras. I'm kind of

1055
00:49:56,800 --> 00:49:59,599
like coined out and like that that's me becomes a

1056
00:49:59,599 --> 00:50:02,159
problem when you get to like sort of say track

1057
00:50:02,239 --> 00:50:05,199
six or seven on this where like it starts off

1058
00:50:05,320 --> 00:50:06,880
like really cool and there's a sex of songs in

1059
00:50:06,880 --> 00:50:09,480
the middle, which I think is like really great, but

1060
00:50:09,519 --> 00:50:11,840
when it's kind of like always hitting those same kind

1061
00:50:11,880 --> 00:50:15,679
of like choral sections or digital orchestra like strings, you're

1062
00:50:15,760 --> 00:50:17,679
kind of like hitting the same thing as the breakdowns,

1063
00:50:17,679 --> 00:50:20,719
it all kind of does eventually blur her into one

1064
00:50:20,800 --> 00:50:22,760
and as you say, it's doing that.

1065
00:50:22,719 --> 00:50:26,639
Speaker 3: For sixty six minutes, which is it's a big ask.

1066
00:50:27,679 --> 00:50:30,719
Speaker 1: Yeah, I agree, I think you know, Pain Remains I

1067
00:50:30,719 --> 00:50:32,599
thought was a pretty good album.

1068
00:50:32,639 --> 00:50:33,480
Speaker 2: I thought it had.

1069
00:50:33,480 --> 00:50:36,079
Speaker 1: Soaring highs and moments where they were again pushing the

1070
00:50:36,079 --> 00:50:38,360
ambition of it. But since we reviewed it in twenty

1071
00:50:38,360 --> 00:50:40,719
twenty two, I haven't listened that album once because they

1072
00:50:40,760 --> 00:50:45,719
are excessive without really having the depth or the songwriting

1073
00:50:45,800 --> 00:50:51,039
chops to warrant that. And this is even more bombastic again.

1074
00:50:51,199 --> 00:50:54,480
You know, it's probably the most bombastic symphonic death core

1075
00:50:54,519 --> 00:50:56,159
album that has ever been made up to this point.

1076
00:50:56,639 --> 00:50:59,679
And I like the flavor, and you know, I think

1077
00:50:59,679 --> 00:51:02,519
that the opening song, Prison of Flesh, that kind of

1078
00:51:02,519 --> 00:51:04,719
blows my skirt up, you know, when the album hits.

1079
00:51:05,079 --> 00:51:07,800
One big critique I have of Lorna Shore is I

1080
00:51:07,800 --> 00:51:10,480
don't think they really have many rifts the way that

1081
00:51:11,079 --> 00:51:14,840
Death Court, I believe, does still need rifts. They have

1082
00:51:15,559 --> 00:51:18,320
weirdly lead bits that flurry around while the blasts are going,

1083
00:51:18,400 --> 00:51:20,960
and they have one fret breakdowns, but they don't have riffs.

1084
00:51:21,239 --> 00:51:24,320
Prison of Flesh does have a pretty good riff in

1085
00:51:24,360 --> 00:51:27,840
it when it goes into the you know, drawn from

1086
00:51:27,840 --> 00:51:30,440
the kind of black metal tradition, there's this really like

1087
00:51:30,599 --> 00:51:33,480
fiery tremolo part that's a kind of a rare treat

1088
00:51:33,840 --> 00:51:35,920
within the album, and it's very intense, you know, and

1089
00:51:35,960 --> 00:51:38,559
it's got the keys like one of those kind of

1090
00:51:38,599 --> 00:51:41,119
demo clone bounds from the late nineties and Wills going

1091
00:51:41,199 --> 00:51:43,320
crazy over it. And that black metal riff that comes

1092
00:51:43,360 --> 00:51:45,199
in around sort of the two minute mark, only to

1093
00:51:45,239 --> 00:51:49,599
then smash into a really big, you know, triumphant Bradley

1094
00:51:49,599 --> 00:51:52,440
Cooper waving his conducting arms around, you know, orchestra part.

1095
00:51:52,679 --> 00:51:55,119
That is the thrill that Lorda Shure I meant to

1096
00:51:55,119 --> 00:51:57,079
give and I love that part. That might be my

1097
00:51:57,360 --> 00:51:59,360
you know favorite Lorna sharettrac today.

1098
00:51:59,559 --> 00:52:00,880
Speaker 3: Yeah, I mean it's it's you.

1099
00:52:00,840 --> 00:52:03,360
Speaker 4: Know, it sets out what the album does really well,

1100
00:52:03,440 --> 00:52:05,760
and that that black metal bit is kind of like,

1101
00:52:05,800 --> 00:52:08,559
oh that that's that's that's the nextra flavor. That kind

1102
00:52:08,559 --> 00:52:11,519
of like more like you say about the riffs, I

1103
00:52:11,639 --> 00:52:13,239
do that and the other thing I think that Laurna

1104
00:52:13,280 --> 00:52:16,679
Saw quite seem like is And again I'm not saying

1105
00:52:16,719 --> 00:52:21,079
they need to start throwing in octane core radio metal

1106
00:52:21,199 --> 00:52:25,159
choruses hooks in general, whether that be in the rifts

1107
00:52:25,679 --> 00:52:26,320
or vocally.

1108
00:52:26,639 --> 00:52:28,679
Speaker 3: I do think that like again, they're enough and the like.

1109
00:52:28,679 --> 00:52:31,039
Speaker 4: And the comparison I made was I went back and

1110
00:52:31,039 --> 00:52:34,159
listened to the White Chapel album earlier this year, which

1111
00:52:34,159 --> 00:52:36,280
I think is like the closest comparison because again that

1112
00:52:36,320 --> 00:52:39,360
album is you know, quite epic in scope. Actually again

1113
00:52:39,519 --> 00:52:41,159
I said that Alam has got riffs on it, that

1114
00:52:41,239 --> 00:52:43,360
album has got hooks on it. They've got the hooks,

1115
00:52:43,360 --> 00:52:44,960
aren't just you know, the one thing to shout before

1116
00:52:45,000 --> 00:52:49,599
the beat down that they are like, they're like you

1117
00:52:49,639 --> 00:52:51,079
had that sort of stuff on that whites Albu where

1118
00:52:51,119 --> 00:52:55,920
it was catching memorable while sounding like disgustingly heavy and

1119
00:52:55,960 --> 00:53:00,320
still pretty like large scale and cinematic. The White doesn't

1120
00:53:00,320 --> 00:53:02,880
go as sweeping and epic as this does, but it

1121
00:53:03,159 --> 00:53:05,519
kind of did that whilst writing more memorable songs that

1122
00:53:05,519 --> 00:53:08,519
stock for me. I think for a lot of this album,

1123
00:53:08,679 --> 00:53:11,880
I kind of just let like the symphonic bluster and

1124
00:53:11,920 --> 00:53:14,000
like of all just kind of washes over me. And

1125
00:53:14,039 --> 00:53:18,199
again Will Ramos, what he is doing vocally is is impressive.

1126
00:53:18,239 --> 00:53:20,199
There's no denying that. Like the noises he cann't come

1127
00:53:20,199 --> 00:53:23,280
out with are really impressive. But the most most thing

1128
00:53:23,280 --> 00:53:24,920
he's done me as a vocalist this year is seeing

1129
00:53:24,960 --> 00:53:27,599
that chorus on the Employee to serve record, because again

1130
00:53:27,639 --> 00:53:29,480
that's something a bit different that I'm not used to

1131
00:53:29,519 --> 00:53:30,039
hearing him do.

1132
00:53:30,360 --> 00:53:32,159
Speaker 3: And so like I've heard, you know, to the health

1133
00:53:32,159 --> 00:53:33,280
Fire at this point, so.

1134
00:53:33,239 --> 00:53:36,000
Speaker 4: When he is making those like disgusting gargling, noisems like

1135
00:53:36,360 --> 00:53:38,199
you're doing the to the health Fire thing again. Cool,

1136
00:53:38,679 --> 00:53:41,519
it is, you know, discussing, and that's gonna gonna get

1137
00:53:41,519 --> 00:53:44,440
the reactions, but it's not. It doesn't excite me as

1138
00:53:44,480 --> 00:53:46,679
much as when I first heard to the Health Fire

1139
00:53:46,679 --> 00:53:48,559
and you hit that final sex of that song where

1140
00:53:48,599 --> 00:53:51,639
it just complete that they completely controyed and made the

1141
00:53:51,679 --> 00:53:53,559
most disgusting modern.

1142
00:53:53,360 --> 00:53:54,199
Speaker 3: Death or breaking imagine.

1143
00:53:54,320 --> 00:53:55,440
Speaker 4: And they do that a lot of cross the sound,

1144
00:53:55,440 --> 00:53:58,280
which kind of like you're doing that thing you're very

1145
00:53:58,280 --> 00:54:01,159
good at, but it's repeating again, and I think that

1146
00:54:01,199 --> 00:54:02,880
becomes a point when the album is as as it is,

1147
00:54:02,920 --> 00:54:06,159
they do just find themselves repeating the same tricks they are.

1148
00:54:06,519 --> 00:54:07,440
Speaker 3: They're clearly very good.

1149
00:54:07,679 --> 00:54:10,199
Speaker 4: I don't want to gain downplay a lot like the

1150
00:54:10,400 --> 00:54:13,000
talent's going to this record, but it is it is

1151
00:54:13,239 --> 00:54:14,400
very same at times.

1152
00:54:15,199 --> 00:54:19,840
Speaker 1: Yeah, there are a couple of moments like Unbreakable has

1153
00:54:19,880 --> 00:54:21,400
that we are Unbreakable.

1154
00:54:21,760 --> 00:54:23,320
Speaker 4: That's the exception of this album for me, which is

1155
00:54:23,320 --> 00:54:24,360
my favorite song, I'm Breakable.

1156
00:54:24,360 --> 00:54:25,480
Speaker 3: I think that is one we'll go like.

1157
00:54:25,360 --> 00:54:27,400
Speaker 4: Ah, this is where everything I want Lorna Shaw to

1158
00:54:27,440 --> 00:54:29,599
be is kind of nailed into that track.

1159
00:54:30,199 --> 00:54:32,599
Speaker 1: Okay, I mean that really made me laugh because that

1160
00:54:32,880 --> 00:54:38,599
hook is europower metal that people listening to this would

1161
00:54:38,679 --> 00:54:41,320
usually act like that doesn't even have artistic merit as

1162
00:54:41,320 --> 00:54:41,800
a genre.

1163
00:54:42,039 --> 00:54:44,920
Speaker 2: And I applaud Lord of Shore for managing to get a.

1164
00:54:44,840 --> 00:54:47,880
Speaker 1: Power metal bit in and the way the strings and

1165
00:54:47,960 --> 00:54:51,000
it works, like that's basically a within Temptation song with

1166
00:54:51,039 --> 00:54:52,400
a guy bree breathing over.

1167
00:54:52,239 --> 00:54:56,000
Speaker 3: It, Like like I like that, I love it. You know,

1168
00:54:56,199 --> 00:54:58,719
I really like Epica and that song is that sort

1169
00:54:58,719 --> 00:54:58,960
of thing.

1170
00:54:59,079 --> 00:55:01,199
Speaker 4: So when they're doing that with an hook and it

1171
00:55:01,280 --> 00:55:03,519
really sounds stones and you've got that that kind of

1172
00:55:03,559 --> 00:55:05,880
like that string hook that's in it, which kind of

1173
00:55:05,920 --> 00:55:10,199
like goes that sort of stuff like it. Actually that's

1174
00:55:10,199 --> 00:55:11,639
why I'm like, this is what I'm kind of wanting

1175
00:55:11,679 --> 00:55:13,559
from you. You're you're you're you're combining the animals you're

1176
00:55:13,559 --> 00:55:16,000
really good at to Actually you know how the closer

1177
00:55:16,079 --> 00:55:17,760
you can get to a radio here and that's cool,

1178
00:55:17,840 --> 00:55:19,320
and it's kind of annoying that it's kind of like

1179
00:55:19,719 --> 00:55:22,400
isolated to that song and they don't explore that more

1180
00:55:22,559 --> 00:55:25,119
and kind of like weave that into these longer form

1181
00:55:25,239 --> 00:55:27,119
songs as they're as they do and said, the longer

1182
00:55:27,119 --> 00:55:29,760
form songs just kind of become a bit of like

1183
00:55:29,760 --> 00:55:31,039
a drawn out process.

1184
00:55:31,880 --> 00:55:34,480
Speaker 1: Yeah, so you know what Lorna Shaw deliver is this

1185
00:55:34,559 --> 00:55:37,360
like massively you know, maximalist experience. You know, fully one

1186
00:55:37,400 --> 00:55:39,559
ten epic all the time. And you know, certainly if

1187
00:55:39,559 --> 00:55:41,719
I am going to compare that to power and symphonic

1188
00:55:41,760 --> 00:55:44,920
metal bands, obviously it is heavier than those things and

1189
00:55:44,960 --> 00:55:49,639
more kind of sonically overwhelming. Track two on the Apple

1190
00:55:49,639 --> 00:55:51,760
I was that first song which I mentioned Prison of

1191
00:55:51,800 --> 00:55:53,719
Flyers as a breakdown bit at the end. The first

1192
00:55:53,719 --> 00:55:56,000
time I heard this, I was ill recently and I

1193
00:55:56,079 --> 00:55:58,519
happened to just start coughing at the exact moment that

1194
00:55:58,599 --> 00:56:00,760
came in, And I think the combination nearly killed me,

1195
00:56:00,960 --> 00:56:03,079
mainly because it's so loud. But then you know, going

1196
00:56:03,079 --> 00:56:05,320
to the second track, Oblivion, which was the single, wasn't

1197
00:56:05,360 --> 00:56:08,800
it I think is you know, one of the better songs. Again,

1198
00:56:08,880 --> 00:56:10,079
I think that was the single wasn't it, And we

1199
00:56:10,079 --> 00:56:13,360
were like, you know, eight minute single, Does it, you know,

1200
00:56:14,119 --> 00:56:17,239
have the breadth to demand an eight minute single? I'm

1201
00:56:17,280 --> 00:56:21,079
not sure, but it does have the kind of the

1202
00:56:21,519 --> 00:56:23,440
melody and the core progression with the synth part I

1203
00:56:23,440 --> 00:56:27,360
think works and has this very melancholic, kind of mournful

1204
00:56:27,519 --> 00:56:29,519
quality that kind of reminds me of the thing that

1205
00:56:29,639 --> 00:56:32,719
funeral doom bands like Shape of Despair do with their synths.

1206
00:56:32,960 --> 00:56:35,719
But instead of a big, cavendous funeral doom track, it's

1207
00:56:35,760 --> 00:56:38,920
like atop the propelling you know, blast of Lorna Shore

1208
00:56:39,039 --> 00:56:42,320
and the big what have We done will vocal bit

1209
00:56:42,440 --> 00:56:44,480
is you know, one of the more effective again sort

1210
00:56:44,519 --> 00:56:49,480
of call and drop points. But as much as I

1211
00:56:49,519 --> 00:56:50,960
like the song, right your track twill on the album

1212
00:56:50,960 --> 00:56:53,320
at that point first track was seven minutes long, this

1213
00:56:53,360 --> 00:56:55,960
is now eight minutes long. Most of these songs end

1214
00:56:56,039 --> 00:56:58,400
up being six to seven minutes long up to you know,

1215
00:56:58,519 --> 00:57:02,079
nine minutes long, and in the case of most of them,

1216
00:57:02,400 --> 00:57:05,199
it's almost like there is a good four to five

1217
00:57:05,280 --> 00:57:08,360
minute radio edit inside a song that just keeps going

1218
00:57:08,440 --> 00:57:11,079
and that's coming from me, right Like, you guys know,

1219
00:57:11,639 --> 00:57:14,079
I'm not the guy asking for their radio edit version.

1220
00:57:14,440 --> 00:57:16,800
The best metal album of last year was two twenty

1221
00:57:16,840 --> 00:57:19,880
minute songs stuck Together. I just name dropped Shape of Despair,

1222
00:57:20,039 --> 00:57:22,320
who their best album is seventy five minutes long and

1223
00:57:22,400 --> 00:57:27,119
is literally called Monotony Fields. But it's about sustaining that

1224
00:57:27,440 --> 00:57:29,559
this is my course of an album, and I think

1225
00:57:29,599 --> 00:57:32,519
this really struggles and as you go through each song

1226
00:57:32,559 --> 00:57:36,199
and like, okay, this one, it's massively pompous. The orchestration

1227
00:57:36,239 --> 00:57:38,199
and the choirs are just very overblown as they come in.

1228
00:57:38,599 --> 00:57:42,719
Sounds thrilling, but where are they gonna take that? And

1229
00:57:43,239 --> 00:57:46,599
the problem with Lorna Show is that they are impressive

1230
00:57:46,840 --> 00:57:49,519
for a death core band, And I don't mean that

1231
00:57:49,679 --> 00:57:53,039
to you know, snobbily talk down on death core and

1232
00:57:53,039 --> 00:57:55,679
put it on a lower pederstore because I've been listening

1233
00:57:55,679 --> 00:57:57,960
to that genre for fifteen years. Many people out there

1234
00:57:58,000 --> 00:57:59,800
have been listening to it for longer than that. It's

1235
00:57:59,800 --> 00:58:02,199
some that I love at its best, and there's produced

1236
00:58:02,199 --> 00:58:04,400
records that I think are fantastic and are close to

1237
00:58:04,400 --> 00:58:07,039
my heart. But in terms of what Lorna Sure are

1238
00:58:07,079 --> 00:58:10,679
bringing to the genre, with the stamp being huge bombast

1239
00:58:10,800 --> 00:58:14,119
and long form song structures that here they're really trying

1240
00:58:14,159 --> 00:58:16,760
to kind of display an ambition for progressive instincts, right

1241
00:58:16,760 --> 00:58:18,719
like they want to be a long form prog death

1242
00:58:18,760 --> 00:58:22,920
core band. If you go outside of their bubble, you

1243
00:58:23,039 --> 00:58:26,679
start to see, you know, the stuff that the masters

1244
00:58:27,599 --> 00:58:29,239
of what they're aiming for are able to do that

1245
00:58:29,280 --> 00:58:34,239
they're not fully reaching yet. The guitarist extremely short on riffs.

1246
00:58:34,239 --> 00:58:37,920
He does display an affinity for big, sweeping guitar solos,

1247
00:58:37,960 --> 00:58:39,840
you know, stuff like in Darkness or whatever on this

1248
00:58:40,079 --> 00:58:43,159
good I think their breakdowns are really boring, Like for

1249
00:58:43,320 --> 00:58:45,760
all of the flowery stuff that they have going on

1250
00:58:45,760 --> 00:58:48,039
in the orchestra and the guitar leads, when it comes

1251
00:58:48,119 --> 00:58:50,599
to those like you're saying stop dead to drop the

1252
00:58:50,639 --> 00:58:53,800
anvil on your head, the breakdowns are completely interchangeable. Like

1253
00:58:54,039 --> 00:58:56,719
for me, they only function to just clob a you

1254
00:58:56,760 --> 00:58:58,920
for a couple of minutes or something really basic, to

1255
00:58:59,000 --> 00:59:03,079
break up the homogeney of all the symphonic parts. And

1256
00:59:03,119 --> 00:59:05,960
if they have that ambition then for the more progressive ideas,

1257
00:59:06,199 --> 00:59:08,719
but there's never actually the breathing room in the album

1258
00:59:08,760 --> 00:59:12,039
to get it. If you're gonna start paddling in the

1259
00:59:12,079 --> 00:59:14,480
opeth or the Winter sunpool or you know, bads like

1260
00:59:14,519 --> 00:59:16,559
Epacha even who you know, we raise for albums like

1261
00:59:16,559 --> 00:59:20,159
Omega from them that do the long, epic, prog symphonic

1262
00:59:20,159 --> 00:59:23,119
thing really well, you're gonna start to be judged a

1263
00:59:23,159 --> 00:59:26,800
bit more seriously. And as a sixty six minute record,

1264
00:59:27,280 --> 00:59:30,920
this does not have that that that breadth or depth

1265
00:59:31,280 --> 00:59:34,719
to kind of you know, live on to play on

1266
00:59:34,719 --> 00:59:35,320
that same level.

1267
00:59:35,519 --> 00:59:37,400
Speaker 4: That is, it is like they want to, you know,

1268
00:59:37,519 --> 00:59:41,159
be seen in that class above your empirical death cold bands,

1269
00:59:41,159 --> 00:59:42,559
all that sort of stuff, and I think that's great.

1270
00:59:42,559 --> 00:59:45,039
I applaud their ambition to do it, but it means

1271
00:59:45,039 --> 00:59:46,719
that similar I think I said some of the things

1272
00:59:46,760 --> 00:59:48,480
like when not looseort Of made their kind of like

1273
00:59:48,920 --> 00:59:50,960
plays be seen as that above the sort of copper

1274
00:59:50,960 --> 00:59:52,320
hardcore bands they came from.

1275
00:59:52,159 --> 00:59:53,840
Speaker 3: Like, are you're gonna do that? Then you've got to

1276
00:59:53,880 --> 00:59:55,480
be judged to that standard.

1277
00:59:55,559 --> 00:59:58,159
Speaker 4: And I think like on this album in particular, I

1278
00:59:58,239 --> 01:00:01,119
do think Lorna sure up a little shop because you're right,

1279
01:00:01,119 --> 01:00:02,599
they don't have.

1280
01:00:04,840 --> 01:00:06,239
Speaker 3: The full grasp to.

1281
01:00:08,159 --> 01:00:10,679
Speaker 4: Capture what makes you know, a winter Sun or whatever,

1282
01:00:11,599 --> 01:00:14,960
opere Blood Incantation, like all these sort of again these

1283
01:00:15,000 --> 01:00:19,559
progressive death metal bands that Laura kind of like want

1284
01:00:19,559 --> 01:00:21,719
to be kind of like playing alongside at this point

1285
01:00:22,239 --> 01:00:25,159
and also don't have the nuance the full kind of

1286
01:00:25,239 --> 01:00:27,360
skill set yet, and maybe maybe they will kind of

1287
01:00:27,400 --> 01:00:30,320
like build on what they've got here and find ways

1288
01:00:30,320 --> 01:00:34,199
to make these songs way more progressively interesting, because right

1289
01:00:34,199 --> 01:00:36,480
now I listen to some of like they're long, but

1290
01:00:36,519 --> 01:00:39,599
they're not actually particularly progressive. It feels go again, like

1291
01:00:39,800 --> 01:00:41,679
you're kind of drawing things out, and the breakdowns they

1292
01:00:41,679 --> 01:00:44,599
feel almost like stop things they have to put in

1293
01:00:44,719 --> 01:00:46,920
to still be seen to still keep that death or

1294
01:00:47,000 --> 01:00:51,719
crowd on side, unless they may be seen as too flowering.

1295
01:00:51,719 --> 01:00:54,760
And I think they're the things that really hamper a

1296
01:00:54,800 --> 01:00:57,079
lot of these songs where it kind of just has

1297
01:00:57,119 --> 01:00:59,760
to just say stop dead master over the head of

1298
01:00:59,760 --> 01:01:02,119
the break down, and it's kind of like and some

1299
01:01:02,159 --> 01:01:04,320
of the some of these breakdowns go on weirdly long

1300
01:01:04,360 --> 01:01:07,039
as well, and it all just continues to pad out

1301
01:01:07,199 --> 01:01:10,000
the experience, and some of them feel totally out of

1302
01:01:10,079 --> 01:01:11,480
character the rest of the song where this has been

1303
01:01:11,480 --> 01:01:13,880
you know, this quite EXPANSI from that, and now's like

1304
01:01:13,960 --> 01:01:16,679
and now it's in the dirgy sort of death course slop,

1305
01:01:16,719 --> 01:01:18,880
and it's like did the song actually need a breakdown

1306
01:01:18,960 --> 01:01:20,960
or are you putting it in there because you're a

1307
01:01:21,000 --> 01:01:22,679
death or bad you've got to have the breakdown.

1308
01:01:22,679 --> 01:01:23,320
Speaker 3: There are things like that.

1309
01:01:23,400 --> 01:01:25,400
Speaker 1: I'm like, I don't know if I would mind it

1310
01:01:25,440 --> 01:01:27,960
so much if the breakdowns were more vastly. But every

1311
01:01:28,000 --> 01:01:32,760
single they they they can't write a rhythmically interesting breakdown,

1312
01:01:32,840 --> 01:01:35,480
Like it's like the the pay grade of the music

1313
01:01:35,639 --> 01:01:38,039
does just dip substantially whenever they go and do it.

