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Speaker 1: Hello everybody, Welcome to That's Not Metal. This is your

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weekly rock and heavy music podcast, and welcome to at

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least here for us. We are in the midst of

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another bloody British heat wave again this year.

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Speaker 2: I genuinely thought I'd escaped, like the high thirty degrees

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when I came back from Thailand and Vietnam.

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Speaker 3: I was like, you know, had it all that was

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that I'm back to England.

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Speaker 2: It's gonna be a bit cooler and fucking this week

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it said to be as hot as that, only with

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like the horrible English humidity and instead buildings and work

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for our air condition that works.

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Speaker 3: It's bad times.

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Speaker 4: It's genuinely scared about Acid Bar tomorrow, un ironically quite

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worried about what that's going to be.

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Speaker 1: Like, Yeah, we are that you might notice the show

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is out a day early, and the reason being is

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tomorrow night, Elliot and I are going see Acid Bath

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in Manchester in a sold out venue inside in in

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this the swamp is truly coming to town. I've I've

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been with you. I've been terrified, mortified all week. Elliott

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is sat here and a wife beat getting ready to

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talk about warning, none of this makes any sense known

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as scan dealing at all. But today we are here

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with the reviews show for June and we have got

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a really nice batch to talk about. We've got the

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new albums from Converge, Marmozette's Static Dress, Turnover, Guilt Trip, Warning,

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storm Keeper, and Funa Brahm. I was at Nuova Testamento

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this week, the incredible Italian slash American synth pop band,

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and I realized because it was, you know, the start

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of this week, I realized Outbreak have seriously fucked up

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by not booking them when they're in the country, like

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Outbreak is this coming week. They they're in that scene

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they play in and around it, and I was like,

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this would be an incredible like palate cleanser, Like they

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are literally there in the country the week of Outbreak.

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They have seriously fucked up. There was a guy in

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front of me, like a full on crust guy with

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a spiked jacket with like drop Dead and Nausia patches

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and stuff, and he was dancing, literally swinging his T

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shirt around all night. Elliott, you were at the fucking

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Dylinger Calculating Infinity show the other day.

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Speaker 3: How was that? Yeah?

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Speaker 4: So I had no anticipation, but I wasn't going to

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go until Saturday evening and I saw that tickets were

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still available and they weren't too expensive, And you just

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get these like pangs of fomo sometimes in life, and

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you feel like you have no choice. It was. It

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happened there and then, and supported by Frontier and Vaur

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both did great jobs. And Frontilla were much more silly

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than I expected them to be. The stage to mean,

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it was a bit more like Black Dahlia then I

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was anticipating. I thought it was going to be, you know,

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very serious. All of them are sugar thing, but they

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were a lot of fun. Went down well. Vaa wasn't

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really my sort of thing, but they went down very well.

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Obviously the it's all about Dillinger's That's the reason I

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was going.

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Speaker 1: And have you ever seen Dylinger in their you know,

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prior form.

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Speaker 4: Yeah, so I saw them twice on the final cycle

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once it reading. When I saw half of their set,

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I had to leave to go watch the Red Hot

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Chili Peppers in twenty sixteen.

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Speaker 3: Was that the one where Greg was sitting a couch

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for most of the set.

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Speaker 4: Yes, And they were followed by Mastered, on which I

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also missed, so just exemply the decision making all around.

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But then the second time I saw them and I

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was kind of happy for that to be the last one,

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was when they did download the year after headline the

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third stage. At the time it was their final UK show.

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Fucking incredible, like real gig that sticks in the memory.

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So I was kind of happy to a bit, like,

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you know, I saw people saying with Sleigh, I'm not

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seeing them on this reunion run because the last time

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was so special. I kind of had it like that

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until it got forty eight hours away and thought, now

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I've got I have to see this because it'll be

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different enough, and I want to see it with my

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own eyes. And I went in with fairly tempered expectations

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because i'd heard some ropies, maybe so harsh, but I

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heard some people being a bit sniffy about this reunion,

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some people saying that it's done down the Dillinger legacy

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or you know, so on and so forth. And I

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have had such fond memories are seeing them on the

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final run last time. It's such an important band to me.