1314
01:01:38,559 --> 01:01:40,880
Because I'm not I'm not inherently anti breakdown, right again,

1315
01:01:40,920 --> 01:01:46,159
I like death neither. Yeah, but they are, you know that,

1316
01:01:46,480 --> 01:01:48,159
like said, they're drawn out as well. Like you're saying,

1317
01:01:48,400 --> 01:01:50,480
there are two songs where they push at the like

1318
01:01:50,960 --> 01:01:53,119
epic death core ballad thing that they have been doing

1319
01:01:53,159 --> 01:01:55,679
before that I think also do stand out within the album.

1320
01:01:55,960 --> 01:01:58,320
One is glen Wood in the Middle, which has these

1321
01:01:58,360 --> 01:02:01,719
like harmony, clean guitar aren't a million miles away from

1322
01:02:01,719 --> 01:02:03,360
like maybe a big sort of jeff Ling you know,

1323
01:02:03,440 --> 01:02:05,039
modern day parkway drive lead.

1324
01:02:05,320 --> 01:02:08,199
Speaker 2: When it kicks in and I.

1325
01:02:08,159 --> 01:02:09,880
Speaker 1: Can see, you know the way I know about like

1326
01:02:09,920 --> 01:02:11,800
Dodds read or something, for me, I just go, oh

1327
01:02:11,800 --> 01:02:13,719
my god. Every single league guitar just makes my heart

1328
01:02:13,800 --> 01:02:15,199
saying I can see where Lorn the Show could be

1329
01:02:15,280 --> 01:02:18,159
that bad for people, and then forevermore. As the closer,

1330
01:02:18,880 --> 01:02:21,760
nearly ten minutes long, it does undeniably it sounds like

1331
01:02:21,760 --> 01:02:23,760
a million dollars when the orchestra hits like it does

1332
01:02:24,119 --> 01:02:26,320
sweep you off your feet, and it's full of those

1333
01:02:26,480 --> 01:02:29,400
dancing little again like Yai Winter Sun guitar leaves that

1334
01:02:29,440 --> 01:02:31,239
sounds straight off of like the two thousand and four

1335
01:02:31,280 --> 01:02:35,159
self titled Win the Sun record. But those two songs again,

1336
01:02:35,159 --> 01:02:36,960
they almost feel like the tracks to close their their

1337
01:02:37,039 --> 01:02:39,039
vinyl sides right there the track you know, five or

1338
01:02:39,039 --> 01:02:43,639
ten or whatever it is around them. It doesn't create

1339
01:02:43,719 --> 01:02:45,719
much of an arc of an album because the songs

1340
01:02:45,719 --> 01:02:49,599
are so same. Me and I agree, aside from odd moments,

1341
01:02:49,679 --> 01:02:52,960
actual chorus hooks are in as short a supply as

1342
01:02:53,000 --> 01:02:57,920
actual riffs are compounded by the completely brickwalled production where

1343
01:02:58,480 --> 01:02:59,880
I had a better time listening to this on my

1344
01:03:00,280 --> 01:03:02,000
speakers than I did in my headphones because it's just

1345
01:03:02,000 --> 01:03:03,480
so like loudness.

1346
01:03:03,599 --> 01:03:07,039
Speaker 4: Everything's matched out like there's no such nuance.

1347
01:03:07,599 --> 01:03:09,639
Speaker 1: And the result is there are multiple songs that I

1348
01:03:09,679 --> 01:03:11,800
would just cut because they're redundant to the album. You know,

1349
01:03:11,880 --> 01:03:13,960
like like Lion Heart and Death Can Take Me. They're

1350
01:03:13,960 --> 01:03:15,840
not bad, but does the album need them at that point?

1351
01:03:16,039 --> 01:03:19,079
I don't think so. A nameless Him has some of

1352
01:03:19,079 --> 01:03:21,719
the biggest kind of evil, you know, Demon bor Gear,

1353
01:03:21,760 --> 01:03:23,880
death Star vibe, so I like that, but you've had

1354
01:03:23,920 --> 01:03:26,239
a lot of it at that point, and then you

1355
01:03:26,280 --> 01:03:28,440
get your sort of eighth like you know, nonsense Machine

1356
01:03:28,480 --> 01:03:29,639
Gun for breakdown.

1357
01:03:29,679 --> 01:03:30,119
Speaker 2: At that point.

1358
01:03:30,639 --> 01:03:33,159
Speaker 1: War Machine Deep in the second half does feel a

1359
01:03:33,199 --> 01:03:35,599
bit different. It has more of like an electro groove.

1360
01:03:35,679 --> 01:03:37,960
Speaker 4: I'm a suck for a guncock into the rift. I'm sorry,

1361
01:03:37,960 --> 01:03:38,719
I can't help it.

1362
01:03:38,760 --> 01:03:42,960
Speaker 1: Like yeah, but when they particularly when the drumming opens

1363
01:03:43,000 --> 01:03:44,760
up as the riff kicks in, it's very nice to

1364
01:03:44,760 --> 01:03:46,920
hear them doing a different kind of rhythm at that

1365
01:03:46,960 --> 01:03:49,800
point because they've had so few riffs that switch things

1366
01:03:49,880 --> 01:03:53,000
up like that. But I'm just imagine if we drop

1367
01:03:53,119 --> 01:03:55,159
the previous two tracks on the album prior to that,

1368
01:03:55,480 --> 01:03:59,400
and it goes right from Glenwood into that like different

1369
01:03:59,440 --> 01:04:02,880
sort of feel, it make a world of difference. And

1370
01:04:03,039 --> 01:04:05,480
at that point, when Warmshing is coming in, I can't

1371
01:04:05,519 --> 01:04:07,199
believe that I've still got like fifteen minutes of the

1372
01:04:07,239 --> 01:04:11,239
album left, and I just think, take a look at

1373
01:04:11,320 --> 01:04:15,599
the way the best bands in their class structure their albums,

1374
01:04:15,599 --> 01:04:17,119
because you can learn from it, right, Like, we're just

1375
01:04:17,159 --> 01:04:19,360
a year off now from Time to having come out

1376
01:04:19,519 --> 01:04:21,760
the most fucking epic band in the world when it

1377
01:04:21,800 --> 01:04:24,079
comes to this stuff and the way the Time albums,

1378
01:04:24,199 --> 01:04:27,880
both of them are structured, with each track having something

1379
01:04:27,960 --> 01:04:31,360
different to offer despite being so overblown. The whole way

1380
01:04:31,679 --> 01:04:35,559
are master classes in making this kind of overblown ear

1381
01:04:35,599 --> 01:04:39,320
fatigue thing still dynamic and compelling for something that's way

1382
01:04:39,360 --> 01:04:42,559
more brutal and relatable. Even look at like a cattle decapitation.

1383
01:04:43,000 --> 01:04:45,239
Look at how their last two albums work, and like

1384
01:04:45,320 --> 01:04:47,599
the Last Cattle I even criticized a little bit for

1385
01:04:47,679 --> 01:04:50,280
being a bit samey by their standards, But guess what,

1386
01:04:50,440 --> 01:04:52,639
I still listen to that album because the song craft

1387
01:04:52,679 --> 01:04:55,400
is really high and the album package is compelling. And

1388
01:04:56,280 --> 01:04:59,000
if it sounds like I'm being really negative, I would

1389
01:04:59,039 --> 01:05:03,079
still give this album an overall positive score because of

1390
01:05:03,119 --> 01:05:04,639
all of the parts where they get it right and

1391
01:05:04,679 --> 01:05:06,840
the general, you know, sensation of listening to it. I

1392
01:05:06,920 --> 01:05:09,159
like more songs than I don't. There's good stuff here

1393
01:05:09,239 --> 01:05:11,400
there's more highlights for the Life set that are really gonna,

1394
01:05:11,440 --> 01:05:13,559
you know, go off in that tour. But I have

1395
01:05:13,679 --> 01:05:16,000
got another album here that I have a little taste

1396
01:05:16,039 --> 01:05:18,559
of and I quite like, But like Pain Remains, I'm

1397
01:05:18,599 --> 01:05:21,679
never inclined to actually spin it again because their ambition

1398
01:05:21,880 --> 01:05:23,440
outstrips their instincts and their taste.

1399
01:05:23,519 --> 01:05:24,280
Speaker 3: Yeah, I think that's one.

1400
01:05:24,519 --> 01:05:27,239
Speaker 4: I think act you know, like the two Time Records,

1401
01:05:27,239 --> 01:05:30,519
they're you know, five songs essentially that they are like

1402
01:05:30,960 --> 01:05:34,039
all every song is is distinct, it's its own character

1403
01:05:34,800 --> 01:05:37,960
this album that they could benefit from just cutting some

1404
01:05:38,000 --> 01:05:40,119
of the like say the two songs in between glen

1405
01:05:40,119 --> 01:05:42,000
Wood and Warmish and other two art I agree are

1406
01:05:42,039 --> 01:05:44,280
just like Lonhart was, I was like, ah, this is

1407
01:05:44,280 --> 01:05:44,760
where it is.

1408
01:05:44,719 --> 01:05:45,880
Speaker 3: All just starting to blur together.

1409
01:05:46,000 --> 01:05:48,639
Speaker 4: Like those songs don't save a purpose beyond almost like

1410
01:05:48,800 --> 01:05:51,480
stapadding the whole album. So if you if you could

1411
01:05:51,559 --> 01:05:54,719
like pick the best six or so six or seven

1412
01:05:54,760 --> 01:05:57,079
songs from this and kind of like just happen together,

1413
01:05:57,119 --> 01:05:58,840
I think this would be a much stronger record that

1414
01:05:58,880 --> 01:06:00,719
I would go back to as a whole. I still

1415
01:06:00,719 --> 01:06:04,920
will probably spin you know, Unbreakable glen Wood, the opener

1416
01:06:05,079 --> 01:06:08,760
War Machine like those are songs. The closer again that

1417
01:06:08,760 --> 01:06:11,199
that is too much. I really like parts of that

1418
01:06:11,280 --> 01:06:13,960
closing track. That's when I was like, you could.

1419
01:06:13,760 --> 01:06:14,239
Speaker 3: Trim this out.

1420
01:06:14,320 --> 01:06:16,760
Speaker 4: I have all the respect for you going for like

1421
01:06:17,119 --> 01:06:20,719
full of maximum epic closer and again I like the

1422
01:06:20,760 --> 01:06:22,159
moment where they do, you know, trying to need something

1423
01:06:22,199 --> 01:06:24,440
a bit more emotionally stirring. I think that's a nice

1424
01:06:25,079 --> 01:06:26,880
texture to play with, but it is just because this

1425
01:06:26,920 --> 01:06:31,519
alum is so like Maximus at all times, like there.

1426
01:06:31,440 --> 01:06:32,880
Speaker 3: Is a lot a less is more thing.

1427
01:06:32,920 --> 01:06:35,519
Speaker 4: I wish that like Lorna Shaw would kind of cotton

1428
01:06:35,559 --> 01:06:37,039
into that a lot of the some of the best.

1429
01:06:37,239 --> 01:06:40,559
And it's funny saying that about you know, symphonic epic

1430
01:06:41,159 --> 01:06:43,159
power men, because Meltic sort of say less is more

1431
01:06:43,159 --> 01:06:44,599
of a lot of these bands, but they do understand

1432
01:06:44,599 --> 01:06:48,199
it sometimes where they can go, we don't need every

1433
01:06:48,280 --> 01:06:51,760
song to be on ten the entire time. We can

1434
01:06:51,800 --> 01:06:55,559
you know, allow space between these songs to let things breathe.

1435
01:06:55,559 --> 01:06:57,239
And I think that's just that's the trick Lorna Shaw

1436
01:06:57,239 --> 01:06:57,679
are missing.

1437
01:06:58,440 --> 01:07:00,440
Speaker 3: Yes, next, yes.

1438
01:07:00,280 --> 01:07:04,719
Speaker 1: But album Fleshwater two thousand in Search of the Endless Sky.

1439
01:07:04,920 --> 01:07:07,360
If that title doesn't give it away. These guys like

1440
01:07:07,400 --> 01:07:09,960
the year two thousand quite a bit in an era

1441
01:07:10,239 --> 01:07:14,119
of so much you know, y two k fetishization in

1442
01:07:14,440 --> 01:07:17,280
hardcore and alternative rock. In a way, it's nice that

1443
01:07:17,320 --> 01:07:19,239
someone just went as far as to like slap it

1444
01:07:19,280 --> 01:07:21,199
into their record title, because at least you can argue

1445
01:07:21,199 --> 01:07:23,840
that there's some sort of conceptual anchor as to why

1446
01:07:23,840 --> 01:07:27,199
that is the case. Fleshwater are one of the biggest

1447
01:07:27,199 --> 01:07:29,800
deal bands to have emerged in the last sort of four.

1448
01:07:29,639 --> 01:07:30,360
Speaker 2: To five years.

1449
01:07:30,360 --> 01:07:33,039
Speaker 1: Like that's true, isn't it sound like the way Fleshwater

1450
01:07:33,079 --> 01:07:35,239
seemed to blow up after the release of their first

1451
01:07:35,239 --> 01:07:36,840
album really felt like something was happening.

1452
01:07:37,400 --> 01:07:37,559
Speaker 3: Yeah.

1453
01:07:37,679 --> 01:07:39,440
Speaker 4: No, in their seeing in the sort of the rock

1454
01:07:39,480 --> 01:07:41,679
shoe Gays, particularly the sort of the hardcore Jason thing,

1455
01:07:42,119 --> 01:07:44,000
they've been like one of the bands that like has

1456
01:07:44,039 --> 01:07:45,519
been on everyone's tongue.

1457
01:07:45,679 --> 01:07:48,719
Speaker 3: I think a back to like outbreak in London the summer.

1458
01:07:48,760 --> 01:07:50,280
Speaker 4: A lot of this saw the shoegaz bands, most of

1459
01:07:50,280 --> 01:07:52,599
them will kind of put inside the little tent. Fleshwater

1460
01:07:52,599 --> 01:07:54,599
were put on the main stage like they fill out

1461
01:07:54,599 --> 01:07:59,599
the band who are like capturing imagination and are onto something.

1462
01:07:59,800 --> 01:08:01,719
Speaker 3: So the buzz is there undeniably.

1463
01:08:02,400 --> 01:08:02,679
Speaker 2: Yeah.

1464
01:08:02,840 --> 01:08:06,079
Speaker 1: From my perspective, there are obviously links to other bands

1465
01:08:06,079 --> 01:08:08,880
that we've championed, with basically the entire lineup of this band,

1466
01:08:08,920 --> 01:08:11,800
aside from their front woman Marissa being members of Vein.

1467
01:08:12,239 --> 01:08:13,960
So I was I was sort of aware of flesh

1468
01:08:13,960 --> 01:08:15,960
Water through that, but then I noticed, I think kind

1469
01:08:15,960 --> 01:08:18,640
of a few months after the release of their debut album,

1470
01:08:18,640 --> 01:08:20,680
We're Not Here to be Loved, just how big it

1471
01:08:20,760 --> 01:08:23,039
was actually getting, where it went from like a side

1472
01:08:23,039 --> 01:08:25,960
project to oh shit, this band are like actually really

1473
01:08:26,000 --> 01:08:28,880
popping off in that scene and arguably one of the

1474
01:08:28,880 --> 01:08:30,760
most hyped, you know, new bands in the world to

1475
01:08:30,800 --> 01:08:31,760
be coming from that kind.

1476
01:08:31,600 --> 01:08:34,720
Speaker 2: Of intersection of hardcore and alternative rock, which is what

1477
01:08:34,800 --> 01:08:35,920
you know Fleshwater is.

1478
01:08:36,319 --> 01:08:38,399
Speaker 1: We're Not Here to be Loved, which is the name

1479
01:08:38,399 --> 01:08:40,439
of that first album released at the Veil very tail

1480
01:08:40,560 --> 01:08:43,119
end of twenty twenty two, kind of a sleeper hit.

1481
01:08:43,159 --> 01:08:44,800
Like I was saying, I think you might not realize

1482
01:08:44,840 --> 01:08:47,079
that there are songs from that album with upwards of

1483
01:08:47,119 --> 01:08:49,600
like twenty to thirty million streams, Like it's kind of

1484
01:08:49,640 --> 01:08:52,199
an insane rooting off that album had, and I think

1485
01:08:52,239 --> 01:08:53,119
that album.

1486
01:08:53,119 --> 01:08:54,560
Speaker 2: Is cool as fuck.

1487
01:08:55,680 --> 01:08:59,159
Speaker 4: Yeah, I mean that I'm really good as well. It

1488
01:08:59,279 --> 01:09:02,560
just it hits a spot of that kind of like shoegaze.

1489
01:09:02,039 --> 01:09:02,560
Speaker 3: Or rot stuff.

1490
01:09:02,560 --> 01:09:04,239
Speaker 4: I was having enough its own personality and just a

1491
01:09:04,239 --> 01:09:06,479
bit of a like a bit more griped to it,

1492
01:09:06,520 --> 01:09:08,439
I find, like, and again maybe that's you know, they've

1493
01:09:08,439 --> 01:09:11,039
come from a hardcore band, but iron album is wicked.

1494
01:09:11,640 --> 01:09:15,680
Speaker 1: Yeah, songs like kiss the Ladder and Closet and actually

1495
01:09:15,680 --> 01:09:17,840
pulling off a York color on it, Like I thought

1496
01:09:17,840 --> 01:09:19,840
they were kind of a breath of fresh air, honestly,

1497
01:09:19,840 --> 01:09:23,399
because this thing, right, this ven diagram of hardcore and

1498
01:09:23,439 --> 01:09:26,039
shoegaze and bits of new metal so on. You know,

1499
01:09:26,640 --> 01:09:29,119
you've got the term new gaze floating around whatever. This

1500
01:09:29,199 --> 01:09:33,560
stuff it's fucking diamerd dozen right, like it's it's so boring.

1501
01:09:33,800 --> 01:09:36,359
There are so many bands. I can't tell you how

1502
01:09:36,439 --> 01:09:39,880
little I need to hear another band doing shoegazey deftones

1503
01:09:39,880 --> 01:09:43,680
alt rock with some breathing like it's all Wasteland flesh

1504
01:09:43,760 --> 01:09:47,600
Water are fucking good. And that album has hits on it,

1505
01:09:47,640 --> 01:09:49,880
you know, and I particularly love you could still very

1506
01:09:49,960 --> 01:09:51,840
much hear the vein in it that that album, you know,

1507
01:09:51,920 --> 01:09:54,960
it's very shadowy, still kind of sounds like it's been

1508
01:09:55,000 --> 01:09:57,760
recorded inside the sare bathroom or somewhere like Vein does.

1509
01:09:57,920 --> 01:10:00,840
And it's almost like the kind of feminine melodic sister

1510
01:10:00,920 --> 01:10:02,840
record to what Vain We're doing. And they have this

1511
01:10:02,920 --> 01:10:06,880
dual vocal dynamic between Anthony from Vain favoring kind of

1512
01:10:06,880 --> 01:10:09,439
mostally his clean register, and then Marissa, who was very

1513
01:10:09,439 --> 01:10:11,720
striking as the kind of counterpart to that that album

1514
01:10:11,840 --> 01:10:16,600
Big Fan, So this kind of thing. Fleshwater's second album

1515
01:10:16,920 --> 01:10:19,640
was basically the only album that I was anticipating. You know,

1516
01:10:19,640 --> 01:10:21,439
They're like, you're the chosen one for this kind of scene.

1517
01:10:21,479 --> 01:10:23,439
If it's going to produce something, it's going to be

1518
01:10:23,520 --> 01:10:26,199
from you. And so you're thinking, you know, are they

1519
01:10:26,199 --> 01:10:28,520
gonna go bigger? Are they gonna, you know, tighten up

1520
01:10:28,520 --> 01:10:29,880
the sound for something a little bit more kind of

1521
01:10:29,880 --> 01:10:30,720
palatable appeal?

1522
01:10:30,760 --> 01:10:31,279
Speaker 2: What would it be?

1523
01:10:31,560 --> 01:10:34,960
Speaker 1: And I think they've definitely gone a bit more ambitious.

1524
01:10:35,079 --> 01:10:37,479
And if We're not Here to be Loved is like

1525
01:10:37,560 --> 01:10:41,119
the shadowy basement version that still has these killer melodies.

1526
01:10:41,239 --> 01:10:44,800
In Search of the Endless Sky is the like wider

1527
01:10:45,439 --> 01:10:48,600
area you follow through, And I think if you're into

1528
01:10:48,640 --> 01:10:50,800
this sort of alternative rock you should definitely listen to

1529
01:10:50,840 --> 01:10:54,359
this album because they do have a fingerprint of their own.

1530
01:10:54,640 --> 01:10:57,760
Whether that comes from that you know, slightly more tetanous

1531
01:10:57,800 --> 01:11:01,640
ridden touch that Vain has or the the vocal trade off,

1532
01:11:01,720 --> 01:11:04,000
there is certainly more flesh water to enjoy here.

1533
01:11:04,079 --> 01:11:04,279
Speaker 3: Yeah.

1534
01:11:04,319 --> 01:11:06,399
Speaker 4: So for me, I think this album is it kind

1535
01:11:06,399 --> 01:11:08,119
of just gives me more of what I want from Flesh.

1536
01:11:08,199 --> 01:11:10,760
What it does sound, you know, bigger. I think it

1537
01:11:10,840 --> 01:11:14,680
sounds a little brighter. There's you know, a bit more

1538
01:11:14,720 --> 01:11:16,720
of the sort of poppul moments in there. But it's

1539
01:11:16,720 --> 01:11:20,239
still just to me this this still sounds like one

1540
01:11:20,239 --> 01:11:23,199
of the more interesting and attic bands. And as you say,

1541
01:11:23,600 --> 01:11:28,680
this sort of landfill of Deftones, the Shoe Gaze bands,

1542
01:11:28,720 --> 01:11:30,399
which I agree like I like quite a lot of those.

1543
01:11:30,279 --> 01:11:33,199
Speaker 1: Bands and the New Gays. Landfill is a real thing. Yeah,

1544
01:11:33,239 --> 01:11:35,359
more people need to start pointing out it really is.

1545
01:11:36,520 --> 01:11:38,640
Speaker 4: This to me still feels like the kind of like

1546
01:11:38,800 --> 01:11:40,800
the band who just avoid that.

1547
01:11:41,319 --> 01:11:42,560
Speaker 3: I think they're writing better songs.

1548
01:11:42,600 --> 01:11:45,880
Speaker 4: I think this is catchier, it sounds better, there's more

1549
01:11:46,000 --> 01:11:48,239
character to this. When you were saying about the Es,

1550
01:11:48,279 --> 01:11:50,279
but I was like, I don't know, I kind of

1551
01:11:50,319 --> 01:11:52,039
got no butts on this other then I kind of

1552
01:11:52,079 --> 01:11:54,159
miss Vain, like that's my only.

1553
01:11:53,880 --> 01:11:55,600
Speaker 3: Like, but I have the shold.

1554
01:11:56,239 --> 01:11:59,880
Speaker 4: I'm just I'm so down with exactly what flesh water off.

1555
01:12:00,640 --> 01:12:06,640
There's a bit in the second track where anti screams coming.

1556
01:12:06,720 --> 01:12:08,680
I was like, ah, there's that Vain scream there.

1557
01:12:08,720 --> 01:12:10,319
Speaker 3: I was like, come on, like I do and do

1558
01:12:10,399 --> 01:12:10,760
miss that.

1559
01:12:11,199 --> 01:12:12,800
Speaker 4: But for the most part, I think the sound just

1560
01:12:13,239 --> 01:12:15,439
the two vocals, they play off each other brilliantly. The

1561
01:12:15,520 --> 01:12:19,640
songs all stand out like they know when to mix

1562
01:12:19,680 --> 01:12:21,479
things up. They know once, you know, go a bit faster.

1563
01:12:22,039 --> 01:12:24,159
It's not all kind of just languishing in that kind

1564
01:12:24,159 --> 01:12:28,640
of like deftonesy like White Penny wash Over you sound

1565
01:12:28,680 --> 01:12:31,239
that they can be a bit punch your they can

1566
01:12:31,319 --> 01:12:31,960
so down that.

1567
01:12:32,199 --> 01:12:34,079
Speaker 3: It's just more dynamic than a lot of the sort

1568
01:12:34,119 --> 01:12:36,439
of like chances of the New Gay's thing.

1569
01:12:37,560 --> 01:12:39,199
Speaker 1: Yeah, I'll get to my butts in a moment, because

1570
01:12:39,199 --> 01:12:41,039
I do like this record and I have been, you know,

1571
01:12:41,159 --> 01:12:45,000
enjoying listening to it. And Drowning Song is basically an intro.

1572
01:12:45,079 --> 01:12:47,239
But Marissa sounds great on it. I think her voice

1573
01:12:47,319 --> 01:12:49,279
just really you know it, it sits in my ear

1574
01:12:49,319 --> 01:12:51,880
in a very nice natural way, and I think he

1575
01:12:51,920 --> 01:12:53,640
might be a little bit more divisive because he is

1576
01:12:53,720 --> 01:12:57,560
quite a you know, droney, almost off key sort of singer.

1577
01:12:57,600 --> 01:13:00,319
But I really liked when Anthony sang in Vain, and

1578
01:13:00,359 --> 01:13:01,720
I still like it here as well, and I like

1579
01:13:01,760 --> 01:13:03,840
the two of them together. And then you get into

1580
01:13:04,119 --> 01:13:08,560
Green Street, which has this really cool, widdly post hardcore riff.

1581
01:13:08,560 --> 01:13:10,479
It kind of sounds like Futures by Jubiete World or

1582
01:13:10,520 --> 01:13:13,159
something like that, and it's just really like again hits

1583
01:13:13,159 --> 01:13:15,119
the ear in a really nice way, and that song

1584
01:13:15,520 --> 01:13:17,359
sort of bustling back and forth with like you know,

1585
01:13:17,399 --> 01:13:19,880
Anthony doing the screams. It sounds really really really cool.

1586
01:13:19,880 --> 01:13:22,760
And you know, if you've never heard Fleshwater again, these

1587
01:13:22,800 --> 01:13:24,920
like y two K hallmarks are very much part of it,

1588
01:13:25,079 --> 01:13:28,039
but they're sort of mixed into this like slightly more

1589
01:13:28,079 --> 01:13:31,520
sinister sound. I think I would say, like there's a

1590
01:13:31,560 --> 01:13:33,640
song called Be Your Best, which has these like electronic

1591
01:13:33,680 --> 01:13:36,479
beats that's this very like day dreamy kind of drone

1592
01:13:36,479 --> 01:13:40,399
that's quite you know, spooky, And they do have much

1593
01:13:40,439 --> 01:13:43,760
more edge when they play harder than most of these bands,

1594
01:13:43,760 --> 01:13:45,720
because again, you've got like most of vane in their right,

1595
01:13:45,800 --> 01:13:48,119
so they are really going at it, and again Anthony

1596
01:13:48,119 --> 01:13:50,520
will throw in screams, and I like that kind of

1597
01:13:50,720 --> 01:13:52,760
war of sounds going on in my ears.

1598
01:13:53,199 --> 01:13:54,479
Speaker 2: When they're going at that.

1599
01:13:55,079 --> 01:13:57,039
Speaker 1: My hold back with this album is kind of put

1600
01:13:57,039 --> 01:13:59,720
a finger on I think as an album it just

1601
01:13:59,760 --> 01:14:02,199
comes across a lot more labor than the first one,

1602
01:14:02,560 --> 01:14:06,560
where the debut has kind of this quality that maybe

1603
01:14:06,600 --> 01:14:08,239
defeats words a little bit, but it's got a real

1604
01:14:08,239 --> 01:14:10,960
spontaneity about it that feels like they are just kind

1605
01:14:11,000 --> 01:14:13,000
of when I hear that album, it feels like they

1606
01:14:13,000 --> 01:14:15,760
have picked up their instruments right there, you know, I

1607
01:14:15,800 --> 01:14:18,000
know what you mean. Yeah, and it and it's even

1608
01:14:18,000 --> 01:14:19,720
when it's dark and a bit creepy, it still kind

1609
01:14:19,760 --> 01:14:21,760
of bounces with this insane energy. The song Kissed the

1610
01:14:21,800 --> 01:14:23,720
Ladder is the ultimate example. If you just press play

1611
01:14:23,720 --> 01:14:26,800
on that song, it's like positively skipping up off the

1612
01:14:26,800 --> 01:14:29,159
floor at you. This kind of has the air of

1613
01:14:29,159 --> 01:14:32,079
a follow up where they've really worked on it and

1614
01:14:32,119 --> 01:14:35,359
at the end don't quite have the songs or the

1615
01:14:35,479 --> 01:14:38,479
energy to to show for it. Like everything sounds really cool,

1616
01:14:38,840 --> 01:14:40,880
but it's got the winds taken out of its sales

1617
01:14:41,159 --> 01:14:42,960
a little bit, and it has songs that are a

1618
01:14:43,000 --> 01:14:46,319
bit more overstuffed where you know Jetpack as a single, right,

1619
01:14:46,880 --> 01:14:48,279
We're like, this is quite cool, but it's also a

1620
01:14:48,319 --> 01:14:50,560
little perplexing because it's a whole it's a whole bunch

1621
01:14:50,600 --> 01:14:52,720
of stuff, and I like having the keys jingled in

1622
01:14:52,720 --> 01:14:54,039
my face with all of that stuff as it does it.

1623
01:14:54,079 --> 01:14:56,760
You know, it's got deftnes grooves, it's got big guitar tone,

1624
01:14:57,560 --> 01:14:59,439
you know, Marissa and Antony kind of handing over to

1625
01:14:59,479 --> 01:15:01,920
each other in the vocals, but it doesn't really have

1626
01:15:01,960 --> 01:15:03,920
that central hook to kind of bring it all together.

1627
01:15:04,079 --> 01:15:05,800
It kind of feels like it's building for a pre

1628
01:15:05,920 --> 01:15:06,800
chorus the whole song.

1629
01:15:07,319 --> 01:15:09,439
Speaker 4: Yeah, I mean, like just because I think I would

1630
01:15:09,439 --> 01:15:10,920
get back to the intent sing because I think it's

1631
01:15:10,920 --> 01:15:13,640
one of the like there's something more stock songs on

1632
01:15:13,680 --> 01:15:14,920
the record with me where this is one where it

1633
01:15:14,960 --> 01:15:17,479
does feel it's kind of built on that deftones e

1634
01:15:17,760 --> 01:15:20,720
kind of like big sort of fi guitarists and space

1635
01:15:20,760 --> 01:15:22,880
between those grists because like when you go through that,

1636
01:15:22,920 --> 01:15:24,800
but then you follow that with like last escape, which

1637
01:15:24,800 --> 01:15:27,039
is that's when like that picks up the pace and

1638
01:15:27,079 --> 01:15:30,279
that does like snap and kind of like has that

1639
01:15:30,359 --> 01:15:33,840
drum bait preparing it forward big pop melodies, and then

1640
01:15:33,840 --> 01:15:34,399
it can get like.

1641
01:15:34,359 --> 01:15:35,039
Speaker 3: Crunch on the chorus.

1642
01:15:35,039 --> 01:15:36,920
Speaker 4: I think like there are I think the song the

1643
01:15:36,920 --> 01:15:39,640
A'm kind of like flits between songs that are a

1644
01:15:39,680 --> 01:15:41,560
bit more I guess labored, and it can still but

1645
01:15:41,560 --> 01:15:43,319
it can still have most where it does like snap

1646
01:15:43,359 --> 01:15:47,119
back into might have that spontaneity of the debut. I

1647
01:15:47,159 --> 01:15:49,520
think the labored thing is a deliberate choice. Like I

1648
01:15:49,560 --> 01:15:53,039
think like they clearly want these songs. I don't Labe's worry,

1649
01:15:53,039 --> 01:15:54,840
but I think they want these songs to sound more

1650
01:15:54,920 --> 01:15:58,479
kind of like ambitious in their scope, like whereas I

1651
01:15:58,479 --> 01:16:00,840
think that like the sum is deliberate, less.

1652
01:16:00,760 --> 01:16:02,520
Speaker 3: Plug in and play than the debut was.

1653
01:16:02,680 --> 01:16:04,079
Speaker 4: That's why that's why I say about the laby him

1654
01:16:04,079 --> 01:16:07,479
being a delimitrius, where like the songs have more sounds

1655
01:16:07,520 --> 01:16:10,840
being played. If there is you know, more ambient stuff

1656
01:16:11,520 --> 01:16:13,520
you get you know, it's like Jerome how much is

1657
01:16:13,560 --> 01:16:16,640
like spiky rift, but then it kind of like drones

1658
01:16:16,680 --> 01:16:19,439
on so that they're they're, they're, they're, they're, they're they're

1659
01:16:19,479 --> 01:16:23,199
the clue playing with more and kind of pouring over

1660
01:16:23,239 --> 01:16:25,119
and working over more these songs more than just kind

1661
01:16:25,119 --> 01:16:27,359
of like have that sponstanity, which is why it doesn't

1662
01:16:27,359 --> 01:16:29,399
bother me to it feels like that's what they've gone

1663
01:16:29,399 --> 01:16:30,359
for on this record.

1664
01:16:30,920 --> 01:16:33,199
Speaker 1: Yeah, I totally think that's what they're going for. I

1665
01:16:33,199 --> 01:16:35,640
think it does have a trade off that I think

1666
01:16:35,640 --> 01:16:38,159
some of these songs, think like Jetpack for example, think

1667
01:16:38,199 --> 01:16:41,880
they're anthemic and don't quite get there, and it's it's

1668
01:16:41,880 --> 01:16:44,279
a frustrating issue because I'm really into the vibe so

1669
01:16:44,399 --> 01:16:47,279
much like Fleshwater sound great to me, and you know,

1670
01:16:47,640 --> 01:16:49,199
this has kind of got that Crisp Blin's got a

1671
01:16:49,239 --> 01:16:51,880
higher production value. But I think catching hold of the

1672
01:16:51,920 --> 01:16:55,680
melodies in comparison to the first album is quite fleeting.

1673
01:16:55,720 --> 01:16:57,359
And I mentioned that song be Your Best early, which

1674
01:16:57,399 --> 01:16:58,840
is the electronic song, and that's sort of the for

1675
01:16:58,880 --> 01:16:59,680
the mix of sounds.

1676
01:17:00,000 --> 01:17:00,119
Speaker 2: Shu.

1677
01:17:00,159 --> 01:17:02,439
Speaker 1: You think that song is quite urgent, like it's quite bloated.

1678
01:17:02,439 --> 01:17:04,000
It feels like it's got tummy ache. It doesn't really

1679
01:17:04,000 --> 01:17:07,000
work for them. My favorite track on this is Jerometown,

1680
01:17:07,239 --> 01:17:10,880
which hits right after that and has this hard crunching,

1681
01:17:10,960 --> 01:17:13,439
like post hardcore yef that really puts it right back

1682
01:17:13,479 --> 01:17:17,399
on the spiky riff. Yeah, really heavy, juttering sound, and

1683
01:17:17,399 --> 01:17:18,960
that riff honestly is the catchest thing on the record

1684
01:17:18,960 --> 01:17:22,680
to make like it's great, really violent distorted emo a

1685
01:17:22,760 --> 01:17:25,319
quite like Last Escape, which you mentioned, which has like,

1686
01:17:25,359 --> 01:17:27,119
you know, we never have to let go quite nice

1687
01:17:27,119 --> 01:17:29,239
for chorus, maybe prettier more than it is anthemic, but

1688
01:17:29,279 --> 01:17:32,239
still one of the better ones. Sundown, later on in

1689
01:17:32,279 --> 01:17:35,239
the record, does the kind of downcast, rainy day emo

1690
01:17:35,359 --> 01:17:37,359
song quite well. I think like when it picks up

1691
01:17:37,359 --> 01:17:39,439
the guitar leads, it does sound lovely. There's also like

1692
01:17:39,520 --> 01:17:42,319
one instance of a wood block or a cowbell or

1693
01:17:42,319 --> 01:17:45,399
something in there, which is like really super cozy. I

1694
01:17:45,439 --> 01:17:46,279
really like Sundown.

1695
01:17:46,279 --> 01:17:48,720
Speaker 4: It's just kind of like a very nice, like you say,

1696
01:17:48,720 --> 01:17:50,279
it's that quite rainy aman, but it has that kind

1697
01:17:50,279 --> 01:17:51,680
of like a cozy warmth.

1698
01:17:51,800 --> 01:17:53,640
Speaker 3: It's like, you know, you just starting up a blanket.

1699
01:17:53,680 --> 01:17:56,359
Speaker 4: I think that songs like a really nice acoustic ballad

1700
01:17:56,359 --> 01:17:58,720
that again just has a little bit more substance, and

1701
01:17:58,760 --> 01:18:01,520
then it goes into Raging Storm, which again the riff

1702
01:18:01,520 --> 01:18:04,079
on that one goes I like when they can kind

1703
01:18:04,079 --> 01:18:06,880
of like switch to these songs that are super tranquil

1704
01:18:07,079 --> 01:18:09,439
and pretty into a song that like there's a rift

1705
01:18:09,520 --> 01:18:11,640
there that is like popping off, and.

1706
01:18:11,560 --> 01:18:13,319
Speaker 3: It's like that's where you're giving.

1707
01:18:13,399 --> 01:18:15,199
Speaker 4: You feel the hardcore DNA in them, and I think

1708
01:18:15,239 --> 01:18:17,560
that makes them more interesting, and again, so many other

1709
01:18:17,640 --> 01:18:19,000
bands that surround them.

1710
01:18:19,479 --> 01:18:23,560
Speaker 1: Yeah, And the closing track, Endless Sky sounds uncannily like

1711
01:18:23,600 --> 01:18:25,399
a song that Tom Linton would sing on one of

1712
01:18:25,439 --> 01:18:28,119
the early jimmyt World albums, And that's a fun flavor

1713
01:18:28,159 --> 01:18:30,079
that you don't hear quite as often, you know. But

1714
01:18:30,239 --> 01:18:32,840
I think I think the album needs more of the

1715
01:18:32,840 --> 01:18:35,800
pacy stuff as well, because it feels more subdued, it

1716
01:18:35,880 --> 01:18:39,840
feels more labored, it feels like they're trying to force

1717
01:18:39,880 --> 01:18:42,239
this stuff a little bit out more. And there's quite

1718
01:18:42,239 --> 01:18:44,119
a few of the songs just kind of meander. And

1719
01:18:45,199 --> 01:18:47,239
I'm trying not to sound like a broken record with this.

1720
01:18:47,279 --> 01:18:49,279
And I'm sorry to bring up this subject again when

1721
01:18:49,279 --> 01:18:51,319
the world has decided that we are wrong and they

1722
01:18:51,319 --> 01:18:55,359
don't want it. But I remain immensely disappointed in this

1723
01:18:55,439 --> 01:18:58,479
scene that they heard the above and decided to lambast

1724
01:18:58,560 --> 01:19:01,159
it only to go back to all of this stuff instead,

1725
01:19:01,319 --> 01:19:04,279
Like we already had one of these albums that had

1726
01:19:04,399 --> 01:19:08,319
insane production, insane level of ambition that threaded it together

1727
01:19:08,359 --> 01:19:10,960
as an album, had that same sort of sky searching

1728
01:19:11,079 --> 01:19:13,479
sort of feel that this does, but had hooks everywhere

1729
01:19:13,479 --> 01:19:16,920
you looked on it. We've already had our band absolutely

1730
01:19:16,960 --> 01:19:18,800
fucking shooting for the star of or something like this,

1731
01:19:19,199 --> 01:19:20,840
and this scene decided to take the piss out of

1732
01:19:20,840 --> 01:19:23,680
them instead. And what we're now looking for is whoever

1733
01:19:23,720 --> 01:19:26,760
can get vaguely close to that level without upsetting the

1734
01:19:26,800 --> 01:19:29,640
cart as much like you're telling me that the album

1735
01:19:29,680 --> 01:19:32,319
with Mirror and that ended with but a Dream into

1736
01:19:32,399 --> 01:19:37,039
the Above is embarrassing. But anyway, a few tracks on

1737
01:19:37,079 --> 01:19:40,119
this I really like can stick around in this grand

1738
01:19:40,159 --> 01:19:42,479
old world of hardcore bands, you know, ribbing off alternative

1739
01:19:42,560 --> 01:19:44,720
rock bands from the late nineties. They're definitely still more

1740
01:19:44,760 --> 01:19:47,199
distinctive than most, and I like them still more than most.

1741
01:19:47,920 --> 01:19:50,239
But after how great the debut was, I hope that

1742
01:19:50,279 --> 01:19:53,520
Flesh Water could do better and not weigh themselves down

1743
01:19:53,520 --> 01:19:55,359
with a load of dodge, which I think is kind

1744
01:19:55,359 --> 01:19:56,399
of halfway what's happened it.

1745
01:19:56,840 --> 01:19:58,840
Speaker 3: I mean, that's fair. I think I mean, I'm so

1746
01:19:58,920 --> 01:20:00,680
with you on that Codeine. I didn't want to mention

1747
01:20:00,720 --> 01:20:02,920
it just put in a box. It's it's not worth

1748
01:20:02,960 --> 01:20:03,399
digging up.

1749
01:20:03,319 --> 01:20:06,279
Speaker 2: And I just can't without thinking about it. It makes me

1750
01:20:06,359 --> 01:20:06,800
so sad.

1751
01:20:06,960 --> 01:20:10,079
Speaker 4: You are right, and it's just it's the darkness of

1752
01:20:10,119 --> 01:20:13,439
this fan base. But like, I do see what you mean,

1753
01:20:13,479 --> 01:20:16,880
where like that they have kind of like done more

1754
01:20:17,000 --> 01:20:18,960
and it's kind of maybe lost some of that spark

1755
01:20:19,039 --> 01:20:22,760
that was on the debut album. For me, I'm with

1756
01:20:22,800 --> 01:20:24,720
them on the more so, I'm kind of more willing

1757
01:20:24,760 --> 01:20:26,039
to go of it. But I can see, I can

1758
01:20:26,039 --> 01:20:27,920
I can totally see where you've come from, where like

1759
01:20:28,279 --> 01:20:30,520
they've added so much in that it's actually kind of

1760
01:20:30,520 --> 01:20:34,479
taken something away from what made Flesh Water really stick

1761
01:20:34,479 --> 01:20:36,960
out to you in the first place. I just think

1762
01:20:36,960 --> 01:20:41,039
they're still just writing better songs and being more interesting.

1763
01:20:41,079 --> 01:20:42,720
Speaker 3: Then again, if we're talking.

1764
01:20:42,479 --> 01:20:46,319
Speaker 4: Purely the rockshew gayzy world that surrounds them of the

1765
01:20:46,359 --> 01:20:50,159
modern side, I think they're still you know, comfortably so.

1766
01:20:50,479 --> 01:20:52,560
Speaker 3: And again, like you know, we talked about when the.

1767
01:20:52,479 --> 01:20:54,359
Speaker 4: Deaftones album came out and said, like all the bands

1768
01:20:54,399 --> 01:20:56,960
that sound like Deaftones, the gap between them and Deathtnones

1769
01:20:57,000 --> 01:20:59,359
is so huge. I don't necessarily feel that as much

1770
01:20:59,399 --> 01:21:02,520
with Sels Flesh. I don't feel like you are chances

1771
01:21:02,560 --> 01:21:05,319
competitive Deftones. I think there's like you also not on

1772
01:21:05,359 --> 01:21:07,720
that level, but you are less kind of like shown

1773
01:21:07,840 --> 01:21:08,520
up as.

1774
01:21:08,439 --> 01:21:11,479
Speaker 1: Like they sound like themselves more, which is what I

1775
01:21:11,520 --> 01:21:14,000
really like him at them. I just want them to

1776
01:21:14,039 --> 01:21:16,640
put a bit more energy in that sound. Both of

1777
01:21:16,640 --> 01:21:19,439
those two albums we've just reviewed bands. I want to

1778
01:21:19,439 --> 01:21:22,920
get behind the bands. I like both of them, maybe

1779
01:21:22,960 --> 01:21:25,640
seven out of tense. I can shake off any of

1780
01:21:25,640 --> 01:21:28,960
that praise with hints of disappointment though, because next album

1781
01:21:29,319 --> 01:21:32,720
is Scorpion Milk and Slime of the Times. I'm gonna

1782
01:21:32,720 --> 01:21:35,399
say three words straight away just to grab the ears

1783
01:21:35,399 --> 01:21:37,840
of anyone who might not know what this is. Grave

1784
01:21:37,880 --> 01:21:42,479
Pleasures Beast Milk. This is the new album from Matt McNerney,

1785
01:21:42,520 --> 01:21:45,199
who has fronted both of those bands. He's had many projects.

1786
01:21:45,199 --> 01:21:46,520
Of course, he's a busy bee.

1787
01:21:46,560 --> 01:21:47,600
Speaker 2: He is so busy.

1788
01:21:48,319 --> 01:21:50,439
Speaker 1: We review the new Hex Essel album just a few

1789
01:21:50,439 --> 01:21:53,520
months ago. But much like twenty twenty three, when we've

1790
01:21:53,520 --> 01:21:55,640
got a Grave Pleasures album and a Hex Vessel album,

1791
01:21:55,680 --> 01:21:58,079
we're getting two from him this year. Scorpion Milk is

1792
01:21:58,119 --> 01:22:02,479
described as a solo project when Grave Pleasures released Plague

1793
01:22:02,479 --> 01:22:04,960
Boys in twenty twenty three, which if you have listened

1794
01:22:04,960 --> 01:22:07,560
to the show for any length of time, you'll know

1795
01:22:07,640 --> 01:22:10,039
that we as a show and in particular I am

1796
01:22:10,119 --> 01:22:12,279
mad for that band. That was my album of the

1797
01:22:12,319 --> 01:22:14,760
Year in twenty twenty three. They didn't really tore off

1798
01:22:14,760 --> 01:22:16,319
the back of it. They didn't come to the UK

1799
01:22:16,439 --> 01:22:19,239
at all, sadly, and the band has since gone down

1800
01:22:19,319 --> 01:22:22,840
into a state of like it's never been officially said,

1801
01:22:22,840 --> 01:22:25,359
but maybe a state of hiatus, with a lot of

1802
01:22:25,359 --> 01:22:28,439
the members focusing on other projects. Matt has had Hex Vessel,

1803
01:22:28,840 --> 01:22:30,840
you has been very busy with the Rancy Pazuzu, and

1804
01:22:31,079 --> 01:22:33,319
the other guitarist, Alexi, is gearing up for a Solar

1805
01:22:33,319 --> 01:22:34,880
project as well, so they're all kind of splitting off

1806
01:22:34,880 --> 01:22:38,119
in their separate ways, and I am praying that that

1807
01:22:38,159 --> 01:22:41,079
band has not gone totally defunct and may rise again

1808
01:22:41,119 --> 01:22:43,880
in future. But a little bit musingly at first, we

1809
01:22:43,960 --> 01:22:45,520
got news a couple of months ago, around the time

1810
01:22:45,520 --> 01:22:47,840
that we were reviewing the Hex Essel album that Matt

1811
01:22:47,920 --> 01:22:50,840
was going to be launching another band in that particular

1812
01:22:51,039 --> 01:22:54,000
post punk realm that Beast Milk and then Grave Pleasures

1813
01:22:54,000 --> 01:22:57,600
had played in but in particular it was going to

1814
01:22:57,680 --> 01:23:01,640
go back to some of the heavier, nastier, apocalyptic post

1815
01:23:01,720 --> 01:23:04,520
punk influences that maybe Beet Milk was playing with, like

1816
01:23:04,600 --> 01:23:07,399
right in the very early days Grave Pleasures in recent

1817
01:23:07,520 --> 01:23:09,399
years on album like Plague Boys had maybe gone down

1818
01:23:09,439 --> 01:23:11,560
a slightly more pop, you know, new wavy kind of line,

1819
01:23:11,560 --> 01:23:13,920
with lots of usage of keyboards and so on. Scorpion

1820
01:23:13,960 --> 01:23:16,039
Milk was supposed to be more brutal. It's quite hard

1821
01:23:16,079 --> 01:23:18,399
to get my head head around at first, because, you know,

1822
01:23:18,479 --> 01:23:21,840
conceptualizing we've got Grave Pleasures, how is this gonna, you know,

1823
01:23:21,880 --> 01:23:25,000
be its own thing? Until I got the album Sam

1824
01:23:25,039 --> 01:23:26,880
Aside from the fact that this is a solo project,

1825
01:23:26,960 --> 01:23:29,159
so obviously it's not had the input from those other

1826
01:23:29,239 --> 01:23:31,720
members of Grave Pleasures, thus making it a different thing.

1827
01:23:32,239 --> 01:23:34,279
Now that you've heard the album, how much does this

1828
01:23:34,359 --> 01:23:36,600
to you feel like its own thing?

1829
01:23:37,000 --> 01:23:40,600
Speaker 4: There are inescapable comparisons to Bee s Milk and Grave

1830
01:23:40,600 --> 01:23:44,239
Pleasures that Matt McNerney doing a sort of a gothic

1831
01:23:44,399 --> 01:23:47,279
post punk sort of record is gonna summon up. But

1832
01:23:47,359 --> 01:23:50,199
I do like I was instally a little bit confusen, like,

1833
01:23:50,399 --> 01:23:52,640
so is this just a siber because you wants to

1834
01:23:52,640 --> 01:23:54,600
carry on doing this thing and the other members of

1835
01:23:54,600 --> 01:23:55,560
Grave Pleasures are busy.