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But I kind of went and going, you know, this

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will be this week something to see whether even if

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it's not as good, genuinely might be the best time

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I've seen them, which I was not expecting. I kind

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of understand why some people will have been grumbling about it,

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because it's, you know, they're not playing so much their

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most famous music, and Dmitri is no Greg and this,

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that and the other. In terms of playing to their strengths.

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On this run, they fucking they nailed. I happen to

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love all the material they were playing, but the first

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two EPs they did, the come to Daddy cover y

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was great as well.

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Speaker 1: I saw a video of that and I was like, oh,

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I didn't realize we were dipping into irony as a

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dead scene. That's pretty exciting.

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Speaker 4: Well that was because he Dmitriy introduced it. But by

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the way, Dmitri in terms of stage packs that he

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could not be more different from Greg. Greg's got that

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like he's wait, too cool for school. Greg, you know,

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he's you know, I kind of got that boy band

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thing to him almost. But Dmitriy is just like a

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middle aged guy who works in graphic design, so he

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just can't believe his luck. They gets to go around

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the world playing these songs, and when it came to

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that come to Daddy cover. He goes, I've been going

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you know, we've been touring this record and every night

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I asked this question and no one seems to know.

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But do you know who Richard D. James is? You know,

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outside of England. I imagine that might be a harder

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thing for people to recognize. Whole crowd lights up. He

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absolutely loves it. There was a slightly odd moment where

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I kind of was in arming an orring about getting

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in the pit when that's I kind of I decided

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that I was going to pit at some point, but

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I hadn't decided when. And when they went to come

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to Daddy, I thought, I'm never going to chance to

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pitch this song, not only by this band, but by anyone.

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And Dmitriy leaked into the pit at the same time

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that I was walking towards it. And as you start

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saying the words come to Daddy, Come to Daddy, I

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find myself striding towards him and it felt if it

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felt peculiarly, I've got to say, but the I mean,

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the fucking ferocity of this band, like still, that was

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the thing that I thought might be knocked back after

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ten years away they just I don't know what is.

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They don't seem to age, and with that materials, like

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especially the most extreme stuff, it's just it still sounds

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like a tornado in this thousand cap room. I I can't,

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to be honest, I'm strolling to put into words because

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it was just I was smiling from ear to ear.

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Oh yeah, and they did a they did an I

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don'te of his impromptu I presume no, I don't know

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if they're doing anywhere else, but they randomly did a

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cover of just One Fix by Ministry, so just out

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of nowhere. We were miming to the news. It was fantastic.

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And yeah, just again I went in with I want

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to say, low expectations, but just not expecting anything on

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the level I've seen before, like I say, maybe my

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favorite show I've seen by them. And there's a lot

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of talk about this, like this has been confirmed as

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the last run of dates on this cycle. Initially I

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would have been fine with that, but now I'm genuinely

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kind of hoping that they do more with this. I'd

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like to see them do a few more laps or

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new music or something. I don't know, but the form

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there on now the chemistry in that band. I thought

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they were spectacular, and again maybe that's because I went

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it with the expertise they have, or because I have

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particular predilection for that material. I'm absolutely shuffed I went

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I thought it was excellent.

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Speaker 1: Anyway, let's get into the show proper bit of news

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before we get into the reviews. And this was a

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really fucking bizarre story. I don't really know how this

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has happened, but a couple of days ago it just

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sort of popped up on the internet that eeros the

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long sort of mythical shelved Deaf Tones album that they

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were working on prior to the unfortunate death of Chi Chang.

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The former basis of course that there was then famously

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shelved and they went on to make Diamond Eyes and

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everything they've made since as long been said that they're

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probably never going to release it. Really out of the blue,

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it seems to Again I'm not entirely sure how legitimate is,

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but the response everone seems to have had is that

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it seemed to be somewhat legitimate. Just emerged on the Internet,

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and it wasn't for long. It was up for maybe

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a few hours, and then presumably Deafton's team, who do

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not seem to be behind this crack down on it,

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and it's long gone again, but Eros, very briefly for

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a couple of hours, was out there. I did not

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listen to it, both out of a sort of I

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saw it and was like, I don't feel the need

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to like rush to hear this thing that they didn't

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want out in the world, I suppose, And then if

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I had had a change of heart later that you know,

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obviously it was vanquished and gone. So I can't comment

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at all on the music that was actually on this,

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you know, this upload supposedly of Aeros but really fucking

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random thing to see on like a Tuesday or whatever

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it was.