1836
01:23:56,199 --> 01:23:58,000
Speaker 3: But I'm like, ohn, is it gonna be?

1837
01:23:58,039 --> 01:24:00,840
Speaker 4: Like no, I can I can see where like there

1838
01:24:00,920 --> 01:24:04,239
is a just a little flavor to this album that

1839
01:24:04,359 --> 01:24:05,880
does make sense. And maybe this is, you know, because

1840
01:24:05,920 --> 01:24:08,199
this is a Matt McNerney solofon where he can just

1841
01:24:08,359 --> 01:24:12,760
really like delve into certain sounds he wants to play with.

1842
01:24:13,439 --> 01:24:17,159
Speaker 3: But either way, I think just another Matt.

1843
01:24:17,079 --> 01:24:20,600
Speaker 4: McNerney post punk record is something that I was kind

1844
01:24:20,600 --> 01:24:22,119
of just gonna be like, I just need more of that.

1845
01:24:22,279 --> 01:24:25,800
I like, I need it because that Great Pleasures album,

1846
01:24:25,800 --> 01:24:27,640
the last few Girl plays Alarm of Excellent didn't get

1847
01:24:27,680 --> 01:24:31,239
to the last one, so that's annoying. But him doing

1848
01:24:31,239 --> 01:24:32,960
this sort of sound is one of those sort of

1849
01:24:32,960 --> 01:24:37,039
guaranteed fixes And guess what I can plow on this

1850
01:24:37,600 --> 01:24:40,720
like we got that's what we need. End of the

1851
01:24:40,760 --> 01:24:44,520
world apocalyptic goth dance. Why this is just this is

1852
01:24:44,560 --> 01:24:48,520
that bit harsher though, this is that bit nastier and

1853
01:24:48,720 --> 01:24:52,279
like rough around the edges. It still sounds fucking amazing,

1854
01:24:52,600 --> 01:24:55,800
first of all, but it is it is scary, it's mean,

1855
01:24:55,840 --> 01:24:58,319
and it's all those other things, and it just was

1856
01:24:58,560 --> 01:25:01,159
like me and you are just gonna be like completely

1857
01:25:01,199 --> 01:25:03,399
away with reviewing this away. I can't imagine any of

1858
01:25:03,520 --> 01:25:07,439
us have anything even remotely negative to say about this,

1859
01:25:07,760 --> 01:25:09,800
or I'll be shocked if you have anything so that

1860
01:25:09,880 --> 01:25:12,520
isn't just like, oh my god, I love everything about this.

1861
01:25:13,279 --> 01:25:13,439
Speaker 3: Yeah.

1862
01:25:13,479 --> 01:25:15,119
Speaker 1: I mean, if you've been a fan of you know,

1863
01:25:15,199 --> 01:25:17,640
Grave Pleasures or Beeft Milk when we've spoken about them before,

1864
01:25:17,720 --> 01:25:19,800
you should absolutely be excited to listen to this album

1865
01:25:19,800 --> 01:25:22,279
because basically, regardless of name, you know, it's the next

1866
01:25:22,319 --> 01:25:25,439
album in that lineage. It's you know, it completes a trifecta,

1867
01:25:25,520 --> 01:25:27,920
if you will, of those projects, all revolving around a

1868
01:25:27,920 --> 01:25:31,680
similar sort of bass. And it's funny because, just to

1869
01:25:31,760 --> 01:25:34,000
use the example of Creeper, because Will appears on this album,

1870
01:25:34,199 --> 01:25:37,479
I would say this album has more in common with

1871
01:25:37,560 --> 01:25:41,520
Grave Pleasures and Beecet Milk than Sanguavore does A Turn

1872
01:25:41,600 --> 01:25:44,279
in Your Arms or the EPs right, because different bands

1873
01:25:44,760 --> 01:25:48,039
do have different levels of variation in how far they're

1874
01:25:48,079 --> 01:25:50,279
going to go from their original kind of bass sound.

1875
01:25:50,640 --> 01:25:52,399
Maybe you could view this more as like the Salem

1876
01:25:52,399 --> 01:25:54,720
to Grave Pleasures. Creeper, I don't know, but I heard

1877
01:25:54,720 --> 01:25:57,600
this album and it did click as to like, ah, okay.

1878
01:25:57,680 --> 01:26:00,239
This is why it's been differentiated like that, because it

1879
01:26:00,279 --> 01:26:04,079
is way nastier. It's way noisier. This album also has

1880
01:26:04,119 --> 01:26:07,520
I think maybe the most Killing Joke song as a

1881
01:26:07,560 --> 01:26:10,479
band who aren't Killing Joker's made like honestly, we will

1882
01:26:10,520 --> 01:26:13,920
get to them. But it's also essentially, you know, pressed

1883
01:26:13,920 --> 01:26:16,319
most of the same buttons. I want maps music in

1884
01:26:16,359 --> 01:26:18,359
this lane to be pushing. And how about this for

1885
01:26:18,399 --> 01:26:20,880
a lineup on this album, we have Nate Newton from

1886
01:26:20,920 --> 01:26:24,479
Converge on bass tour from Viagra Boys is the drummer

1887
01:26:24,520 --> 01:26:26,119
apart from I think the first song when we have

1888
01:26:26,159 --> 01:26:29,880
Paul ferguson the actual drummer of Killing Joke. This is

1889
01:26:30,119 --> 01:26:32,920
like all star shit for this kind of punk. And

1890
01:26:33,600 --> 01:26:36,199
as you're saying, it's no surprise that I fucking love

1891
01:26:36,239 --> 01:26:38,079
this album a whole lot. I've had this album about

1892
01:26:38,079 --> 01:26:41,239
two months. Normally, when I get promos, I'm fairly content

1893
01:26:41,319 --> 01:26:43,039
to kind of listen to what I need to for work,

1894
01:26:43,079 --> 01:26:45,119
but otherwise let them, you know, sit until their time

1895
01:26:45,159 --> 01:26:47,560
in the sun really arrives and they end of the rotation.

1896
01:26:48,159 --> 01:26:51,119
This I've been actively looking forward to when it's released

1897
01:26:51,119 --> 01:26:52,319
so that I can listen to it when I'm out

1898
01:26:52,319 --> 01:26:52,880
and about.

1899
01:26:52,640 --> 01:26:53,399
Speaker 2: On streaming, you know.

1900
01:26:53,520 --> 01:26:55,479
Speaker 1: But the amount of times I've just been going about

1901
01:26:55,479 --> 01:26:57,560
my business somewhere and a song from this has gone

1902
01:26:57,600 --> 01:26:58,640
in my head and I've gone, I want to this

1903
01:26:58,800 --> 01:27:00,199
that particular scorping of song.

1904
01:27:00,199 --> 01:27:01,399
Speaker 2: Oh no, it's not not you know.

1905
01:27:01,520 --> 01:27:04,279
Speaker 1: Actually they I don't think anyone in the world right

1906
01:27:04,319 --> 01:27:06,600
now has the touch for this kind of classic post

1907
01:27:06,600 --> 01:27:09,880
punk music that Matt has. Like Killing Joke likely aren't

1908
01:27:09,880 --> 01:27:11,840
a band anymore. Matt is the best in the world

1909
01:27:11,880 --> 01:27:14,920
that and it's not close. And when this stuff is

1910
01:27:14,960 --> 01:27:18,640
done right, it becomes like the most addicting music in

1911
01:27:18,680 --> 01:27:21,119
the world. This is nine songs. I think that's something

1912
01:27:21,159 --> 01:27:23,319
like thirty five minutes. And it's the rare album this

1913
01:27:23,399 --> 01:27:25,520
year that I will let play to the end and

1914
01:27:25,520 --> 01:27:28,199
then immediately loop it around for a second go it rules.

1915
01:27:28,720 --> 01:27:30,520
Speaker 3: I did that the other day. I just let this album.

1916
01:27:30,560 --> 01:27:32,920
Speaker 4: Lou Malks was like, fuck me, this needs to be

1917
01:27:33,199 --> 01:27:35,520
I can play about album NX. This album needs to

1918
01:27:35,520 --> 01:27:39,279
be longer. I need more of this. I'm so with you.

1919
01:27:39,600 --> 01:27:42,159
Speaker 3: Matt McNerney just has an ear for this thing he is.

1920
01:27:42,800 --> 01:27:43,680
He just gets it.

1921
01:27:43,760 --> 01:27:48,199
Speaker 4: He knows how to just make these dark, brooding, end

1922
01:27:48,239 --> 01:27:52,079
of the world dance bangers. Like it is such like

1923
01:27:52,680 --> 01:27:56,239
specific combination of things that he just pulls together. Every

1924
01:27:56,359 --> 01:27:59,199
there is not a bad song on this. Every song

1925
01:27:59,239 --> 01:28:02,800
this is brilliant. Every song has a chorus. Every almost

1926
01:28:02,800 --> 01:28:02,960
of his.

1927
01:28:03,119 --> 01:28:04,279
Speaker 3: Has the ability to scare you.

1928
01:28:04,439 --> 01:28:07,000
Speaker 4: I say almost because there's one song which I'm not

1929
01:28:07,039 --> 01:28:09,840
gonna say it's scary, but also might be the perfect song.

1930
01:28:10,680 --> 01:28:13,439
Speaker 3: Like there is just so much to love about this album.

1931
01:28:13,479 --> 01:28:16,680
Speaker 4: The guitars when they want to like shimmer and have

1932
01:28:16,800 --> 01:28:20,800
that sheen amazing. The bass tone, as we've said, like

1933
01:28:21,079 --> 01:28:23,680
being a bass hon fuck me, is it powerful.

1934
01:28:24,279 --> 01:28:26,560
Speaker 3: He's kind of like those mantras, the chorus ooks.

1935
01:28:27,239 --> 01:28:29,640
Speaker 4: Everything about it is just so just gonna like unders

1936
01:28:30,000 --> 01:28:31,840
understood the assignment and it feels like this being you

1937
01:28:31,880 --> 01:28:34,319
know Matt mcanonely doing his sovo It means he can

1938
01:28:34,359 --> 01:28:36,800
just like tap into everyone, get all his mates in,

1939
01:28:37,199 --> 01:28:39,439
call anyone who's had similar to say do you want

1940
01:28:39,479 --> 01:28:41,479
to come and join in and get involved in this?

1941
01:28:41,600 --> 01:28:44,239
And it's just like say that the world is ending,

1942
01:28:44,840 --> 01:28:49,039
let's just have this like crazed, violent, dance party and

1943
01:28:49,079 --> 01:28:50,119
it's fucking amazing.

1944
01:28:50,960 --> 01:28:53,199
Speaker 1: Yeah, it's it's relatable to great pleasures if you like them,

1945
01:28:53,199 --> 01:28:56,520
because obviously the way Matt approaches you know, melody is unmistakable,

1946
01:28:56,640 --> 01:29:00,439
but it's much more violent than anything with her from

1947
01:29:00,479 --> 01:29:02,359
Grave Pleasures or even beef s Milk, And there's a

1948
01:29:02,399 --> 01:29:04,640
lot less sex and grave pleasures, like they have all

1949
01:29:04,680 --> 01:29:06,960
of those songs about falling for an aut and bam

1950
01:29:07,000 --> 01:29:08,560
and She's the end of the world and the form

1951
01:29:08,560 --> 01:29:11,359
of girl all that stuff. There are very few references

1952
01:29:11,399 --> 01:29:13,439
to like wanting to explode yourself because a girl is

1953
01:29:13,439 --> 01:29:16,520
too hot this time. Instead, this is bleak. It's much

1954
01:29:16,560 --> 01:29:19,600
more like, you know, the rot and decay of the

1955
01:29:19,600 --> 01:29:23,840
modern world captured through this, like dark even like a

1956
01:29:23,920 --> 01:29:27,680
narco punk, rudimentary penie sort of stuff. It's like a nasty, scummy,

1957
01:29:27,760 --> 01:29:30,319
little firecracker of a record. But it's also still very catchy.

1958
01:29:30,800 --> 01:29:34,159
All the fear, very scary, you know, like this barked

1959
01:29:34,239 --> 01:29:36,479
vocal rather than the usual singing at first, and then

1960
01:29:36,520 --> 01:29:40,479
the unnerving, ghostly little hook with the oh the fear

1961
01:29:40,720 --> 01:29:43,800
that money you can by thee like little backing vocal

1962
01:29:44,079 --> 01:29:47,239
as it pans from ear to ear it's like perfectly

1963
01:29:47,359 --> 01:29:51,279
arranged pop site songwriting that also happens to be like

1964
01:29:51,800 --> 01:29:55,840
really horrible this time, and that carries into the songs

1965
01:29:55,880 --> 01:29:57,439
that just made me go, oh my god, I love

1966
01:29:57,479 --> 01:30:00,199
this kind of music so much. Will to Live that,

1967
01:30:00,239 --> 01:30:03,520
and then later Wall to Wall, Like I said, maybe

1968
01:30:03,680 --> 01:30:06,199
the most I've ever heard a band tap into that

1969
01:30:06,279 --> 01:30:09,279
like debut killing joke album feel that aren't them. It's

1970
01:30:09,319 --> 01:30:12,159
like they've discovered lost killing joke songs from nineteen eighty

1971
01:30:12,199 --> 01:30:16,199
and recorded them. It's crazy because that jamming a mantra

1972
01:30:16,319 --> 01:30:18,600
down your throat kind of hook the way that they

1973
01:30:18,640 --> 01:30:20,640
would on like War Dance or The Weight or something.

1974
01:30:21,079 --> 01:30:23,119
First time I heard Will to Live, I couldn't believe it.

1975
01:30:23,159 --> 01:30:26,520
That kind of semi melodic shout approach of the hook

1976
01:30:26,560 --> 01:30:29,600
with the water Earth the will to Serve vibe, and

1977
01:30:29,640 --> 01:30:33,479
then water Wall War too well Baronoya, like it's so

1978
01:30:33,720 --> 01:30:35,479
jazz Coleman and I just want to be, you know,

1979
01:30:35,560 --> 01:30:37,720
bouncing around bellowing that the same way as I would

1980
01:30:37,720 --> 01:30:38,199
those songs.

1981
01:30:38,359 --> 01:30:41,079
Speaker 4: I can believe how menacing Wall to Wall gets like

1982
01:30:41,560 --> 01:30:44,000
that song is just leering and just kind of like

1983
01:30:44,840 --> 01:30:48,800
towering over you. It's like the guitars are like suffocatingly

1984
01:30:48,960 --> 01:30:51,079
like oppressive, and you know the way that comes to

1985
01:30:51,439 --> 01:30:54,079
ends in these like ghastly whales these songs. Is that

1986
01:30:54,119 --> 01:30:57,840
contrast to being like legitimately like menacing and threatening, but

1987
01:30:57,960 --> 01:31:01,439
having these just like nuggets of pop like sort of melody,

1988
01:31:01,520 --> 01:31:03,720
vocal hook gold in all of them, like the wild

1989
01:31:03,880 --> 01:31:05,720
of the Wall to Survive and then the will to

1990
01:31:05,800 --> 01:31:06,760
Die on the end as well.

1991
01:31:06,960 --> 01:31:09,680
Speaker 3: It's like that has not left my head. It's fun

1992
01:31:09,760 --> 01:31:10,079
to seeing.

1993
01:31:10,399 --> 01:31:12,720
Speaker 4: Sonically it works in the kind of like the Harsher

1994
01:31:12,800 --> 01:31:15,600
sort postling. There's that kind of like a narco punk

1995
01:31:15,680 --> 01:31:18,880
kind of energy at times where the drums on the

1996
01:31:18,920 --> 01:31:22,399
bridge of the Will to Live go so hard, like

1997
01:31:22,399 --> 01:31:26,439
they like really violent volatile blasts all over that song,

1998
01:31:26,479 --> 01:31:29,159
where like, again, this is a fun record, but it

1999
01:31:29,199 --> 01:31:32,199
is a dark scale record, and it's just the best

2000
01:31:32,239 --> 01:31:33,600
kind of like balance of the two.

2001
01:31:34,680 --> 01:31:39,319
Speaker 1: It's also got hints of Matt's black metal vocal at times,

2002
01:31:39,520 --> 01:31:42,920
like almost like recorded through a really horrid crackerly mic,

2003
01:31:43,000 --> 01:31:45,640
but that element again of Mats music kind of peaks

2004
01:31:45,640 --> 01:31:48,439
its way into the post punk thing at points like

2005
01:31:48,680 --> 01:31:50,399
his you know, his code or his death rip voice

2006
01:31:50,479 --> 01:31:52,960
or something is coming through screaming through the bridge of

2007
01:31:53,000 --> 01:31:55,600
all to fear water Wall is just wretched when it

2008
01:31:55,680 --> 01:31:58,000
does it All Snakes No Ladders later on, which has

2009
01:31:58,000 --> 01:32:00,399
a really strong kind of melodic grave pleasure the sort

2010
01:32:00,399 --> 01:32:02,640
of chorus, but then the ending of it, Matt just

2011
01:32:02,680 --> 01:32:06,880
starts like wretching and sneering like an urchin.

2012
01:32:07,239 --> 01:32:10,359
Speaker 4: Is that him doing this or like the shouting because again,

2013
01:32:10,439 --> 01:32:13,479
like I'm just imagining he's like like like droney like golfways.

2014
01:32:13,520 --> 01:32:15,000
Speaker 3: When he's done that, it was like, is that I

2015
01:32:15,000 --> 01:32:15,640
guess what is that?

2016
01:32:15,680 --> 01:32:15,840
Speaker 1: Match?

2017
01:32:15,880 --> 01:32:18,000
Speaker 4: Just can of really laying into this kind of like

2018
01:32:18,680 --> 01:32:21,199
violent shouting. I think that's such a cool shift.

2019
01:32:21,640 --> 01:32:23,920
Speaker 1: Yeah, And then the title track later on was another

2020
01:32:23,960 --> 01:32:25,520
of those moments of like, oh, this is why is

2021
01:32:25,560 --> 01:32:26,199
its own band?

2022
01:32:26,319 --> 01:32:29,800
Speaker 2: Because suddenly this wrecking ball of a rift just.

2023
01:32:29,680 --> 01:32:34,560
Speaker 1: Like slud Rift almost like yeah, it's like the kind

2024
01:32:34,560 --> 01:32:36,319
of the stuff of this kind of music that ends

2025
01:32:36,399 --> 01:32:39,359
up then informing like Godflesh and this really like harsh

2026
01:32:39,399 --> 01:32:43,279
industrial kind of music. It's so heavy and unforgiving. I

2027
01:32:43,319 --> 01:32:45,680
love the groove that hits in Silver Pigs that's like

2028
01:32:45,720 --> 01:32:48,000
really dissonant and wrong, but also really makes you want

2029
01:32:48,000 --> 01:32:52,680
to move. And that chorus with the bee Happy we want. Yeah,

2030
01:32:52,880 --> 01:32:55,680
it's like, you know, so catchy but so perverse. It's

2031
01:32:55,680 --> 01:32:58,800
the classic sort of they live glasses thing of like

2032
01:32:58,840 --> 01:33:02,399
some sneering mocking but without feeling like obey, we hope

2033
01:33:02,399 --> 01:33:06,439
you have a lovely day. I mentioned that Will Gould

2034
01:33:06,520 --> 01:33:09,159
of Creeper Fame is on this album, which I was

2035
01:33:09,199 --> 01:33:11,119
over the moon when I saw that in the press release,

2036
01:33:11,159 --> 01:33:14,199
because I was like, yes, finally, like the crossover between

2037
01:33:14,279 --> 01:33:16,760
these two guys that I've I've always wanted and it's

2038
01:33:16,800 --> 01:33:18,720
on I guess the only song on this album that

2039
01:33:18,800 --> 01:33:19,520
is about a lady.

2040
01:33:19,680 --> 01:33:22,840
Speaker 2: But she's a bestial lady. You know, she's a she Wolf.

2041
01:33:22,640 --> 01:33:26,680
Speaker 1: Of London creeping around Victorian London bodies in the Thames.

2042
01:33:26,760 --> 01:33:28,479
Speaker 2: Jacquealie Ripper's Got Nothing on You.

2043
01:33:29,680 --> 01:33:30,319
Speaker 3: When I saw.

2044
01:33:31,880 --> 01:33:33,479
Speaker 4: When I saw it was on a song called she

2045
01:33:33,520 --> 01:33:37,279
Wolf of London, I was like, perfect, no notes, I'm.

2046
01:33:36,880 --> 01:33:37,840
Speaker 2: Wolf of London.

2047
01:33:38,199 --> 01:33:41,319
Speaker 4: Like this song has like two choruses again that the

2048
01:33:41,359 --> 01:33:46,439
House of Her down, the oh to dismiss, and then

2049
01:33:46,560 --> 01:33:49,399
and then the she Wolf of London like oh, it's

2050
01:33:49,479 --> 01:33:51,039
so hard not to get swept up in this that

2051
01:33:51,159 --> 01:33:53,840
Jackally Ripper's Want Nothing on You is the coolest line

2052
01:33:53,840 --> 01:33:56,840
in a song, right, But having that vocal interplay between

2053
01:33:56,880 --> 01:33:59,920
the two is like these two golf masters just right

2054
01:34:00,239 --> 01:34:03,640
a Again, to me, this is a perfect or like

2055
01:34:04,319 --> 01:34:06,800
goth pop song that again still.

2056
01:34:06,520 --> 01:34:07,319
Speaker 3: Benages just to feel them.

2057
01:34:07,359 --> 01:34:09,479
Speaker 4: Because we've said all these things about it being quite dark,

2058
01:34:09,760 --> 01:34:10,840
there is you know, there's just.

2059
01:34:10,760 --> 01:34:12,520
Speaker 3: A little bit of wink in some of these songs

2060
01:34:12,560 --> 01:34:13,439
all the time as well.

2061
01:34:13,680 --> 01:34:15,800
Speaker 4: It's just what a song is called slim of the times,

2062
01:34:15,800 --> 01:34:19,479
there is a slight there's there's a tiny playful touch

2063
01:34:19,520 --> 01:34:21,239
to some of these songs, and I think some of

2064
01:34:21,239 --> 01:34:23,159
them have become like the most maximalist version of it,

2065
01:34:23,239 --> 01:34:25,680
but I think that character, that playful edge is always

2066
01:34:25,680 --> 01:34:27,359
present and it is one of those things that does

2067
01:34:28,079 --> 01:34:32,000
make this album fun amongst all of the impressive heaviness

2068
01:34:32,079 --> 01:34:32,319
of it.

2069
01:34:33,079 --> 01:34:34,800
Speaker 1: Yeah, and get in my head around that track was

2070
01:34:34,960 --> 01:34:37,880
crazy at first because I have spent god knows how

2071
01:34:37,960 --> 01:34:42,119
many hours listening to these two men's music individually, and

2072
01:34:42,159 --> 01:34:45,199
they do sound very different, but somehow they so go

2073
01:34:45,319 --> 01:34:48,079
together so well on that track that at times they

2074
01:34:48,119 --> 01:34:51,119
almost become the same person, like they're so tuned into

2075
01:34:51,159 --> 01:34:53,840
the same thing on that it's wild, Like Will on

2076
01:34:53,880 --> 01:34:56,720
the intro sounds insanely cool. But then when they went

2077
01:34:56,720 --> 01:34:58,640
to the verses and they both start doing that kind

2078
01:34:58,640 --> 01:35:01,479
of low goth register, they really like sink into one another,

2079
01:35:01,560 --> 01:35:04,600
and the guitar introrith just gets me pumped in the

2080
01:35:04,640 --> 01:35:06,880
same way that like, yeah, joy through Death or be

2081
01:35:07,000 --> 01:35:09,279
my Hiroshima. Does you know the song is a total banger.

2082
01:35:09,439 --> 01:35:12,439
Then You've got another day another abyss, which was the

2083
01:35:12,479 --> 01:35:13,920
first thing with they release from this, and I had

2084
01:35:13,920 --> 01:35:15,000
to say to a friend who heard it, I was like,

2085
01:35:15,000 --> 01:35:16,439
trust me, the rest of it is a lot heavier,

2086
01:35:16,479 --> 01:35:20,479
because that is like the immaculate little post punk dance

2087
01:35:20,520 --> 01:35:22,279
pop song in the middle of it more on the

2088
01:35:22,359 --> 01:35:24,720
kind of you know, interpole, end of the spectrum of

2089
01:35:24,760 --> 01:35:26,760
the sound or whatever. But it's like the perfect little

2090
01:35:26,840 --> 01:35:28,680
hit you need in the albu at that point, and

2091
01:35:29,079 --> 01:35:32,439
the bassline with Nate Newton again just hit in that

2092
01:35:32,520 --> 01:35:35,600
kind of pep with that tone in that perfect way

2093
01:35:36,039 --> 01:35:39,079
on this song about the you know, the mind melting

2094
01:35:39,520 --> 01:35:42,720
overexposure of like you know, doom scrolling and bad news

2095
01:35:42,720 --> 01:35:45,840
that is the twenty first century digital reality, Like it's

2096
01:35:46,039 --> 01:35:48,600
cramming all that down into the little earworm of like

2097
01:35:48,640 --> 01:35:51,479
you gotta get through it. Get through it just hits

2098
01:35:51,600 --> 01:35:53,960
like the right the point to kind of just make

2099
01:35:54,039 --> 01:35:57,520
you pop along. It's not like a huge chorus because

2100
01:35:57,560 --> 01:35:59,760
every single bit of the song is a hook, you know.

2101
01:36:00,159 --> 01:36:03,600
Just everything that is catchy is just like crammed into

2102
01:36:03,640 --> 01:36:04,439
this little.

2103
01:36:04,239 --> 01:36:06,760
Speaker 4: What the guitars in that song, there's a kind of

2104
01:36:06,760 --> 01:36:10,239
like eighties sort of two tone scarfing going on some

2105
01:36:10,239 --> 01:36:11,319
of the guitars and that song and the sort of

2106
01:36:11,319 --> 01:36:13,399
the skipped it like it's not scarf song, but like

2107
01:36:13,560 --> 01:36:16,279
bands were on like the dance craze sort of movie

2108
01:36:16,319 --> 01:36:18,840
like having guitar parts and songs that sound a bit

2109
01:36:18,880 --> 01:36:19,079
like that.

2110
01:36:19,119 --> 01:36:21,680
Speaker 3: It's just the sort of the darker undersides of that thing.

2111
01:36:21,720 --> 01:36:23,720
Speaker 4: But I was like, yeah, there is like so much

2112
01:36:23,760 --> 01:36:25,840
of that eighties punk thing is just kind of like

2113
01:36:26,199 --> 01:36:28,199
a different bit. It's such a sick like like I say,

2114
01:36:28,359 --> 01:36:30,880
you can skank to that song, I probably you can.

2115
01:36:31,319 --> 01:36:33,720
The chorus that it's so straightforward and almost nursing a

2116
01:36:33,720 --> 01:36:36,720
ham and at sisty worm their way in and they

2117
01:36:36,800 --> 01:36:38,520
just none of them miss is kind of like, yeah,

2118
01:36:38,520 --> 01:36:39,920
that's what mac McNerney can just do.

2119
01:36:40,479 --> 01:36:42,600
Speaker 2: Yeah, there's not as many.

2120
01:36:42,399 --> 01:36:45,760
Speaker 1: Of like the really wonderful melodic choruses that Great Pleasures

2121
01:36:45,760 --> 01:36:48,039
did because he is kind of he's ranting and raving

2122
01:36:48,079 --> 01:36:50,000
a lot more on this album, but that song, I

2123
01:36:50,000 --> 01:36:53,079
guess is closest. And then Children Are Dust. It's kind

2124
01:36:53,079 --> 01:36:54,800
of like the last Gave Pleasures album did. It ends

2125
01:36:54,800 --> 01:36:57,000
on this point of really just like you know, dust

2126
01:36:57,039 --> 01:36:59,960
in the wind, everything's being ground into like fine powered

2127
01:37:00,199 --> 01:37:03,880
at that point, this tone of just kind of existential

2128
01:37:03,880 --> 01:37:07,479
anxiety and paranoia. You know, Grave Pleasures weren't short of that,

2129
01:37:07,800 --> 01:37:10,720
but it's concentrated here to really feel like, you know

2130
01:37:11,399 --> 01:37:14,119
what bands like Killing Joke or Rudimentary p and I

2131
01:37:14,239 --> 01:37:16,920
or whoever we're getting at in that like desolation of

2132
01:37:16,960 --> 01:37:20,800
our reality in the nineteen eighties translated to you know,

2133
01:37:20,920 --> 01:37:23,760
be relevant to our present day. And if you like

2134
01:37:24,159 --> 01:37:26,920
Grave Pleasures or Bee's Milk already, this is a must

2135
01:37:27,159 --> 01:37:29,920
because it's more from that same well, if you like

2136
01:37:30,079 --> 01:37:31,880
you know, some of the bands that we've mentioned, it's

2137
01:37:31,920 --> 01:37:32,840
the record you've.

2138
01:37:32,640 --> 01:37:33,600
Speaker 2: Got to hear this year.

2139
01:37:34,239 --> 01:37:37,520
Speaker 1: I do truly hope that Grave Pleasures aren't done, or

2140
01:37:37,560 --> 01:37:40,319
at the very least we get some kind of continuation

2141
01:37:40,399 --> 01:37:42,199
of it in the live environment, like Beece Milk was

2142
01:37:42,239 --> 01:37:45,039
kind of carried forward because I can't go not seeing

2143
01:37:45,079 --> 01:37:50,159
Society aspectors live ever and never seeing Infatuation Overkill or Yeah,

2144
01:37:50,359 --> 01:37:52,880
Joy through Death again. But as an album in the

2145
01:37:52,920 --> 01:37:56,319
next step of that lineage, this absolutely delivers as the

2146
01:37:56,359 --> 01:37:59,720
next step Scorpion Milk Slime of the Times. This has

2147
01:37:59,720 --> 01:38:02,000
got a be one of the most friendly to Sam

2148
01:38:02,079 --> 01:38:05,640
reviews bags ever because Sam's managed to avoid listening to

2149
01:38:05,680 --> 01:38:07,720
a seventy one minute between the Buried of Me album,

2150
01:38:08,119 --> 01:38:09,800
But I've got to listen to sixty four minutes of

2151
01:38:09,880 --> 01:38:13,199
Large Disputes No One Was driving the Car, the first

2152
01:38:13,279 --> 01:38:15,680
Large Dispute album in six years. I guess I didn't

2153
01:38:15,680 --> 01:38:18,399
realize how long that had been because you've spoken about

2154
01:38:18,439 --> 01:38:20,760
them so often seeing them live in like the last

2155
01:38:20,800 --> 01:38:23,840
few years. But a band who I guess at some

2156
01:38:23,880 --> 01:38:26,039
point in the last decade they kind of graduated from

2157
01:38:26,079 --> 01:38:28,079
being you know, one of the poster children of that

2158
01:38:28,159 --> 01:38:33,000
kind of oncoming wave of like Yelpie college poetry, emo hardcore,

2159
01:38:33,199 --> 01:38:36,479
to then becoming a you know, a very pretty seminal,

2160
01:38:36,600 --> 01:38:41,520
widely respected bastion of creibility and consistency. See, I can

2161
01:38:41,560 --> 01:38:45,640
say nice things about them. Last album was twenty nineteen's Panorama,

2162
01:38:45,680 --> 01:38:49,079
which I remember sending me into an excruciating meltdown, Sam,

2163
01:38:49,159 --> 01:38:50,880
this is one of your favorite bands in the world.

2164
01:38:50,880 --> 01:38:54,039
Where does that album rank in their catalog? My memory

2165
01:38:54,119 --> 01:38:55,880
is that it was maybe a little bit on the

2166
01:38:55,920 --> 01:38:57,640
lower end in terms of how people responded to it.

2167
01:38:57,960 --> 01:39:00,399
Speaker 4: I really liked that album, but yes, it in terms

2168
01:39:00,439 --> 01:39:03,720
of like the wider fan base, it's probably near near

2169
01:39:03,840 --> 01:39:06,119
the bottom of the pile because it's a sound where

2170
01:39:06,159 --> 01:39:08,960
like because abtually they take quite a long time between albums. Now,

2171
01:39:09,880 --> 01:39:12,920
even before Panamama, there was like a four or five

2172
01:39:13,000 --> 01:39:15,199
year gap, so like because they do all these like

2173
01:39:15,319 --> 01:39:18,920
soundsk pps and soundtracks sort of stuff in between, And

2174
01:39:18,920 --> 01:39:20,439
that was then when they tried to sort of incorporate

2175
01:39:20,439 --> 01:39:22,920
a lot of that sort of like electronic stuff. They'd

2176
01:39:22,960 --> 01:39:25,439
been playing with that dispute sound, and I thought it

2177
01:39:25,479 --> 01:39:29,319
was like a cool decision. Didn't exactly go down swimmingly

2178
01:39:29,319 --> 01:39:30,640
with a lot of the fans, So it kind of

2179
01:39:30,680 --> 01:39:34,119
like following that, they they kind of said it into

2180
01:39:34,119 --> 01:39:35,680
the sort of nostalgia circle a little bit. They did

2181
01:39:35,720 --> 01:39:39,039
anniversary shows for Wildlife and Rooms of the House, and

2182
01:39:39,079 --> 01:39:41,439
that's where they kind of just like well, Active Live,

2183
01:39:41,520 --> 01:39:44,159
but that album got kind of brushed aside, and it's

2184
01:39:44,239 --> 01:39:46,520
kind of like pretty long. There's like that particular era

2185
01:39:46,600 --> 01:39:47,720
that they've moved on from.

2186
01:39:48,439 --> 01:39:50,520
Speaker 1: Yeah, with There's being such a long form album. I

2187
01:39:50,520 --> 01:39:54,359
remember that last album being quite sparse with and heavy

2188
01:39:54,359 --> 01:39:56,720
on the sort of atmospherics, you know, more than ever,

2189
01:39:57,079 --> 01:39:59,319
you know, more than the hardcore side of what they do.

2190
01:40:00,039 --> 01:40:00,840
Speaker 2: Would it be.

2191
01:40:00,840 --> 01:40:02,960
Speaker 1: Accurate to say that Largest Vite in their kind of

2192
01:40:03,000 --> 01:40:05,000
you know, as they've graduated to more sort of like

2193
01:40:05,039 --> 01:40:09,520
elder statesmen of their scene, evolved into a less frantic,

2194
01:40:09,720 --> 01:40:12,720
perhaps more considered enveloping kind of beast or because this

2195
01:40:12,760 --> 01:40:14,720
album is a bit more, to my memory, a bit

2196
01:40:14,760 --> 01:40:17,720
more rock than the last one. Is this in maybe

2197
01:40:17,760 --> 01:40:20,000
some way drawing back some of the things that Largest

2198
01:40:20,000 --> 01:40:21,399
bet Founds you know, really loved about them.

2199
01:40:21,439 --> 01:40:23,680
Speaker 4: Also, I would have said they did become a bit

2200
01:40:23,720 --> 01:40:27,399
more measured and the hardcore pushed to side. Rooms of

2201
01:40:27,399 --> 01:40:28,600
the House was sort of the first one that started

2202
01:40:28,640 --> 01:40:31,159
to be less on the hard side of things, and

2203
01:40:31,199 --> 01:40:34,279
they took that to kind of its extent on Panorama.

2204
01:40:34,479 --> 01:40:39,199
This album does seem to be tapping back into the

2205
01:40:39,239 --> 01:40:39,960
earliest side of things.

2206
01:40:40,000 --> 01:40:42,079
Speaker 3: This is you know, a very analog album.

2207
01:40:42,119 --> 01:40:44,800
Speaker 4: There's almost no electronics on it, which I think conceptually

2208
01:40:44,880 --> 01:40:48,439
is actually kind of tied into the loose kind of

2209
01:40:48,520 --> 01:40:50,199
narrative and conceptual theme of the record.

2210
01:40:50,319 --> 01:40:52,600
Speaker 1: But this is kind of getting there's a lot of

2211
01:40:52,600 --> 01:40:54,680
stuff about Tesla's are going to kill us.

2212
01:40:54,720 --> 01:40:56,880
Speaker 4: Yes, we've talked to you know, you know, we've talked

2213
01:40:56,880 --> 01:40:59,119
about like being lost in the Digital World. This is

2214
01:40:59,159 --> 01:41:01,479
loudest mutes Lost in the Digital World album. This is

2215
01:41:01,520 --> 01:41:03,840
them kind of going like, sure, we're having an extential

2216
01:41:03,880 --> 01:41:06,279
crisis is where we are in the world because of technology.

2217
01:41:06,640 --> 01:41:08,199
So they've decided to make an album that is, you know,

2218
01:41:08,800 --> 01:41:13,199
a sixty five minute somewhat conceptual album. That is them

2219
01:41:13,279 --> 01:41:15,479
kind of plugging in and playing again, and it is

2220
01:41:15,479 --> 01:41:18,399
tapping back into sort of the more post hardcore roots,

2221
01:41:18,439 --> 01:41:21,359
which is why don't call her a comeback. But this

2222
01:41:21,399 --> 01:41:25,399
album has got people who I thought were like seemed

2223
01:41:25,439 --> 01:41:27,359
to be tuned up with that dispute are kind of

2224
01:41:27,399 --> 01:41:29,800
back on board and of a sudden, this is the most

2225
01:41:29,880 --> 01:41:31,800
kind of praise and sort of high pe I've seen

2226
01:41:31,800 --> 01:41:35,279
around the Ladys View album in like quite some time.

2227
01:41:36,199 --> 01:41:39,199
Speaker 1: Okay, interesting, yeah, I mean, with you know, six years

2228
01:41:39,239 --> 01:41:41,159
from the last one, I imagine you will have been

2229
01:41:41,159 --> 01:41:42,880
really looking forward to it. What's your kind of take

2230
01:41:42,920 --> 01:41:45,720
on you know, how their shapes up in the cannon.

2231
01:41:46,079 --> 01:41:48,960
Speaker 3: I mean, this is the most laddist Viete. It's like

2232
01:41:49,720 --> 01:41:51,880
there are a few bands. There are a few bands.

2233
01:41:51,920 --> 01:41:54,920
Speaker 4: I am so going to be willing to take sixty

2234
01:41:54,960 --> 01:41:57,319
five minutes of I was, I mean really I was,

2235
01:41:57,560 --> 01:41:59,960
but I was like, is this going to be too much?

2236
01:42:00,000 --> 01:42:02,800
Actually dispute sixty five minutes of it? And maybe it's

2237
01:42:02,840 --> 01:42:05,880
just my softwak for this band, but I'm in on

2238
01:42:05,920 --> 01:42:10,039
this album the entire time. I am so, like, just

2239
01:42:10,159 --> 01:42:13,039
completely enveloped in the storytelling, even if some of it is,

2240
01:42:13,079 --> 01:42:16,680
you know, a bit nonsense, but it just does everything

2241
01:42:16,680 --> 01:42:19,279
I want to be On the long form songs, I mean, interestantly,

2242
01:42:19,600 --> 01:42:22,319
they released almost this entire album before the SOLM came out,

2243
01:42:22,920 --> 01:42:24,720
because like the album is kind of like split into

2244
01:42:24,800 --> 01:42:27,479
acts either like some of there like several songs, some

2245
01:42:27,479 --> 01:42:29,560
of them are just like one long eight minute song,

2246
01:42:29,720 --> 01:42:31,079
but the album seems to be kind of like divided

2247
01:42:31,079 --> 01:42:33,640
into acts that they did release as like EPs. I

2248
01:42:33,680 --> 01:42:35,159
listened to the very first one, which is like the

2249
01:42:35,159 --> 01:42:37,479
first three tracks on the album. I was like, cool,

2250
01:42:37,560 --> 01:42:38,920
that's fine, I'll wait for the album and then I

2251
01:42:39,039 --> 01:42:40,520
and then I realized they were releasing all of it.

2252
01:42:40,560 --> 01:42:42,159
I was like, yeah, no, I don't need to sort

2253
01:42:42,199 --> 01:42:44,079
of like listen to the sound for it comes out.

2254
01:42:44,119 --> 01:42:46,319
But it is like divided into quite sort of like

2255
01:42:46,600 --> 01:42:51,239
segmented chunks. But as a whole, I'm so on board

2256
01:42:51,239 --> 01:42:53,920
of this because it is just like we kind of

2257
01:42:53,920 --> 01:42:56,359
tap back into what I loved about Wildlife in particular,

2258
01:42:57,039 --> 01:42:59,880
was gonna like not feeling totally regret. It doesn't feel

2259
01:42:59,880 --> 01:43:02,520
like total regression of an album. It is more in

2260
01:43:02,520 --> 01:43:03,960
line with the early stuff, but it's not you know,

2261
01:43:04,359 --> 01:43:05,600
going back to it. I think I saw you in

2262
01:43:05,640 --> 01:43:08,600
my sleep, Darling, kind of that level of like emo

2263
01:43:08,800 --> 01:43:10,920
shirt tugging, like oh look at us, where we're looking

2264
01:43:10,920 --> 01:43:13,520
back to the past. I think it's a really interesting,

2265
01:43:14,319 --> 01:43:17,680
still quite experimental points album from Ladispute. That is, I

2266
01:43:18,520 --> 01:43:20,880
sympathize with anyone who doesn't like Ladispute who has to

2267
01:43:20,920 --> 01:43:25,520
listen to this because they are a particular band. You know,

2268
01:43:25,560 --> 01:43:27,640
there are there are things about Latspute that are if

2269
01:43:27,680 --> 01:43:29,479
you're not in on it, if it's the vocals if

2270
01:43:29,520 --> 01:43:32,399
it's the kind of like meandering music, the sort of

2271
01:43:32,439 --> 01:43:34,680
the lack of structured to the songs, things like the

2272
01:43:34,760 --> 01:43:37,319
very sort of linear aature of kind of like meander long.

2273
01:43:37,560 --> 01:43:38,119
Speaker 3: I get it.

2274
01:43:38,600 --> 01:43:40,880
Speaker 4: But for someone who loves this band, this album is

2275
01:43:40,920 --> 01:43:42,960
just a constant kind of like supplot them doing the

2276
01:43:42,960 --> 01:43:45,520
things I love, but in ways that still sound interesting

2277
01:43:45,560 --> 01:43:47,279
and not and like I say, not a regression.

2278
01:43:48,159 --> 01:43:49,640
Speaker 3: So yeah, I'm all in on this.

2279
01:43:50,720 --> 01:43:53,439
Speaker 1: Yeah, it's amazing that this kind of thing they've now

2280
01:43:53,479 --> 01:43:55,399
taken it to a point where they have like regular

2281
01:43:55,439 --> 01:43:58,279
eight minute songs, you know, like lard Dispute, Are they

2282
01:43:58,279 --> 01:44:00,600
are epic. Wayner's right that they've really taken that to

2283
01:44:00,680 --> 01:44:03,079
an extreme of the art form, and I do I

2284
01:44:03,119 --> 01:44:05,840
greatly respect the level of writing that goes into kind

2285
01:44:05,840 --> 01:44:09,840
of crafting these long form conceptual you know, storytelling, arcs,

2286
01:44:09,880 --> 01:44:13,199
everything that we're talking about there with again the the

2287
01:44:13,279 --> 01:44:15,960
technology involvement. There's a lot of like religious stuff on

2288
01:44:16,000 --> 01:44:17,520
this album as well, a lot of references to that,

2289
01:44:17,560 --> 01:44:20,520
you know, churches being built and you know, those kind

2290
01:44:20,560 --> 01:44:23,720
of communities and so on. From the second he yells

2291
01:44:23,760 --> 01:44:26,239
I shaved my head in the sink in the opening seconds,

2292
01:44:26,239 --> 01:44:28,920
I was out, but you know there's a there's a

2293
01:44:28,960 --> 01:44:31,279
build that occurs with the bass tone at the start

2294
01:44:31,279 --> 01:44:33,079
of that that is pretty like the bass is pretty

2295
01:44:33,079 --> 01:44:34,359
thick on this album.

2296
01:44:34,479 --> 01:44:35,720
Speaker 2: I like that, and I do.

2297
01:44:35,800 --> 01:44:38,079
Speaker 1: I really like the drum tone and this has this

2298
01:44:38,680 --> 01:44:43,039
you know, almost Steve Albinish kind of rusty, big open,

2299
01:44:43,279 --> 01:44:45,600
you know, room sounding kind of snare drum and everything.

2300
01:44:45,920 --> 01:44:47,960
The recording on this, I think sounds really good, like

2301
01:44:48,000 --> 01:44:53,039
it's a really natural, clear twenty five translation of like

2302
01:44:53,079 --> 01:44:56,199
a late nineties emo pot ark or organic kind of sound,

2303
01:44:56,239 --> 01:45:00,359
you know where again very very analogue. Sounds like hoardings

2304
01:45:00,359 --> 01:45:02,159
from like the Midwest emo boom of of the mid

2305
01:45:02,199 --> 01:45:03,840
nineties or something like that, and I really like that.

2306
01:45:04,479 --> 01:45:06,079
You'll be shocked to know that I haven't gone back

2307
01:45:06,079 --> 01:45:08,840
to Panorama in six years. But I do remember on

2308
01:45:08,880 --> 01:45:12,000
this the actual like grooves and the band on this

2309
01:45:12,840 --> 01:45:15,239
much more present than I remember them being, you know,

2310
01:45:15,319 --> 01:45:18,399
like a man with hands and ankles bound stepping up

2311
01:45:18,399 --> 01:45:19,880
some of the kind of the pep in the groove

2312
01:45:19,960 --> 01:45:23,239
with the Rhythmaceline yeah yeah, and then like kind of

2313
01:45:23,079 --> 01:45:26,760
the really squawlling, like screeching noisy guitar that keeps kind

2314
01:45:26,760 --> 01:45:28,760
of coming in almost build this kind of like emo

2315
01:45:28,880 --> 01:45:31,159
violence feel that kind of parts of that, So that's cool,

2316
01:45:31,520 --> 01:45:33,159
and then you know it is kind of there's a

2317
01:45:33,199 --> 01:45:35,600
couple of moments where it goes elsewhere where auto fiction

2318
01:45:35,720 --> 01:45:38,600
detail kind of saunters along almost like a laid back,

2319
01:45:38,680 --> 01:45:41,439
casual sort of rock groove with an almost like rock

2320
01:45:41,439 --> 01:45:43,279
and roll guitar solo in it. It just happened to have

2321
01:45:43,279 --> 01:45:46,239
this mad vocalist over the top of it and thirty

2322
01:45:46,279 --> 01:45:48,960
seconds of him spoken word mumbling about dogs at the

2323
01:45:49,039 --> 01:45:50,640
end of it. But you know, that kind of groove

2324
01:45:50,920 --> 01:45:53,119
is fun. There's even one bit at the end of

2325
01:45:53,159 --> 01:45:57,640
the field where you have an almost like doom post

2326
01:45:57,680 --> 01:45:58,520
metal type rift.

2327
01:45:59,399 --> 01:46:00,640
Speaker 2: Just I'm big on that.

2328
01:46:00,600 --> 01:46:03,239
Speaker 1: Bit, and it's got tone, it's got heft, and combined

2329
01:46:03,239 --> 01:46:05,479
with the sort of Americana vibes already in the album.

2330
01:46:05,800 --> 01:46:07,880
For that little moment, we almost could be listening to

2331
01:46:07,920 --> 01:46:10,119
like a less heavy inter Armor or something for just

2332
01:46:10,159 --> 01:46:10,920
a moment.

2333
01:46:10,640 --> 01:46:11,359
Speaker 2: And that's cool.

2334
01:46:11,399 --> 01:46:12,199
Speaker 3: I'm glad.

2335
01:46:12,279 --> 01:46:14,039
Speaker 4: I was hoping you could at least, you know, find

2336
01:46:14,079 --> 01:46:16,319
time to be like that's a riff, because I couldn't

2337
01:46:16,319 --> 01:46:18,279
believe it when I was like the field is you know,

2338
01:46:18,640 --> 01:46:21,039
it's one of the kind of like more ten songs

2339
01:46:21,079 --> 01:46:21,479
on the album.

2340
01:46:21,479 --> 01:46:23,520
Speaker 3: There is a tension building of this, like the sort

2341
01:46:23,520 --> 01:46:24,920
of this kid kind of like trying.

2342
01:46:24,720 --> 01:46:26,640
Speaker 4: To impress his dad by and like going on hunter

2343
01:46:26,680 --> 01:46:29,399
trips and then being traumatized by a pit full of

2344
01:46:29,399 --> 01:46:32,159
deer carcasses, and so like the tensions there and that

2345
01:46:32,199 --> 01:46:33,520
song in the narrative went away and it kind of

2346
01:46:33,600 --> 01:46:36,840
musically builds, and when they slam into that riff, I

2347
01:46:36,960 --> 01:46:39,319
was like, oh my, that's that's something that us people

2348
01:46:39,319 --> 01:46:41,880
have never done before. I was like, their fuss because again,

2349
01:46:41,920 --> 01:46:44,039
I agree, like the band are so much more present

2350
01:46:44,079 --> 01:46:44,600
on this album.