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Speaker 4: It feels like it's as soon as people stopped clamoring

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for it, something like this happens. And you know, the

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same as you, I didn't hear it. I won't pretend

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on my part that it's not some that it's some

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like moral crusade or monk like abstinence. I just I

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couldn't find it, missed it. Yeah, And yeah, you're right,

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it's a strange one because it's not that the album's

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finished and having not I don't know how close it

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was to finished, I know, like Smile, and there was

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another song called Dallas floating around and they were like,

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those are the only two that had done And have

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you heard Smile? I love that song And if the

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rest of the I was anywhere close to that, you know,

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I'm sure it's fantastic. It's a bit of a weird

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one because you know, the band of Overtime more and

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more gone, you know, probably never going to release that,

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and now that this has happened, it feels like that's

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been reduced from near zero to absolute zero. Like I

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don't think we're ever getting an official release of Eros

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after this, which I don't know is that a shame

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or not. I do still want to hear it, I

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will admit, like, despite everything, I would like to listen

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to it.

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Speaker 1: Yeah, very strange, but more official releases. Chelsea Wolf is back.

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She has put out two new songs called Death Is

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Not the End and The Dark These a company an

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announcement of a world tour that's going around you know,

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America and several places in Europe and so on. Unfortunately,

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not any more UK dates, I guess because she is

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you know, still of course lated to be headlining Tangent

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Festival in a couple of months or so. I would

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imagine we're probably gonna get a new album twenty twenty seven,

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if not the very end of this year. No announcement

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for this right now, but two new tracks, of course

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with Chelsea WLF. You wondering what kind of world we're

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entering into here. The last record, which was so fantastic,

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was more of the electronica kind of side of things,

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and of the two here, I listened to Death is

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not the End first, because that's the one that you

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put out like the music video for and so that

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was my first impression of it. Turns out the Dark

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is a more like fully acoustic song, I suppose, but

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DEA's not the end. Starts for the first couple of

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minutes like very like, very delicate, quiet acoustic, and that's

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a vibe that you know, Chelsea Wolf is no stranger

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to I'm no stranger to enjoying and loving it. So

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I was really appreciating that, really pretty, really really nice.

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And then at the end the big doom chord came

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and the noise that I made that first time was diabolical,

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like I was actually not expecting it at that point

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and when that lift comes, it's genuine. I think the

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last minute or so of that song is the closest

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she's comes since to the particular kind of really organic

240
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doom sound of like orbit Abyss for example, And that

241
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just really really wowed me in the way that she

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so consistently does.

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Speaker 5: Yeah, I think like the two things the g like

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that's from the video, because that feels like the Cholsey

245
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of kind of experience of like the beautiful delicate into

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that good.

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Speaker 4: At the end.

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Speaker 3: This is like, this is everything you're going to go

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to her for.

250
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Speaker 6: I mean, their song is cool, but the first one

251
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two like, I don't again if it's like I mean

252
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on an album of feature Stalin Syncrame, but it's I'm

253
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always going to be happy to hear new Chelsea Wilf

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And this is as good as you would expect from her.

255
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Speaker 4: Yeah, I think when you released two singles early from

256
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a record, it's good to have them different enough to

257
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show the spread of where that record might go. And

258
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I mean controlsting that with the Dark, which I mean

259
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this in a very flattering way, really sounds like Florence

260
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and the Machine Like it's got that soaring gentle. Almost

261
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Again this sounds really backhanded. It's almost like John Lewis

262
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quality to it. But again, like in the hands of

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Chelsea Wolf, it happens to be good. I actually I

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think I prefer that of the two songs, I don't

265
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you know in Okay, So I'm happy for it to

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take the record wherever it's going to go. But if

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it's either one of these, I'm chuffed.

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Speaker 1: Yeah. Really we're looking forward to if this, you know,

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come through on a record. But even if it doesn't

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need to standalone songs, they're fucking cool, you know. As ever,

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this is some crazy news. Heal Fest happened this past weekend.

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Seemed like the warmest place on earth. They were limiting

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beer sales and whatnot, which is crazy for a fest.