2351
01:46:44,640 --> 01:46:45,840
Speaker 3: I think those first three.

2352
01:46:45,600 --> 01:46:47,720
Speaker 4: Songs in particular, like that first sort sweet of track

2353
01:46:48,159 --> 01:46:50,079
that is more rocking. I do have to laugh at

2354
01:46:50,119 --> 01:46:52,880
the amount of sink trauma that like post hard cornemo

2355
01:46:52,960 --> 01:46:55,079
bands are going through this year that they're they're having

2356
01:46:55,119 --> 01:46:56,000
a hard time with sinks.

2357
01:46:56,720 --> 01:47:01,079
Speaker 1: But like like the concept lots of people having a

2358
01:47:01,159 --> 01:47:07,079
heart type it's just as an epidemic where like someone

2359
01:47:07,119 --> 01:47:10,520
has been manically screaming about like being upset by something

2360
01:47:10,560 --> 01:47:13,520
in the scene, like it's there, like I'm just saying,

2361
01:47:13,760 --> 01:47:16,319
but yeah, no, I think musically this album is so

2362
01:47:16,359 --> 01:47:18,720
much more involved even in the song you know, like

2363
01:47:20,159 --> 01:47:23,920
environmentally environmental casting film, which is really delicate.

2364
01:47:23,960 --> 01:47:25,479
Speaker 3: That is like a nine minute song.

2365
01:47:25,520 --> 01:47:26,880
Speaker 2: That's the first like epic song.

2366
01:47:26,960 --> 01:47:29,760
Speaker 4: Yeah, and that does again I've come on long songs

2367
01:47:29,800 --> 01:47:31,439
for this me is what a long song because it

2368
01:47:31,520 --> 01:47:34,520
does you know, it's it's moving, and you know, about

2369
01:47:34,560 --> 01:47:36,560
three and a half listening, it bursts and joining us

2370
01:47:36,560 --> 01:47:39,319
starting to like scream about frustration and sort of the

2371
01:47:39,359 --> 01:47:42,319
inevitable thing of like only being able to grow older

2372
01:47:42,319 --> 01:47:44,039
and not being able to stop the passion of time.

2373
01:47:44,560 --> 01:47:46,680
And it doesn't feel long to me because I hang

2374
01:47:46,720 --> 01:47:49,479
off these words and the music is kind of constantly building,

2375
01:47:49,600 --> 01:47:51,880
and I think like the band are really in sync

2376
01:47:51,920 --> 01:47:52,680
with Jordan's.

2377
01:47:52,399 --> 01:47:54,479
Speaker 3: And voters where they they they they.

2378
01:47:54,600 --> 01:47:56,520
Speaker 4: Are so like the cameras they sort of paint him

2379
01:47:56,520 --> 01:47:59,760
to sort of like yelp over always sort of matches,

2380
01:47:59,760 --> 01:48:01,880
where like when he is, you know, mumbling, it is

2381
01:48:01,960 --> 01:48:03,920
super minimal and it is you can pick up all

2382
01:48:03,960 --> 01:48:05,880
the elements and when he does kind of build his

2383
01:48:05,880 --> 01:48:08,159
Manu scream, it's not just him kind of like shouting

2384
01:48:08,199 --> 01:48:11,399
weirdly over kind of like very nothing electronic stuff, which

2385
01:48:11,439 --> 01:48:12,760
is what I think some of the problems people had

2386
01:48:12,800 --> 01:48:15,279
with panor Arma. It does you know, the music does

2387
01:48:15,319 --> 01:48:18,199
can of like build in panic intention around that. And

2388
01:48:18,239 --> 01:48:20,159
I think these songs, it just keeps these songs really

2389
01:48:20,199 --> 01:48:23,199
interesting for me anyway, as someone who is not put

2390
01:48:23,239 --> 01:48:24,279
off by his vocals.

2391
01:48:25,079 --> 01:48:27,159
Speaker 1: There's one point in that song when he's going on

2392
01:48:27,199 --> 01:48:29,600
about the journey of a bit of wood turning into

2393
01:48:29,640 --> 01:48:31,840
a chair and then turning into like the banister or

2394
01:48:31,960 --> 01:48:34,439
your house or whatever, and it's it's it's a hilariously

2395
01:48:34,520 --> 01:48:37,479
large dispute thing to do. I don't know, yeah, him

2396
01:48:37,560 --> 01:48:40,119
like slam poetry ing over all of it. The fundamental

2397
01:48:40,159 --> 01:48:43,960
thing with lud dispute is he and his writing is

2398
01:48:44,000 --> 01:48:46,680
the entire repeal. So if you don't like it, it

2399
01:48:46,680 --> 01:48:49,199
doesn't work, you know. And when he's not yelping, he's mumbling,

2400
01:48:49,239 --> 01:48:52,960
which I might actually like dress like stuff like self

2401
01:48:53,159 --> 01:48:57,319
stuff like self portrait backwards. When he's like, it's like,

2402
01:48:57,359 --> 01:49:00,239
speak clearly, man, fucking fix your posture, stand up straight,

2403
01:49:00,239 --> 01:49:02,560
come on, you sound like an idiot. But and for

2404
01:49:02,600 --> 01:49:06,199
this duration time he's tiresome more than anything else. And

2405
01:49:06,319 --> 01:49:08,000
I think people are expecting me to kind of rant

2406
01:49:08,039 --> 01:49:09,960
and rave about this and overreact to it. I don't

2407
01:49:09,960 --> 01:49:12,359
think it's worth that. It's musically quite considered in what

2408
01:49:12,399 --> 01:49:14,800
it's doing, if not revolutionary for the genre.

2409
01:49:15,520 --> 01:49:18,279
Speaker 2: Wow it's long, Yeah, like fourteen tracks.

2410
01:49:18,640 --> 01:49:21,479
Speaker 1: I was checking the time, like, Wow, I don't think

2411
01:49:21,479 --> 01:49:24,159
there even though there are some cool grooves here and

2412
01:49:24,159 --> 01:49:26,039
there and stuff like that, because it is so sort

2413
01:49:26,039 --> 01:49:29,920
of stripped back. I don't think there's enough variety for

2414
01:49:29,960 --> 01:49:32,239
this to have. You know, they've got songs that are

2415
01:49:32,319 --> 01:49:35,000
eight minute you know, long builds, and then they're more

2416
01:49:35,000 --> 01:49:36,600
sort of groove in mid ten post songs that are

2417
01:49:36,640 --> 01:49:38,680
like five minutes long or whatever, and that's basically all

2418
01:49:38,680 --> 01:49:41,479
of the color you're getting spread out over fourteen tracks.

2419
01:49:41,640 --> 01:49:44,840
But against all popular belief, I don't actually have a

2420
01:49:44,880 --> 01:49:47,600
principal problem with laud dispute. They are leaders in what

2421
01:49:47,640 --> 01:49:51,359
they do. They clearly take their art immensely seriously. I

2422
01:49:51,439 --> 01:49:53,239
just don't want to listen to it anymore. But this

2423
01:49:53,279 --> 01:49:56,560
seems like it's maybe again sort of a you know, back.

2424
01:49:56,359 --> 01:49:57,399
Speaker 2: On the up for them. Maybe.

2425
01:49:57,720 --> 01:50:01,239
Speaker 4: Yeah, it feels like that me. I think that a

2426
01:50:01,239 --> 01:50:03,159
lot of you said there is fair because I can

2427
01:50:03,560 --> 01:50:07,000
really can understand anyone who does take issue with Jordan

2428
01:50:07,000 --> 01:50:09,319
as a vocalist, because he is such an acquiet taste,

2429
01:50:09,359 --> 01:50:12,079
like even more so than some of the other like

2430
01:50:12,159 --> 01:50:14,640
wobblers and sheeps that you kind of like mock me

2431
01:50:14,760 --> 01:50:17,840
for kind of like Jordan, he's so out there by

2432
01:50:18,039 --> 01:50:21,439
those vocals when he is, like the way I think

2433
01:50:21,439 --> 01:50:23,680
his lyricism, the sort of the poets of it, combined

2434
01:50:23,720 --> 01:50:26,600
with his vocalivy is it's such an acquiet taste. But

2435
01:50:27,119 --> 01:50:29,560
for Fanders Ope, this this feels like the most kind

2436
01:50:29,600 --> 01:50:32,359
of like and was like, oh, I mean I think

2437
01:50:32,399 --> 01:50:34,600
they've always been good, but I can welcome back everyone

2438
01:50:34,600 --> 01:50:36,960
who's kind of like decided this sound was like it

2439
01:50:37,000 --> 01:50:38,960
is seen as kind of like a if not a

2440
01:50:38,960 --> 01:50:41,079
return to form, a kind of like an interesting new

2441
01:50:41,079 --> 01:50:43,359
direction that everyone can kind of get on board with

2442
01:50:43,439 --> 01:50:45,600
again like top sellers Banquet, the other longest song thing.

2443
01:50:45,680 --> 01:50:49,319
I think that's really interesting conceptually, the narrative stuff about

2444
01:50:49,359 --> 01:50:51,399
you know, lost in this way is growing up in

2445
01:50:51,399 --> 01:50:54,119
a Christian community and how like and there's things you

2446
01:50:54,159 --> 01:50:55,960
know about like in like the real word stuff. Their

2447
01:50:56,000 --> 01:50:59,399
hometown there was a massive like self driving car factory

2448
01:50:59,680 --> 01:51:02,199
built there that then kind of like came and went

2449
01:51:02,279 --> 01:51:04,239
and promised other people jobs and then took a load

2450
01:51:04,239 --> 01:51:05,720
of job So there's kind of.

2451
01:51:05,720 --> 01:51:06,760
Speaker 2: Like a real education.

2452
01:51:08,359 --> 01:51:10,520
Speaker 4: I think, like genuinely there is a very similar sort

2453
01:51:10,520 --> 01:51:12,760
of thing to that, like that kind of like the

2454
01:51:12,800 --> 01:51:15,680
real world being lost to technology and small town America

2455
01:51:15,800 --> 01:51:18,840
in Michigan that these are some of the victims of it,

2456
01:51:18,880 --> 01:51:21,039
where these township promised a big thing and get kind

2457
01:51:21,039 --> 01:51:23,359
of sodip river. And so it all comes from a

2458
01:51:23,439 --> 01:51:25,560
very real place for otherspeople, which is again why I

2459
01:51:25,560 --> 01:51:27,880
can buy into this because like, whilst it is you know,

2460
01:51:27,960 --> 01:51:30,960
kind of quite flowery conceptual takes on the subjects, where

2461
01:51:31,000 --> 01:51:33,560
like top Sells Banquet is the early is the rapture

2462
01:51:33,560 --> 01:51:36,960
basically nearly getting left behind, it's still coming from a real,

2463
01:51:37,199 --> 01:51:40,600
like genuine place for them, and I think that's really

2464
01:51:40,680 --> 01:51:43,600
interesting to me. So yeah, I'm so on board of this.

2465
01:51:44,000 --> 01:51:46,880
I can respect it's not for everyone. But if you've

2466
01:51:46,920 --> 01:51:48,800
ever had a sort of passing instant atspute, I think

2467
01:51:48,880 --> 01:51:50,680
if you may be tuned out of them, come back

2468
01:51:50,680 --> 01:51:51,359
around for this one.

2469
01:51:51,399 --> 01:51:53,800
Speaker 3: It's long, but I do think it's rewarding.

2470
01:51:54,359 --> 01:51:57,920
Speaker 1: Cool, more long awaited even than New Low dispute. There

2471
01:51:58,000 --> 01:52:01,079
was a crazy day for fans of people crying over

2472
01:52:01,119 --> 01:52:03,239
hardcore a couple of weeks ago, because on the same

2473
01:52:03,359 --> 01:52:06,039
day we got the first Modern Life Is War album

2474
01:52:06,319 --> 01:52:08,680
in twelve years, Life on the Moon, at the follow

2475
01:52:08,720 --> 01:52:11,399
up to twenty thirteen's Fever Hunting. Had they broke it

2476
01:52:11,479 --> 01:52:12,960
up in that time and this is like a reunion album,

2477
01:52:13,039 --> 01:52:14,840
or had they just been very slow to make an

2478
01:52:14,840 --> 01:52:15,840
album like Tool.

2479
01:52:16,239 --> 01:52:19,439
Speaker 4: They became kind of like a part time occasionally playing shows,

2480
01:52:19,760 --> 01:52:22,199
and I saw them in the time between though, like

2481
01:52:23,000 --> 01:52:25,079
Fever Hunting, like not on the Fever Hunting cycle, but

2482
01:52:25,159 --> 01:52:27,159
on a kind of like random We're going to come

2483
01:52:27,159 --> 01:52:28,600
back and play a few shows a few years later.

2484
01:52:28,640 --> 01:52:31,039
Speaker 3: That that's where they kind of existed at that point.

2485
01:52:31,920 --> 01:52:34,840
Speaker 1: Okay, my only knowledge musically of Modern Life Is War

2486
01:52:34,880 --> 01:52:37,880
really is the album Witness, which some years ago we

2487
01:52:37,920 --> 01:52:40,359
did an episode on the Patreon where we all swapped

2488
01:52:40,359 --> 01:52:42,279
albums for each other to listen to, and Sam, you

2489
01:52:42,319 --> 01:52:44,640
gave me that album Witness because you were aiming to

2490
01:52:44,680 --> 01:52:48,199
find one of these emotional hardcore bands who wouldn't put

2491
01:52:48,199 --> 01:52:51,000
me off to quite the same extent as a Largetpute

2492
01:52:51,079 --> 01:52:52,880
or a Twoche Morey, who I famously do not like

2493
01:52:52,920 --> 01:52:55,159
either of his bands, and you were right. Modern life

2494
01:52:55,199 --> 01:52:57,960
is war do toe that line, but there are there

2495
01:52:57,960 --> 01:53:02,720
are links into much harder forms of hardcore, almost links

2496
01:53:02,760 --> 01:53:05,239
into the power violence world. Even at times it's much

2497
01:53:05,239 --> 01:53:08,279
more intense, it's much more angry, and they are a

2498
01:53:08,359 --> 01:53:10,159
formative influence on a lot of those bands who have

2499
01:53:10,199 --> 01:53:12,680
come since as well. But that is their twenty you know,

2500
01:53:12,800 --> 01:53:15,640
two and five album, so I don't really know much

2501
01:53:15,640 --> 01:53:17,279
of what they've kind of gotten up to since then.

2502
01:53:17,479 --> 01:53:21,159
How high were the expectations for this album after you know,

2503
01:53:21,319 --> 01:53:24,399
such time away and whatever? Again, the albums they've done

2504
01:53:24,479 --> 01:53:26,640
kind of prior to Going Away have been well.

2505
01:53:26,680 --> 01:53:28,640
Speaker 4: I think people who like Monerol Life is what hold

2506
01:53:28,720 --> 01:53:30,640
everything they've done in high regard. They're one of those

2507
01:53:30,640 --> 01:53:33,560
bands where like, if they're coming back to an album,

2508
01:53:33,680 --> 01:53:36,800
it feels like it's going to be something significant. I

2509
01:53:36,840 --> 01:53:40,560
will say with each album sort of from Witness they drifted,

2510
01:53:40,600 --> 01:53:44,119
they've drifted slightly further and further away from hardcore, where

2511
01:53:44,119 --> 01:53:46,079
Fever Hunting has a couple of like hard jugs in

2512
01:53:46,159 --> 01:53:48,520
but it is it is more experimental. It is out

2513
01:53:48,520 --> 01:53:51,319
there even for that, so id to sort show some

2514
01:53:51,359 --> 01:53:53,159
of the really experiment stuff they're going to do, So

2515
01:53:53,199 --> 01:53:55,439
it's kind of felt like they've always like still kept

2516
01:53:55,479 --> 01:53:57,319
one fit in there, but drifted further away. So everyone's

2517
01:53:57,319 --> 01:53:59,159
gonna like, well, if they're coming back after you know,

2518
01:53:59,720 --> 01:54:03,520
a like twelve years from that, how much forever they're

2519
01:54:03,520 --> 01:54:04,960
going to have just a weigh what are they sort

2520
01:54:05,000 --> 01:54:07,640
of having to say about it? But it still feels

2521
01:54:07,680 --> 01:54:09,319
like one of us more fans they know if they're

2522
01:54:09,359 --> 01:54:11,880
doing an album, there's a significant reason for it.

2523
01:54:12,520 --> 01:54:14,560
Speaker 1: Yeah, and you know, we're back down to thirty five

2524
01:54:14,600 --> 01:54:16,079
minutes in this kind of music again. So I was

2525
01:54:16,079 --> 01:54:19,319
expecting some some zip, but I wasn't sure how you know,

2526
01:54:19,479 --> 01:54:22,119
violent or raggedness might be in relation to Witness, which

2527
01:54:22,199 --> 01:54:24,159
again I think this album might be very strange for

2528
01:54:24,199 --> 01:54:25,840
me because I've only heard two of their albums twenty

2529
01:54:25,920 --> 01:54:26,399
years apart.

2530
01:54:26,520 --> 01:54:27,560
Speaker 3: Yeah, you've not seen the stuff.

2531
01:54:28,560 --> 01:54:30,600
Speaker 2: This is weird. What's going on here?

2532
01:54:31,359 --> 01:54:32,640
Speaker 3: This is the weirdest thing they've done.

2533
01:54:33,039 --> 01:54:36,319
Speaker 4: Like, this is the most out there, least hard on

2534
01:54:36,359 --> 01:54:38,760
modern life as War have been. I don't know, you know,

2535
01:54:38,800 --> 01:54:40,479
still songs we can kind of like be like, you know,

2536
01:54:40,520 --> 01:54:42,600
there's a Baud who did Dead Ramones and stuff like that,

2537
01:54:42,960 --> 01:54:45,119
where it's got that zip and pep to it. But

2538
01:54:45,159 --> 01:54:49,279
it's got you know, weird jazz breaks and like spooky

2539
01:54:49,279 --> 01:54:53,000
saxophone vaudeville elements thrown in. It's it's a for a

2540
01:54:53,000 --> 01:54:57,079
thirty five minute and by a hardcore band. It's super experimental.

2541
01:54:58,000 --> 01:55:01,119
Speaker 1: It's very strange, and I was quite Yes, the intro

2542
01:55:01,720 --> 01:55:04,399
is this weird sort of almost like indie dream pop

2543
01:55:04,439 --> 01:55:06,800
thing with like chirpy little synthesizers, but also like a

2544
01:55:06,880 --> 01:55:09,279
kind of spooky, intimidating drone kind of rising up in

2545
01:55:09,279 --> 01:55:11,119
the background of it, and it really catches the ear.

2546
01:55:11,520 --> 01:55:13,479
And then the guitar tone that comes in on the

2547
01:55:13,520 --> 01:55:16,000
first song on the Moon and that rhythm I was

2548
01:55:16,359 --> 01:55:20,279
not expecting. And again I put this in because twelve

2549
01:55:20,359 --> 01:55:22,880
years Away really respected band in their scene. If they

2550
01:55:22,960 --> 01:55:25,399
just came back and delivered a good album of this,

2551
01:55:25,439 --> 01:55:26,960
you know, kind of hardcore, it'd be like cool, you know,

2552
01:55:26,960 --> 01:55:29,439
good for them. But I was, I was, you know,

2553
01:55:29,680 --> 01:55:32,840
really the act of that getting this for a review

2554
01:55:33,319 --> 01:55:36,319
was made a lot more kind of spicy by being like,

2555
01:55:36,319 --> 01:55:39,079
what the hell is going on here? Because I mean

2556
01:55:39,079 --> 01:55:41,680
that first song alone, it's like a kind of jigging

2557
01:55:42,199 --> 01:55:44,720
swing punk song. It's like we're getting down at the

2558
01:55:44,720 --> 01:55:46,720
family wedding while the man is shouting over it.

2559
01:55:46,720 --> 01:55:48,319
Speaker 2: It's really strange.

2560
01:55:47,920 --> 01:55:50,439
Speaker 3: There's that kind of like folk elements blended in their life.

2561
01:55:50,439 --> 01:55:52,199
Speaker 4: I think like First on the Moon it is, you know,

2562
01:55:52,319 --> 01:55:54,079
recognizable to me as a modern life, is what fan

2563
01:55:54,159 --> 01:55:57,439
because it's kind of just got that panicked vocal delivery

2564
01:55:57,880 --> 01:56:00,399
with a slightly sort of stabbing riff, but it's just

2565
01:56:00,439 --> 01:56:02,720
kind of rattling and rollicking and has that kind of

2566
01:56:02,720 --> 01:56:07,680
like dusty Americana thing in this hardcore punk setting weirdo

2567
01:56:08,119 --> 01:56:09,600
experimental sprinkles and.

2568
01:56:09,520 --> 01:56:10,119
Speaker 3: Flavors over it.

2569
01:56:10,159 --> 01:56:12,279
Speaker 4: I think so like that they're they're really pushing sort

2570
01:56:12,279 --> 01:56:14,840
of the sonic textures they're playing with fervor, and I

2571
01:56:14,880 --> 01:56:17,279
think like that goes into like there's a telephone that

2572
01:56:17,319 --> 01:56:20,039
never stops ringing, pushing that even more further that that

2573
01:56:20,119 --> 01:56:24,119
song is like really panicked and stressed out, goes into

2574
01:56:24,159 --> 01:56:27,000
this jazz and on the Bridge and just completely freaks out,

2575
01:56:27,039 --> 01:56:28,520
and I was like that was when I was like,

2576
01:56:28,720 --> 01:56:30,880
oh that anything goes on this album. This is one

2577
01:56:30,880 --> 01:56:33,680
of Lever's walk kind of like really letting their freak

2578
01:56:33,720 --> 01:56:34,600
flag out a little bit.

2579
01:56:35,279 --> 01:56:37,560
Speaker 1: Yeah, and you know, it also has a quite analogue

2580
01:56:37,560 --> 01:56:41,119
recording style, but it's even more sort of like Dead

2581
01:56:41,199 --> 01:56:44,800
and Echoe, where it's like it's not as crisp as

2582
01:56:44,840 --> 01:56:47,039
the largest Pute one. It's kind of more difficult to

2583
01:56:47,039 --> 01:56:49,159
get a handle on. And then you have, you know,

2584
01:56:49,319 --> 01:56:51,239
like stuff like Johnny Gonne is like a runaway kind

2585
01:56:51,239 --> 01:56:53,520
of rock and roll song. You mentioned there's a telephone

2586
01:56:53,520 --> 01:56:55,279
that never stops ringing, which has a kind of like really,

2587
01:56:55,319 --> 01:56:58,239
you know, he's yelping this hook, but in a less

2588
01:56:58,880 --> 01:57:01,439
you know, I am so sad and more kind of deranged,

2589
01:57:01,520 --> 01:57:03,000
I'm going to go crazy? What am I going to do?

2590
01:57:03,119 --> 01:57:05,319
So it does emotionally to me registered kind of different.

2591
01:57:06,159 --> 01:57:09,399
And the bit in that song, which again I wasn't

2592
01:57:09,439 --> 01:57:11,279
prepared to write these words down when I would going

2593
01:57:11,279 --> 01:57:15,840
into it, I sort of John Zorn esque sacks twisting

2594
01:57:15,960 --> 01:57:18,119
and tormenting. And then there's a track off that called

2595
01:57:18,119 --> 01:57:21,079
Empty Shoes, which is like really fully tripped out like

2596
01:57:21,119 --> 01:57:24,079
psych you know, psychedelic track where you're in not the

2597
01:57:24,119 --> 01:57:27,199
fucking red room in Twin Peaks or something really bizarre.

2598
01:57:27,239 --> 01:57:30,000
And I was doing a little snooping around again read

2599
01:57:30,000 --> 01:57:31,199
it in places like that, and I think this is

2600
01:57:31,239 --> 01:57:35,039
a direction that some of the more longtime fans aren't

2601
01:57:35,119 --> 01:57:39,279
jiving with, you know, this sort of slurring psychedelic rock

2602
01:57:39,319 --> 01:57:42,520
feel that this album has, like the stuff like Jackie No, which,

2603
01:57:42,720 --> 01:57:46,039
like I say, really slurred, kind of lumbers around without

2604
01:57:46,119 --> 01:57:48,840
much sort of direction maybe until the last minute of it.

2605
01:57:48,840 --> 01:57:49,640
Speaker 2: It's really oddome.

2606
01:57:49,760 --> 01:57:51,720
Speaker 4: I mean, I can understand that if you are purely

2607
01:57:51,720 --> 01:57:53,359
into sort of the hard thing, maybe not doing that. But

2608
01:57:54,159 --> 01:57:56,600
I really kind of dig this dark American or almost

2609
01:57:56,680 --> 01:57:59,840
like Nick Caves kind of like approach that they've gotten

2610
01:58:00,039 --> 01:58:02,399
some of these songs like Empty Shoes and Jackie Ono,

2611
01:58:02,520 --> 01:58:04,920
which again it has like it has you know, like why,

2612
01:58:05,279 --> 01:58:08,039
but it's got this like just shuffling drum beat and

2613
01:58:08,159 --> 01:58:10,680
it kind of like builds on that and it does,

2614
01:58:10,720 --> 01:58:12,479
you know, build to a bit more of an aggressive

2615
01:58:12,479 --> 01:58:14,279
climates work, and you can feel this this is this

2616
01:58:14,359 --> 01:58:17,319
is still a punk band playing with these songs where

2617
01:58:17,359 --> 01:58:19,720
that I think the aggression and the energy isn't completely

2618
01:58:19,760 --> 01:58:21,960
gone where I think if they completely sat out, I

2619
01:58:21,960 --> 01:58:24,520
would understand if fans were like, what is this, this

2620
01:58:24,600 --> 01:58:26,880
is nothing like that. I just think it's like to me,

2621
01:58:26,960 --> 01:58:29,199
this is still recognizable as modern life is more and

2622
01:58:29,239 --> 01:58:31,960
I think the signs were there on the albums prior

2623
01:58:32,000 --> 01:58:33,840
that they would eventually get like this. It just feels

2624
01:58:33,840 --> 01:58:36,359
that we've kind of, like in the twelve year absence,

2625
01:58:36,399 --> 01:58:38,840
skipped about two albums out that would have like kind

2626
01:58:38,880 --> 01:58:41,600
of further bridged the gap to get to this point

2627
01:58:41,600 --> 01:58:43,560
from Fever Hunting, where you can I can see the

2628
01:58:43,600 --> 01:58:46,039
through line from Fever Hunting to this, but I feel

2629
01:58:46,039 --> 01:58:48,159
like we've lost the middle act and we've kind of

2630
01:58:48,199 --> 01:58:50,880
gone straight to the most like freaked out version.

2631
01:58:50,680 --> 01:58:52,319
Speaker 3: Of it, which I really like. But I can understand

2632
01:58:52,319 --> 01:58:52,760
if that's.

2633
01:58:54,319 --> 01:58:55,880
Speaker 1: It's like if Out the Gates had come back after

2634
01:58:55,880 --> 01:58:57,720
Slaught the Soul and gone straight to the nightmare of

2635
01:58:57,760 --> 01:58:59,800
being Yeah, without having the kind of build back into

2636
01:58:59,800 --> 01:59:02,880
that all reality and stuff, and you've got it. You

2637
01:59:02,880 --> 01:59:04,680
look at the Morning Sun, which is like a really

2638
01:59:04,760 --> 01:59:09,199
like a tiny, fast, old school hardcore punk song straight

2639
01:59:09,239 --> 01:59:11,880
into in the Shadow of Ingredient, which is one of

2640
01:59:11,880 --> 01:59:14,520
my favorite tracks on n CADAS, is like big grooving,

2641
01:59:14,600 --> 01:59:16,640
kind of rock and roll kind of feel to it.

2642
01:59:17,560 --> 01:59:18,199
Speaker 2: Yeah.

2643
01:59:18,319 --> 01:59:20,760
Speaker 1: He even goes whoo at one point at the end

2644
01:59:20,760 --> 01:59:22,680
of it, which is kind of you don't expect that,

2645
01:59:23,359 --> 01:59:25,039
and then it goes into it as the title says

2646
01:59:25,279 --> 01:59:29,039
a literal dub track after that, it's this is way

2647
01:59:29,079 --> 01:59:32,239
more eclectic and off the wall that I was expecting,

2648
01:59:32,279 --> 01:59:34,239
maybe more than people who, again following this kind of

2649
01:59:34,319 --> 01:59:37,920
music are really used to. And I don't know how

2650
01:59:38,000 --> 01:59:39,800
fully this got it toucked into me as an album.

2651
01:59:39,800 --> 01:59:42,039
I think it certainly keeps you more at arm's length

2652
01:59:42,079 --> 01:59:44,600
than maybe some of their older, more viscerally angry stuff did.

2653
01:59:45,079 --> 01:59:48,199
Sometimes it is quite off putting, but I was consistently,

2654
01:59:48,279 --> 01:59:51,000
you know, intrigued and curious as what they'd have around

2655
01:59:51,239 --> 01:59:53,439
every corner. Again compared to the Lardestpute one, which is

2656
01:59:53,479 --> 01:59:56,399
twice as long and much more kind of stuff explanatory one.

2657
01:59:56,520 --> 01:59:59,159
Speaker 4: Yeah, I was amazed at how much they fit like

2658
01:59:59,239 --> 02:00:00,800
fins faate form. It's worse that someone was like thirty

2659
02:00:00,800 --> 02:00:02,439
five minutes song. I was like, I'm guessing it, you know,

2660
02:00:02,520 --> 02:00:02,960
kind of just.

2661
02:00:02,880 --> 02:00:05,239
Speaker 3: Gonna be maybe a bit more like.

2662
02:00:05,720 --> 02:00:08,640
Speaker 4: Weathered and worn down, like hardcore punk, because you know,

2663
02:00:09,000 --> 02:00:11,600
theres on veteran hardcore band who've been away for tweys.

2664
02:00:11,640 --> 02:00:14,279
I was of expecting like something a little bit more

2665
02:00:14,319 --> 02:00:17,439
worn down. I wasn't expecting this much experimentation to be

2666
02:00:17,479 --> 02:00:20,199
crammed into if I'm an album that still has time

2667
02:00:20,239 --> 02:00:22,800
to thur in, you know, a forty second hardcore tracker

2668
02:00:22,840 --> 02:00:25,319
and kind of like some rock and roll stuff and Colismonic,

2669
02:00:25,359 --> 02:00:29,039
which is like the most like stirring and like define

2670
02:00:29,079 --> 02:00:30,319
in its melody sort of song.

2671
02:00:30,319 --> 02:00:32,000
Speaker 3: Now it's the longest track. It's the one that takes

2672
02:00:32,039 --> 02:00:32,840
the most time to build.

2673
02:00:32,840 --> 02:00:34,439
Speaker 4: It like the five or five minutes of this album,

2674
02:00:34,439 --> 02:00:36,319
which again not a long album, is just this one

2675
02:00:36,359 --> 02:00:39,039
track which builds, so they they do kind of like

2676
02:00:39,119 --> 02:00:41,439
make the most of a very concise package.

2677
02:00:42,079 --> 02:00:44,159
Speaker 1: Yeah, I thought that the closing track was more more

2678
02:00:44,199 --> 02:00:48,880
climactic as well. Yeah, this one, I think everyone listening

2679
02:00:48,880 --> 02:00:50,960
maybe there's like a fifty to fifty chance of if

2680
02:00:51,000 --> 02:00:52,760
you like this or go oh I don't like that,

2681
02:00:52,800 --> 02:00:55,319
I'll turn it off. But it's it's certainly, you know,

2682
02:00:55,520 --> 02:00:58,560
it's an interesting listening from a band coming back after

2683
02:00:58,560 --> 02:01:00,159
this length of time and doing something like this. So

2684
02:01:00,239 --> 02:01:03,000
modern life is war. What is the name of that album,

2685
02:01:03,720 --> 02:01:07,399
Life on the Moon? Let us move on to let's

2686
02:01:07,399 --> 02:01:11,079
pivot away from hardcore boys with emotions and into black

2687
02:01:11,119 --> 02:01:14,720
metal boys with emotions. To veg iron Frey height Inen

2688
02:01:15,039 --> 02:01:17,159
is the name of this album was actually Sam's idea

2689
02:01:17,199 --> 02:01:18,800
to review this one. I wasn't gonna put it forward.

2690
02:01:18,840 --> 02:01:20,920
And then Sam went, this is a rare black metal band.

2691
02:01:20,960 --> 02:01:22,880
I have only positive things to say about. You should

2692
02:01:22,880 --> 02:01:24,439
take this opportunity. And I was like, you know what,

2693
02:01:24,560 --> 02:01:25,119
fair enough.

2694
02:01:25,439 --> 02:01:28,319
Speaker 4: Yeah, so they're gonna find out they're a band I

2695
02:01:28,359 --> 02:01:30,600
feel like I take for Gride or the rais like,

2696
02:01:31,079 --> 02:01:32,800
I forgure how brilliant they are until they come back

2697
02:01:32,840 --> 02:01:34,520
for a new album, and then I'm kind of like, oh, yeah,

2698
02:01:34,560 --> 02:01:36,399
this band of fucking amazing. I love everything this band

2699
02:01:36,399 --> 02:01:39,720
have done. Basically finished there you told me to listen

2700
02:01:39,720 --> 02:01:42,439
to when that came out in twenty seventeen, I want

2701
02:01:42,479 --> 02:01:44,479
to say, and I was like, this is amazing. I

2702
02:01:44,479 --> 02:01:48,319
should listen to more black metal again. Those I was like,

2703
02:01:48,880 --> 02:01:50,800
kind of people do. And I'm sure somebody are going

2704
02:01:50,800 --> 02:01:51,960
to tell me you know this or it's a posed by

2705
02:01:52,000 --> 02:01:53,359
metal band. It's all That's what I was thinking, which

2706
02:01:53,359 --> 02:01:55,039
is maybe why this is a bit more palatable to me.

2707
02:01:55,560 --> 02:01:58,039
But I've like, you know, liked everything this band have

2708
02:01:58,079 --> 02:01:59,680
done pretty much. So when I saw the new Mamma,

2709
02:01:59,680 --> 02:02:00,960
I was like, fuck, yeah, I want to, you know,

2710
02:02:01,479 --> 02:02:02,239
to about how great.

2711
02:02:02,239 --> 02:02:02,920
Speaker 3: This band are.

2712
02:02:03,359 --> 02:02:05,960
Speaker 1: Yeah soh Devegona f Height. We have reviewed them before,

2713
02:02:05,960 --> 02:02:08,720
but if you've joined us in the last four years

2714
02:02:08,760 --> 02:02:10,680
since the last one and you don't know him, here's

2715
02:02:10,680 --> 02:02:11,760
another nice introduction.

2716
02:02:11,920 --> 02:02:13,479
Speaker 2: This band are German Shoka.

2717
02:02:13,920 --> 02:02:16,560
Speaker 1: They've gradually kind of clawed their way up to being

2718
02:02:17,159 --> 02:02:20,359
one of the key kind of most respected contemporary black

2719
02:02:20,359 --> 02:02:23,439
metal bands around. I got into them in twenty fifteen

2720
02:02:23,479 --> 02:02:26,279
with their album Stella, and then their twenty seventeen album

2721
02:02:26,319 --> 02:02:29,439
Finished There absolutely bowled me over, Like that is one

2722
02:02:29,479 --> 02:02:31,439
of the best black metal albums of the last ten

2723
02:02:31,479 --> 02:02:35,399
years in my opinion. It's so sweeping and epic but

2724
02:02:35,520 --> 02:02:39,479
also still like freezing cold and blistering. It's one of

2725
02:02:39,479 --> 02:02:43,159
their A plus examples of being like really extra in

2726
02:02:43,239 --> 02:02:46,159
black metal, but without veering into like, you know, symphonic

2727
02:02:46,199 --> 02:02:47,000
black metal cheese.

2728
02:02:47,000 --> 02:02:48,000
Speaker 2: It's just really gripping.

2729
02:02:48,079 --> 02:02:50,359
Speaker 1: And we then reviewed them on their twenty twenty one

2730
02:02:50,359 --> 02:02:53,279
follow up album, Nocturn, and the album's also excellent. They

2731
02:02:53,319 --> 02:02:57,319
are a highly melodic but not like when you think

2732
02:02:57,319 --> 02:02:59,760
of the sort of the subgenre of like melodic black metal,

2733
02:02:59,800 --> 02:03:02,039
I you mean sort of Swedish a section watte and

2734
02:03:02,079 --> 02:03:06,000
type stuff. This if you lean more towards say post

2735
02:03:06,039 --> 02:03:08,399
black metal in your black metal tastes. I don't know

2736
02:03:08,439 --> 02:03:10,800
if they're going to fry height strictly are that, although

2737
02:03:10,800 --> 02:03:13,119
on this album I think they maybe lean more towards

2738
02:03:13,159 --> 02:03:15,600
at times than they have before. But I think they

2739
02:03:15,640 --> 02:03:17,399
would appeal to you if you like that kind of thing,

2740
02:03:17,439 --> 02:03:19,720
because they have that level of, you know, kind of

2741
02:03:19,720 --> 02:03:23,079
class of delicate composition that the best bands in that

2742
02:03:23,119 --> 02:03:26,800
world have, and this very you know, introspective, really solemn

2743
02:03:26,840 --> 02:03:29,279
feel even when they are like blasting and screaming their

2744
02:03:29,319 --> 02:03:32,760
heads off. Sam has said, you like this band, and

2745
02:03:33,039 --> 02:03:35,239
I'm guessing as you mentioned them that this album is

2746
02:03:35,279 --> 02:03:35,720
no exception.

2747
02:03:36,159 --> 02:03:38,600
Speaker 4: Yeah, no, this album, it just it further kind of

2748
02:03:38,640 --> 02:03:40,319
cementss like, yeah, this is These are one of my

2749
02:03:40,760 --> 02:03:43,960
favorite black male bands actor right now, Like every someone

2750
02:03:44,039 --> 02:03:48,239
here like really stands out. It's forty five minutes or

2751
02:03:48,239 --> 02:03:49,760
something like that come of these that one, but it's

2752
02:03:50,600 --> 02:03:53,199
does a lot in that time. I feel like Marta

2753
02:03:53,560 --> 02:03:57,279
begins with this like gradual build, you know, it sets

2754
02:03:57,359 --> 02:04:00,560
the tone really nicely, and then it's off when they

2755
02:04:00,600 --> 02:04:04,439
when this band are doing that black metal like scorching

2756
02:04:04,560 --> 02:04:07,279
kind of like blasts with the full on tremlone all

2757
02:04:07,319 --> 02:04:09,319
that I'm like, this is the sopting. We're go like,

2758
02:04:09,560 --> 02:04:12,079
oh yeah, this is what black metal does. That makes

2759
02:04:12,119 --> 02:04:14,039
it special when you get these moments that just can

2760
02:04:14,159 --> 02:04:18,800
like carry you and they are sweeping and epic, really intense,

2761
02:04:18,880 --> 02:04:22,000
the vocals are super fiery. It's just it's all going

2762
02:04:22,039 --> 02:04:24,640
off at that moment, and I'm like, this is really cool.

2763
02:04:25,039 --> 02:04:27,560
When it's shifts into that more kind of like galloping riff,

2764
02:04:28,279 --> 02:04:31,720
the melodis that player are still really stirring and intricate,

2765
02:04:32,199 --> 02:04:34,439
and again, like you know, this is a nine minute

2766
02:04:34,439 --> 02:04:37,960
black metal song that I am locked in the entire time,

2767
02:04:37,960 --> 02:04:39,960
and I never feel that there's a wasted sort moment

2768
02:04:40,000 --> 02:04:42,520
on it. It's always moving forward, it's always doing something

2769
02:04:42,560 --> 02:04:45,800
that's catching my ears, and it's kind of like that

2770
02:04:45,880 --> 02:04:46,840
across this whole record.

2771
02:04:46,920 --> 02:04:47,199
Speaker 3: Really.

2772
02:04:48,239 --> 02:04:49,920
Speaker 1: Yeah, you know, you've got six traps here, one of

2773
02:04:49,920 --> 02:04:52,920
which is an interlude, so you've got some meaty compositions,

2774
02:04:53,239 --> 02:04:55,079
nine and a half minute opener, and then a ten

2775
02:04:55,119 --> 02:04:57,359
minute second track. You know, so we are we're testing

2776
02:04:57,359 --> 02:05:00,359
some limits again. But again here's another example of how

2777
02:05:00,399 --> 02:05:03,119
to really well structure an album so that songs like

2778
02:05:03,119 --> 02:05:06,680
this you know, really maintain that because I think one

2779
02:05:06,680 --> 02:05:08,520
of the things that deveg Guynda fry Hike do as

2780
02:05:08,520 --> 02:05:10,600
well as like almost any other black metal band around

2781
02:05:10,600 --> 02:05:13,840
today is momentum and there's just like power surge of

2782
02:05:13,920 --> 02:05:17,039
when they launch into it, and they don't, you know,

2783
02:05:17,119 --> 02:05:20,920
fully just they don't abuse that because Marta has this

2784
02:05:21,399 --> 02:05:25,439
sort of dark, burgeoning, post metal ish introduction with this low,

2785
02:05:25,560 --> 02:05:28,039
you know, cult of lunary kind of drone kind.

2786
02:05:27,960 --> 02:05:29,800
Speaker 4: Of like a grind of industrial sort of thing in

2787
02:05:29,800 --> 02:05:32,680
the background of it, kind of like yeah, murmuring.

2788
02:05:32,359 --> 02:05:35,960
Speaker 1: Away kind of their trademark icy guitar sort of wall

2789
02:05:35,960 --> 02:05:37,640
that's going on there as well, but really like you know,

2790
02:05:37,760 --> 02:05:40,640
oppressive way for an anilytist to start. But by the

2791
02:05:40,720 --> 02:05:43,720
time it's like ready to let rip, it's created such

2792
02:05:43,720 --> 02:05:46,279
an atmosphere and scale to it, and then it just

2793
02:05:46,319 --> 02:05:48,399
keeps climbing. And there are even some sort of you know,

2794
02:05:48,520 --> 02:05:52,279
kind of semi melodic choruses that just like power atop

2795
02:05:52,359 --> 02:05:54,359
the rest of this that they still manage to feel

2796
02:05:54,399 --> 02:05:56,359
really dark and almost kind of like gurgled out, but

2797
02:05:56,399 --> 02:05:59,159
they are really you know, blistering in the way they

2798
02:05:59,199 --> 02:06:01,720
go forward, and it's you know it's not a like

2799
02:06:01,760 --> 02:06:04,880
forul like thing, because this, I think is more measured sounding.

2800
02:06:04,880 --> 02:06:07,600
I would say it's not like fully Ott the whole time,

2801
02:06:07,680 --> 02:06:09,399
but just because it's in the same episode and they

2802
02:06:09,399 --> 02:06:10,880
came out on the same day. If you are into

2803
02:06:10,920 --> 02:06:13,880
the lawna Shore record for its grand scope and you're

2804
02:06:13,880 --> 02:06:16,640
maybe interested in a black metal recommendation to you know,

2805
02:06:16,760 --> 02:06:19,199
something to guide you towards that stuff, I would check

2806
02:06:19,239 --> 02:06:23,640
this out because the way songs submerge and then build

2807
02:06:23,720 --> 02:06:26,079
out of these droney type of passages. At the same time,

2808
02:06:26,159 --> 02:06:28,720
if you're into cot of Luna and bands of that ilk,

2809
02:06:28,960 --> 02:06:31,720
I think you could connect to.

2810
02:06:31,039 --> 02:06:31,920
Speaker 2: That as well.

2811
02:06:32,359 --> 02:06:34,800
Speaker 1: And the way, you know, choirs and stuff are used

2812
02:06:34,800 --> 02:06:37,680
in it. They're they're kind of in a more supporting role,

2813
02:06:37,720 --> 02:06:39,760
like they're behind the black metal. Yeah, but you can

2814
02:06:39,800 --> 02:06:42,000
always they make a difference because you can always like

2815
02:06:42,079 --> 02:06:45,680
detect that they're there, you know. So the second track, Zibulba,

2816
02:06:46,479 --> 02:06:48,439
starts with a quite fuzzed out black metal riff that

2817
02:06:48,439 --> 02:06:50,279
does kind of remind you, oh yeah, like there is

2818
02:06:50,319 --> 02:06:52,359
some of that old Norwegian influence, like they've almost taken

2819
02:06:52,399 --> 02:06:55,279
an old Gorgoroth riff or something and decided to epic

2820
02:06:55,319 --> 02:06:57,439
the fuck out of it for ten minutes, but where

2821
02:06:57,439 --> 02:07:01,680
they take it becomes so wide and so stirring, like

2822
02:07:01,840 --> 02:07:04,960
taking that core progression and layering the fuck out of it.

2823
02:07:05,000 --> 02:07:08,039
The bit when the drums go halftime halfway through feel

2824
02:07:08,159 --> 02:07:11,199
so cathartic, yes, because you've just been like inflating a

2825
02:07:11,199 --> 02:07:13,279
balloon for like four minutes up to that point.

2826
02:07:13,319 --> 02:07:15,720
Speaker 4: That switchin rhythm just adds so much songs to it,

2827
02:07:15,800 --> 02:07:17,439
just like you have been like saying, like you sa

2828
02:07:17,439 --> 02:07:19,560
it inflating and you've been blistering along and then it's

2829
02:07:19,560 --> 02:07:23,239
suddenly like snap into this change, and it's like lifting

2830
02:07:23,279 --> 02:07:25,439
you up a step further, super relating and like again

2831
02:07:25,479 --> 02:07:28,199
from there, you know, it goes quiet shortly after that,

2832
02:07:28,279 --> 02:07:30,520
and you get these like minimist simps, but it they

2833
02:07:30,560 --> 02:07:32,760
pull so much emotion out of you with those kind

2834
02:07:32,760 --> 02:07:35,479
of like synth touches and the lead guitar coming in,

2835
02:07:35,520 --> 02:07:37,920
and it like first thing is like these songs sound

2836
02:07:38,000 --> 02:07:41,000
vast and epic, but that this word we're talking about,

2837
02:07:41,000 --> 02:07:43,159
that nuance, like you can pick out the different elements

2838
02:07:43,159 --> 02:07:45,600
and it's not kind of like a production that's everything

2839
02:07:45,720 --> 02:07:48,439
on ten the entire time, where it comes like just

2840
02:07:48,439 --> 02:07:53,000
an overwhelming cophony of sound, like you can really listen

2841
02:07:53,039 --> 02:07:55,640
to the intricacies and again, like you know when it

2842
02:07:55,760 --> 02:07:58,199
just hits that sort of big burst at the end

2843
02:07:58,199 --> 02:08:01,119
and just rides it out, like you can really like

2844
02:08:01,119 --> 02:08:02,960
immerse off in it. And I think that it's not

2845
02:08:03,039 --> 02:08:06,399
like EOS, which is like almost like melodic rock guitars,

2846
02:08:06,479 --> 02:08:08,000
like for this sort of the intro where they're quite

2847
02:08:08,000 --> 02:08:10,560
sort of like, yeah, clear, it sounds like the Pretender,

2848
02:08:10,760 --> 02:08:11,760
like the guitar intro.

2849
02:08:12,840 --> 02:08:14,560
Speaker 2: But then that I was thinking of the kind of

2850
02:08:14,680 --> 02:08:16,840
rustic feel of the last cut of Lunar album again,

2851
02:08:16,880 --> 02:08:17,800
but I can see.

2852
02:08:17,800 --> 02:08:19,439
Speaker 3: Yeah, I could take it to that.

2853
02:08:19,439 --> 02:08:21,720
Speaker 4: That's what thing, that's my mirac But when that song

2854
02:08:21,800 --> 02:08:25,000
goes off properly, it's the most evil this album sounds

2855
02:08:25,000 --> 02:08:26,920
where I'm like, that's all like that kind of like

2856
02:08:27,319 --> 02:08:30,560
cinematic satanist behemoth sort of level of like just like.

2857
02:08:30,640 --> 02:08:31,760
Speaker 2: It sounds like a behemoth thrift this.

2858
02:08:32,359 --> 02:08:34,840
Speaker 4: Yeah, that bit is amazing. I think I was like, yeah,

2859
02:08:34,840 --> 02:08:37,520
that that that is like evil and menacing, and it

2860
02:08:37,600 --> 02:08:40,119
kind of again just swarms from darkness. Even that's where

2861
02:08:40,159 --> 02:08:41,720
you get the clean vocals coming in a bit more.

2862
02:08:42,000 --> 02:08:44,239
There's a desperation to them, which kind of fits in

2863
02:08:44,239 --> 02:08:47,279
with the sort of the nastier, darker tone of that song.