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We're considering the money they'll obviously making on alcohol all weekend,

275
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but that hot anyway. Next year, of course, will be

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another year of health Fest, and they have announced headtime

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that for next year's Healthfest they have expanded the thing,

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which if you have any familiarity with the Hellfest we

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of course talking about the French European one at all,

280
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you would go. That's a festival that doesn't need expanding

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that's already has been for some years now, the festival

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that most consistently will pull out the lineup and you

283
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don't know where to look in terms of where your

284
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eye goes with the so like the strength and depth

285
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they get off their stages is ridiculous. But next year

286
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they have announced there is going to be ten stages.

287
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I think that's up from I've not been to hell first,

288
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but I think there's something like five or six currently

289
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of the main ones. There's going to be ten stages

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at Helfest next year with over three hundred bands between them.

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Speaker 5: And.

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Speaker 1: Where how would you even function at a festival like that.

293
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They're expanding the capacity as well. Like I said, it's

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already arguably the biggest metal festival in the world, they're

295
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expanding the capacity to go with this. This essentially becomes

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like a small nation of metal fans fit in one place.

297
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There is no way you're going to get from A

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to B.

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Speaker 3: This is too much.

300
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Speaker 2: Like I look at this and you're like, on paper,

301
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that sounds amazing.

302
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Speaker 1: Ten stages.

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Speaker 3: How does it work?

304
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Speaker 6: Because to me, like the commune is that well, just

305
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the way you can get a bit more bans on it.

306
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You can charge more for tickets, but people are only

307
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still be able to see the same bands gonna be

308
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unless you know, the stage is just like side.

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Speaker 3: By side, like alternating stage.

310
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Speaker 6: And that's the only way I could possibly see ten

311
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of stages at festival working if pixture of them are

312
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side by side alternate alternating stages, because it just it

313
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feels too much at this point, three hundred bands and

314
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it's like, that's that's a nightmare scenario of just like

315
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all of these bands on the suf that I'm not

316
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gonna be able to see because they're all clashing or

317
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they're you know, on the other side of like a

318
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small country, like like the size of the festival scope,

319
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it's it could be amazing.

320
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Speaker 3: But I was just like it was insane.

321
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Speaker 4: Yeah was it twenty twenty one, I guess with the

322
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first post covid ure and they had that two weekends

323
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in a row, it's yeah, seven days, And it was like,

324
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what do you like this? This isn't tenable, Like that's

325
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that's someone's holiday for the year taken out just to

326
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go to a music festival. And that thing you said

327
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about alternating stages that I guess that could work, but

328
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I don't think it's with three hundred plus bands. There's

329
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no way that's possible. You can't have it. So half

330
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the stages on off creating at any given time. Honestly,

331
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I look at that and think the poster is going

332
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to be, you know, drool inducing, but.

333
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Speaker 3: Need a magnifying glass to reaching the bands the.

334
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Speaker 4: Actual acts of being there. So you go to download,

335
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which has four stages that could be that can be

336
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stressful enough at times and times you're walking away from

337
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stuff you love to try and catch something else. Health

338
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Fest I think these days put together a more like

339
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compelling and competitive lineup. The amount of bands which you

340
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if you go to this firstival, the amount of bands

341
00:15:30,600 --> 00:15:33,320
which you love who go, I can't see a minute

342
00:15:33,360 --> 00:15:36,919
of that because they're clashing with four other bands I love. Yeah,

343
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I mean, unbelievable things to complain about, but it just

344
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it does make me stressful.

345
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Speaker 1: Yeah, my my cynical head says that I can't help

346
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but feel like this is essentially for the brand and

347
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being able to say that you are the biggest you know,

348
00:15:49,720 --> 00:15:52,679
you have for most bands whatever. When realistically you pull

349
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up a Healthfest clash finder now with the five or

350
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six stages that they have and you are seeing some

351
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brutal you want to be in three places at once,

352
00:16:00,879 --> 00:16:03,320
even with them putting sort of roughly different subgenres of

353
00:16:03,320 --> 00:16:07,480
metal on other stages, you know, approach to it. Put

354
00:16:07,480 --> 00:16:08,879
in ten or when you have the same amount of

355
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days and you're you know, double in the amount of