2864
02:08:48,439 --> 02:08:50,920
Speaker 1: Yeah, I mean that has almost some sort of throat

2865
02:08:51,000 --> 02:08:53,439
singing in the back somewhere. I'm sure there is something

2866
02:08:53,479 --> 02:08:55,960
like that, And there is this depth in the mix

2867
02:08:56,039 --> 02:08:58,800
that you know it's got is it's very intense, but

2868
02:08:58,840 --> 02:09:01,600
it's also it's got as you know, there's space where

2869
02:09:01,640 --> 02:09:03,479
there are things at sort of the back, at the

2870
02:09:03,560 --> 02:09:05,520
edges where you're going like, what's that mysterious kind of

2871
02:09:05,560 --> 02:09:08,079
sound that's out of playing view, but I'm detecting it,

2872
02:09:08,119 --> 02:09:10,439
you know, it's adding into something. The production is still

2873
02:09:10,520 --> 02:09:13,199
very crisp in terms of I think this one's actually

2874
02:09:13,239 --> 02:09:14,960
like a lot basier than they can be, which is

2875
02:09:15,039 --> 02:09:17,479
kind of unusual. But the drum patterns and how technical

2876
02:09:17,479 --> 02:09:19,760
they are, it's still very you know, preserved. I love

2877
02:09:19,800 --> 02:09:21,520
the keys that come in towards the end of tracks

2878
02:09:21,520 --> 02:09:23,840
like zib Alba that just feel like stars, you know.

2879
02:09:23,920 --> 02:09:25,920
And then yeah, the build at the end of that

2880
02:09:25,960 --> 02:09:30,319
song with the strings is like a really great arrangement.

2881
02:09:30,880 --> 02:09:33,359
Fragment is kind of sort of goffy, with like a

2882
02:09:33,399 --> 02:09:35,960
fully melodic vocal that takes over and it just fits

2883
02:09:36,000 --> 02:09:38,319
into their sound really well and really naturally, where it's

2884
02:09:38,319 --> 02:09:41,239
not unusual to just have a cleanly sung kind of

2885
02:09:41,279 --> 02:09:43,680
slow song like that. And in the beginning of the

2886
02:09:43,720 --> 02:09:48,600
song Forlorn goes almost full Alcest but like the kind

2887
02:09:48,640 --> 02:09:51,399
of gloomy reflection rather than the sun kisss you know

2888
02:09:51,600 --> 02:09:54,319
at Alcest thing, lots of like trippy reverb on the

2889
02:09:54,319 --> 02:09:56,279
guitar and this kind of big rock beat almost.

2890
02:09:56,359 --> 02:09:56,520
Speaker 3: Yeah.

2891
02:09:56,520 --> 02:09:57,800
Speaker 4: I feel like the second half of the AMI in

2892
02:09:57,840 --> 02:09:59,840
particular is where they do kind of avenge minds as

2893
02:09:59,840 --> 02:10:02,800
all like the post black metal, black gay sort of thing,

2894
02:10:02,840 --> 02:10:06,880
where again, like you're right, Fragment is you know, more gothic,

2895
02:10:07,399 --> 02:10:10,840
but like you have the finished air interlude and then

2896
02:10:10,880 --> 02:10:13,920
fall On, which is like purely buying those piano melodies

2897
02:10:13,920 --> 02:10:16,680
and it is like really lush and pretty but very

2898
02:10:16,760 --> 02:10:19,560
somber at the same time. And this is where I'm like, oh, yeah,

2899
02:10:19,680 --> 02:10:22,680
like this is more spacious and experiment on this second

2900
02:10:22,720 --> 02:10:23,239
half the album.

2901
02:10:23,239 --> 02:10:24,880
Speaker 3: But if you like the.

2902
02:10:24,920 --> 02:10:28,439
Speaker 4: Kind of like shoegazy reverb guitar lines that you can

2903
02:10:28,479 --> 02:10:30,640
find on Death Evan, you've get similar things on like

2904
02:10:31,399 --> 02:10:33,800
full On, kind of like channeled through black metal, and

2905
02:10:33,800 --> 02:10:36,039
I think it's a really like nice way to close,

2906
02:10:36,039 --> 02:10:37,560
like the atmosphere when you get like the interplay of

2907
02:10:37,600 --> 02:10:40,359
the sort of the droning cleans with the screens but

2908
02:10:40,479 --> 02:10:42,760
still manages to sound huge. I think like it, just

2909
02:10:42,800 --> 02:10:45,319
like from such finished Alum always sort of knows exactly

2910
02:10:45,399 --> 02:10:49,079
when to mix things up. Again, each song does feel

2911
02:10:49,199 --> 02:10:51,560
really distinct. While I'm not like saying any of these

2912
02:10:51,560 --> 02:10:54,079
are interchangeable and another so I'm I'm just kind of

2913
02:10:54,279 --> 02:10:55,640
hanging off them the entire time.

2914
02:10:56,560 --> 02:10:59,239
Speaker 1: Yeah, I liked the nock Turn album a bit less

2915
02:10:59,239 --> 02:11:02,079
than Finished Here, which is just exceptional, and I like

2916
02:11:02,159 --> 02:11:03,760
this one a bit less than that, So I wouldn't

2917
02:11:03,760 --> 02:11:06,000
say that this is one of my like top top

2918
02:11:06,039 --> 02:11:09,920
black metal albums this year, but they are still incredibly identifiable,

2919
02:11:10,119 --> 02:11:13,399
incredibly skilled. Give it a listen and listen to Finisteria

2920
02:11:13,399 --> 02:11:15,520
as well if you want your head blown clean off

2921
02:11:15,720 --> 02:11:18,840
last album. It's another one from Sam when you look

2922
02:11:18,840 --> 02:11:21,399
at that dishpetz. So how I'm going to say that

2923
02:11:21,800 --> 02:11:24,359
big you know double for Germans here Something to Consume

2924
02:11:24,520 --> 02:11:26,119
is the name of this album. This band are actually

2925
02:11:26,159 --> 02:11:27,720
not from Germany, or I'm going to guess from some

2926
02:11:27,760 --> 02:11:29,880
of their surnames. They might be some some heritage or something.

2927
02:11:30,079 --> 02:11:32,840
They're from Austin, Texas and this is a debut album

2928
02:11:32,920 --> 02:11:35,119
but produced by will Yip Sam.

2929
02:11:35,199 --> 02:11:37,079
Speaker 2: You recommended this band? What's their game?

2930
02:11:37,520 --> 02:11:39,000
Speaker 4: Yeah, this is the name that I've just kind of

2931
02:11:39,000 --> 02:11:42,560
seen floating about a lot the last few months. My

2932
02:11:42,600 --> 02:11:44,279
assister saw them at two thousand Trees and said they

2933
02:11:44,279 --> 02:11:46,239
were great, and I was like, okay, cool, I'll put a.

2934
02:11:46,159 --> 02:11:46,520
Speaker 3: Pin in that.

2935
02:11:47,319 --> 02:11:48,960
Speaker 4: Their names are sort of popped up here and there.

2936
02:11:49,039 --> 02:11:51,039
As I mentioned, they're on the Coachella line, so I

2937
02:11:51,039 --> 02:11:53,359
was like keeping an eye. Was like, when the album comes,

2938
02:11:53,439 --> 02:11:56,199
let's keep any on that. This could either be another

2939
02:11:56,279 --> 02:11:58,239
all rock band that I'm like, that's pretty cool, or.

2940
02:11:58,239 --> 02:11:59,920
Speaker 3: What I really into.

2941
02:12:00,359 --> 02:12:02,199
Speaker 4: When I hit plan on this, I was kind of like, yeah,

2942
02:12:02,199 --> 02:12:03,720
I'm gonna put a pin in this and mention this

2943
02:12:03,760 --> 02:12:06,199
is one that if you are into alt rock, check

2944
02:12:06,279 --> 02:12:09,600
this out, because I was surprised that this is one

2945
02:12:09,640 --> 02:12:11,000
of this one of the times, one of these all

2946
02:12:11,039 --> 02:12:12,720
rock bands, which a lot of time I feel like

2947
02:12:12,800 --> 02:12:14,359
I kind of know what to expect when I'm going

2948
02:12:14,399 --> 02:12:16,319
into them. They actually hit me with a couple of

2949
02:12:16,319 --> 02:12:19,800
surprises this band, and I was like Okay, I don't know,

2950
02:12:20,239 --> 02:12:22,720
there's stuff too this. This is there's more going on

2951
02:12:22,800 --> 02:12:25,399
here than all rock band, which I'm kind of happy

2952
02:12:25,399 --> 02:12:26,880
to go along with a lot of these bands anyway.

2953
02:12:27,520 --> 02:12:30,159
But I found this a way more interesting and kind

2954
02:12:30,159 --> 02:12:32,680
of like curious record to talk about this. That's why

2955
02:12:32,720 --> 02:12:33,840
I was gonna like, let's throw this in.

2956
02:12:34,439 --> 02:12:34,680
Speaker 2: Yeah.

2957
02:12:34,760 --> 02:12:37,880
Speaker 1: I saw the words you know, alt rock and so

2958
02:12:37,960 --> 02:12:40,000
on attached to this, and ye know, I didn't know

2959
02:12:40,039 --> 02:12:41,560
this at first. But also when you consider the fact

2960
02:12:41,560 --> 02:12:43,800
that there is will yet production, you are trained to

2961
02:12:44,039 --> 02:12:47,439
consider a sort of kind of certain sort of thing

2962
02:12:47,520 --> 02:12:49,920
right after. You know, we did the Pool Kids album

2963
02:12:50,000 --> 02:12:52,399
last month, which no shore than anyone who liked it.

2964
02:12:52,439 --> 02:12:53,800
I hope that some people did like it, but that's

2965
02:12:53,800 --> 02:12:55,399
why we brought it on. But I personally thought he

2966
02:12:55,520 --> 02:12:58,279
was very boring and shapeless. I couldn't believe when I

2967
02:12:58,359 --> 02:12:59,960
checked this out, and the first song I checked out,

2968
02:13:00,840 --> 02:13:05,039
throw Yourself to the Sword, has a fucking metal riff

2969
02:13:05,439 --> 02:13:08,560
and that heavy metal gallop like oh my god, and

2970
02:13:08,640 --> 02:13:10,159
like you know when we say, oh the Dirty Ill,

2971
02:13:10,159 --> 02:13:11,520
I've got a metal riff. It's because you know, it's

2972
02:13:11,600 --> 02:13:13,199
kind of their usual sound but with a bit of

2973
02:13:13,239 --> 02:13:14,399
like Thrash or Iron made an.

2974
02:13:14,319 --> 02:13:15,039
Speaker 2: Influence or something.

2975
02:13:15,560 --> 02:13:18,800
Speaker 1: This sounds like sludge metal. It sounds like very early

2976
02:13:18,920 --> 02:13:22,520
Baroness or Black Tusk or something like with tone, and

2977
02:13:22,520 --> 02:13:24,279
then in the verses the kind of do do do

2978
02:13:24,039 --> 02:13:27,199
do the sort of swing that is really purely out

2979
02:13:27,199 --> 02:13:29,600
of that doom world in a way that like you

2980
02:13:29,640 --> 02:13:31,960
can't fake a kind of passing interest in that just

2981
02:13:32,039 --> 02:13:34,039
by turning the tone up or whatever. It's got the

2982
02:13:34,079 --> 02:13:37,399
swing that those bands have, And I went, what why

2983
02:13:37,479 --> 02:13:39,479
is this? This is not what I thought this was

2984
02:13:39,520 --> 02:13:42,439
going to be at all? And you have my attention

2985
02:13:42,520 --> 02:13:44,560
when this is like a will Yip grunge kind of

2986
02:13:44,560 --> 02:13:47,960
oat rock album, but you've got red album rifts on it.

2987
02:13:48,720 --> 02:13:50,640
Speaker 3: Yeah, no, I've not heard.

2988
02:13:50,680 --> 02:13:52,359
Speaker 4: That's something I listened to sound kind of in order,

2989
02:13:52,960 --> 02:13:54,399
And when I got to that, which is track three,

2990
02:13:54,399 --> 02:13:56,880
I was kind of like, I really hope Paring gets

2991
02:13:56,880 --> 02:14:00,520
something from this, at least having the audacity to like

2992
02:14:00,640 --> 02:14:02,880
again a kind of heavy meld gallop but without you

2993
02:14:02,920 --> 02:14:06,640
write sludgy, nastier tone, and like vocally you know she's

2994
02:14:06,760 --> 02:14:09,760
got more grit to it. She's snarling and grunting through

2995
02:14:09,760 --> 02:14:11,960
that song, and I think like having to me, that's

2996
02:14:11,960 --> 02:14:13,760
one of the coolest things one of these bands can

2997
02:14:13,800 --> 02:14:16,840
do is have a song that easy, you know, a

2998
02:14:16,960 --> 02:14:18,680
heavy metal track like I love it when the When

2999
02:14:18,680 --> 02:14:20,399
the Dirty and Heel do it. But that's what that's

3000
02:14:20,439 --> 02:14:21,800
kind of been part there stick for a while now

3001
02:14:21,800 --> 02:14:23,319
and they can let it more on the new album.

3002
02:14:23,479 --> 02:14:26,840
But not knowing it's coming at all on this album

3003
02:14:27,399 --> 02:14:29,239
was such a kind of like revelation. I was like,

3004
02:14:29,399 --> 02:14:32,319
this is fucking cool and it's still again I think

3005
02:14:32,399 --> 02:14:36,079
actually quite a catchy, fun song along that it's got

3006
02:14:36,119 --> 02:14:39,439
a really good solo. There's more substance to this band

3007
02:14:39,760 --> 02:14:41,239
because again, like you can look at the two songs

3008
02:14:41,239 --> 02:14:43,439
that come before on the record, they're more interesting.

3009
02:14:43,479 --> 02:14:43,640
Speaker 2: You know.

3010
02:14:43,680 --> 02:14:48,520
Speaker 4: The album opens with pop punk anthem, which is it's

3011
02:14:48,520 --> 02:14:50,720
not a problem and you know it's big on Shue

3012
02:14:50,720 --> 02:14:53,000
gay Zy Vibe, but then it does kind of like

3013
02:14:53,720 --> 02:14:56,039
shift and hit that changes something that pace was like

3014
02:14:56,119 --> 02:14:58,399
on track one that they're still kind of like throwing

3015
02:14:58,399 --> 02:15:01,039
into interesting tempo changes. So I was like, I'm really

3016
02:15:01,039 --> 02:15:02,600
into what this band are about. That there's clearly a

3017
02:15:02,640 --> 02:15:04,720
bit more thought going into this than just being another

3018
02:15:04,840 --> 02:15:05,560
or rock band.

3019
02:15:05,840 --> 02:15:08,760
Speaker 1: Yeah, you know, the pop punk anthem song. You know,

3020
02:15:08,800 --> 02:15:10,920
it starts kind of what you would expect with sort

3021
02:15:10,920 --> 02:15:13,239
of new wave, you know, grunge type stuff, and you

3022
02:15:13,279 --> 02:15:14,960
know it does sound good obviously, well yep, you know,

3023
02:15:15,000 --> 02:15:16,960
the base tone in particular is really really good, got

3024
02:15:17,000 --> 02:15:19,640
a nice, satisfying kind of clack on the snare drum.

3025
02:15:19,840 --> 02:15:22,000
But then it gets more guttural to the point that

3026
02:15:22,039 --> 02:15:25,359
when when the singer kicks in can talt into a

3027
02:15:25,399 --> 02:15:29,479
full like howl where there are moments of her delivery

3028
02:15:29,800 --> 02:15:32,319
that would not be a myss on an extreme metal record.

3029
02:15:32,600 --> 02:15:36,319
And the chorus is like genuinely good. It's like a

3030
02:15:36,399 --> 02:15:38,960
nineties kind of radio song chorus, but with this like

3031
02:15:39,359 --> 02:15:41,479
howl in the delivery that sounds like she's drank a

3032
02:15:41,479 --> 02:15:43,359
load of milk before recording it, and it's just kind

3033
02:15:43,359 --> 02:15:46,960
of being like, ah, and I love it and throw

3034
02:15:47,000 --> 02:15:49,920
yourself to the sword. Riff sounds more like a riff

3035
02:15:49,920 --> 02:15:53,439
you would hear at desert Fest or Damnation than riot Fest,

3036
02:15:53,560 --> 02:15:57,760
you know, and this record it has diversity where after

3037
02:15:57,840 --> 02:16:00,560
so many fucking, you know, nice punk album where my

3038
02:16:00,600 --> 02:16:02,640
main criticism is, don't be afraid to have a bit

3039
02:16:02,680 --> 02:16:05,640
of volume and a bit of heft, or you know,

3040
02:16:05,720 --> 02:16:08,800
stuff that goes down the kind of Lambrini girls, shouty

3041
02:16:08,840 --> 02:16:11,079
modern post punk thing that's less kind of our collective thing.

3042
02:16:11,359 --> 02:16:13,960
It's so nice to hear a band from this alternative

3043
02:16:13,960 --> 02:16:18,359
world who aren't afraid to be like ugly and feral.

3044
02:16:18,439 --> 02:16:18,520
Speaker 2: You know.

3045
02:16:18,560 --> 02:16:20,560
Speaker 1: They kind of remind me of The Distillers a bit

3046
02:16:20,560 --> 02:16:22,920
in that way, even though sonically they're different because they're

3047
02:16:22,960 --> 02:16:24,720
not coming from that kind of Gilman street punk thing,

3048
02:16:24,760 --> 02:16:26,039
but just the roar on it just.

3049
02:16:26,039 --> 02:16:28,520
Speaker 2: Kind of like ah has a lot of that kind of.

3050
02:16:28,479 --> 02:16:30,560
Speaker 1: Brodie Darl sort of attitude in it. I think they've

3051
02:16:30,560 --> 02:16:32,360
got a few different singers, because there's the one who

3052
02:16:32,399 --> 02:16:35,159
sings songs like Voir Dire, which are a little bit

3053
02:16:35,159 --> 02:16:37,000
more kind of serpentine and a little bit more shadowy,

3054
02:16:37,159 --> 02:16:41,559
and then others who are as said full thrall eating

3055
02:16:41,600 --> 02:16:43,840
three bars of chocolate and then going arah bellowing.

3056
02:16:44,520 --> 02:16:46,319
Speaker 4: Riding with My Girls is like another one like that way.

3057
02:16:46,360 --> 02:16:48,319
It's like that is all I think The Distillers is.

3058
02:16:48,280 --> 02:16:49,239
Speaker 2: A real motorhead.

3059
02:16:49,360 --> 02:16:55,079
Speaker 4: That song that's like like like fuzzed up, chunky kind

3060
02:16:55,120 --> 02:16:56,520
of like sound to that song where it is a

3061
02:16:56,639 --> 02:17:01,000
rollicking motorcycle anthem I'm like, again, that's that's really cool,

3062
02:17:01,079 --> 02:17:04,079
and like they know when to like mix it out

3063
02:17:04,079 --> 02:17:07,200
because you get like bubbly punk or like Red forty,

3064
02:17:07,280 --> 02:17:09,719
which is like really like playful, but you still get

3065
02:17:09,719 --> 02:17:10,600
that kind of styling thing.

3066
02:17:10,719 --> 02:17:12,840
Speaker 2: Red forty is like a kind of heavy surf rock song.

3067
02:17:13,360 --> 02:17:17,079
Speaker 4: Yeah, go Get Dressed, is you know, minimalist kind of

3068
02:17:17,079 --> 02:17:20,360
like dreamy shoegames with the vocalists are like barely picking

3069
02:17:20,399 --> 02:17:23,159
up over a whisper, but it is nicely placed in

3070
02:17:23,200 --> 02:17:25,360
the record where it feels like a nice kind of

3071
02:17:25,440 --> 02:17:26,360
like break from the.

3072
02:17:26,319 --> 02:17:27,000
Speaker 3: Sort of lot of other things.

3073
02:17:27,040 --> 02:17:29,200
Speaker 4: I think like the album is really well paced, and

3074
02:17:29,239 --> 02:17:32,360
it shows a kind of like aclecticism in tones and flavors,

3075
02:17:32,399 --> 02:17:34,079
which doesn't feel jarring at any point.

3076
02:17:34,079 --> 02:17:35,479
Speaker 3: It just kind of feels like they're a.

3077
02:17:35,399 --> 02:17:38,399
Speaker 4: Band of like they have a wide range of interest

3078
02:17:38,440 --> 02:17:39,920
where they kind of want to chane it all through

3079
02:17:40,520 --> 02:17:43,040
more of an rock sort of flavor, but don't just

3080
02:17:43,079 --> 02:17:46,399
want to do the same kind of like alt rock, shoegazy,

3081
02:17:46,680 --> 02:17:48,600
deaf tones, all the things we've sort of mentioned all

3082
02:17:48,600 --> 02:17:51,399
the bands are the same things. Dicepit Stone or Dispits whatever.

3083
02:17:51,399 --> 02:17:52,280
Don't want to be like that.

3084
02:17:52,760 --> 02:17:56,040
Speaker 1: Yeah, American porn had the kind of brightness and the

3085
02:17:56,040 --> 02:17:59,440
guitars of that you know, contemporary alt rock, the stuff

3086
02:17:59,440 --> 02:18:01,520
that people who are listening to bands like Fleshwater are into,

3087
02:18:01,639 --> 02:18:04,760
you know, but it is also kind of yowling with

3088
02:18:04,799 --> 02:18:07,760
that attitude and has an extended bridge of like noise

3089
02:18:08,120 --> 02:18:09,600
sludge rock kind of it's.

3090
02:18:09,440 --> 02:18:11,520
Speaker 4: Pissed off that song, Yeah, when they Shut your Mouth

3091
02:18:11,600 --> 02:18:12,440
kind of sort of hooks on.

3092
02:18:12,479 --> 02:18:14,799
Speaker 1: It, like sort of beat down part sound to no

3093
02:18:14,879 --> 02:18:17,479
One has like one of those really like tuned low,

3094
02:18:18,159 --> 02:18:22,200
slightly liquid Jerry Cantrell Circarrania Fog or like his like

3095
02:18:22,200 --> 02:18:24,879
a solo album kind of kind of riffs. And then,

3096
02:18:24,920 --> 02:18:26,559
like I said, writing My Girls is like is a

3097
02:18:26,559 --> 02:18:30,360
Motorhead song, And just think remembering, you know, everyone remembers

3098
02:18:30,440 --> 02:18:33,239
Nirvana obviously, but remembering that Nirvana and all of their

3099
02:18:33,239 --> 02:18:37,120
grunge piers they were influenced by Black Sabbath, they were

3100
02:18:37,159 --> 02:18:40,559
influenced by the Melvins and all this heavy, doomed out

3101
02:18:40,600 --> 02:18:43,760
kind of stuff and going you know, not just going hey,

3102
02:18:43,840 --> 02:18:45,440
let's do that again, but also doing its own kind

3103
02:18:45,440 --> 02:18:47,639
of thing with it. Like it's it is quite a

3104
02:18:47,680 --> 02:18:49,879
grab bag of a debut, Like My ears were drawn

3105
02:18:49,959 --> 02:18:53,200
to more tracks than some tracks, more than others. But

3106
02:18:53,920 --> 02:18:57,200
it's so much more unique than the kind of vast

3107
02:18:57,200 --> 02:19:00,000
majority of like grunge revivalist stuff that that's come out

3108
02:19:00,120 --> 02:19:02,399
in fuck years, you know. And it also rocks a

3109
02:19:02,479 --> 02:19:04,680
lot harder and a lot heavier when it really wants

3110
02:19:04,680 --> 02:19:08,920
to really cool. Debut Dispits that spelled like die Spits.

3111
02:19:08,920 --> 02:19:13,120
I'm trying to sound remotely German, but Dispits something to consume.

3112
02:19:13,239 --> 02:19:16,239
And that is our last album for this reviews bag.

3113
02:19:16,360 --> 02:19:19,159
Thank you very much for being with us. We will

3114
02:19:19,200 --> 02:19:22,280
be back next week with probably a hypoblastma with some

3115
02:19:22,399 --> 02:19:25,479
let you know everything that's been going on. But right

3116
02:19:25,520 --> 02:19:28,520
now there are seven albums there. Let us know if

3117
02:19:28,600 --> 02:19:32,360
you agree on our opinions on the likes of Lorna Shore, Fleshwater,

3118
02:19:32,639 --> 02:19:36,120
Lour Dispute, so on. Please check out the Scorpion Milk album,

3119
02:19:36,280 --> 02:19:38,479
check out the likes of Dispits into their kind of

3120
02:19:38,479 --> 02:19:40,840
fry heights as well, these bands that you maybe haven't

3121
02:19:40,840 --> 02:19:44,600
heard of, so immediately let us know what your thoughts are.

3122
02:19:44,719 --> 02:19:48,520
We will be back once again and Thomas Limberg for

3123
02:19:48,600 --> 02:19:49,959
fucking ever go