356
00:16:11,399 --> 00:16:13,759
stages you have, you're not doubling the amount of time

357
00:16:13,759 --> 00:16:15,799
you have to see bands. Right, So it is, it

358
00:16:15,840 --> 00:16:19,799
doesn't I think, help the what the average individual attendeal

359
00:16:19,840 --> 00:16:21,440
the festal is going to be able to consume. So

360
00:16:21,960 --> 00:16:23,960
the more festivals pilot, it's the same with the sort

361
00:16:23,960 --> 00:16:25,519
of six New World effect, right when it's like you've

362
00:16:25,559 --> 00:16:27,240
got a million bands on and they've all got twenty

363
00:16:27,240 --> 00:16:30,120
five minutes to play. The more festivals pile on this

364
00:16:30,200 --> 00:16:32,080
kind of stuff for the sake of like a eye

365
00:16:32,080 --> 00:16:36,639
popping poster, the less appealing actually is to me. But

366
00:16:37,000 --> 00:16:40,360
in terms of the numbers game, yeah, obviously fucking mental thing.

367
00:16:40,360 --> 00:16:42,399
And I am very curious, of course to see when

368
00:16:42,440 --> 00:16:45,360
they drop that initial lineup poster, to see what the

369
00:16:45,399 --> 00:16:47,840
hell they have got on there. Blink twentity two. I

370
00:16:47,840 --> 00:16:49,799
suppose we can do a little a festival speculation of

371
00:16:49,799 --> 00:16:53,480
our own here, Blink twentity two have announced three dates

372
00:16:53,519 --> 00:16:57,679
in Europe in Berlin, Milan and Paris. They are playing

373
00:16:57,720 --> 00:17:00,200
with Pierce de Vale and Billy Talent on those and

374
00:17:00,240 --> 00:17:03,559
they are for early to mid June, with when I say,

375
00:17:03,559 --> 00:17:08,680
our speculation currently, these dates sort of wrap around the

376
00:17:08,839 --> 00:17:13,839
weekend of Download Festival next year, so naturally heads heads

377
00:17:13,839 --> 00:17:16,720
get a turning. Are Blink twenty two going to be

378
00:17:17,000 --> 00:17:20,039
a pic for headlining Download next year? Based off the

379
00:17:20,079 --> 00:17:23,759
back of this and in terms of a realistic or

380
00:17:23,799 --> 00:17:26,079
a you know, a desired picker band who lots of

381
00:17:26,079 --> 00:17:29,559
people would want them to get finally, then I think

382
00:17:29,680 --> 00:17:33,200
it seems like a pretty safe, if not a nailed

383
00:17:33,200 --> 00:17:35,160
on bet, certainly a safe one you can go like, yeah,

384
00:17:35,200 --> 00:17:36,119
I think that could happen.

385
00:17:37,960 --> 00:17:39,680
Speaker 2: Yeah to me, this year was like a kind of

386
00:17:39,680 --> 00:17:42,720
a no brainer for download to book Blink one A

387
00:17:42,839 --> 00:17:45,480
two as when your headline is because that era of

388
00:17:45,519 --> 00:17:47,720
like the late nineties since noughties is the kind of

389
00:17:47,759 --> 00:17:51,960
like being nostalgia classics or of boom for Download now

390
00:17:52,519 --> 00:17:55,119
and Blink of net I think ever done. They've never

391
00:17:55,160 --> 00:17:56,920
headlined download, but I don't know if they've ever even

392
00:17:57,200 --> 00:18:00,640
like played it. I can't remember my head because obviously

393
00:18:00,680 --> 00:18:03,359
it kind of took off in their absence initially, and

394
00:18:03,400 --> 00:18:06,079
then since coming back they did reading and they've done

395
00:18:06,079 --> 00:18:08,240
their own tours, but I don't think they've ever done downloads,

396
00:18:08,319 --> 00:18:10,880
So this to me, yeah makes total sense. I mean,

397
00:18:10,880 --> 00:18:13,359
I'm going to fucking Berlin Toto yet because was like,

398
00:18:13,359 --> 00:18:14,799
do you want to come to Berlin see Blink and

399
00:18:14,839 --> 00:18:17,119
BILLI tant and I was like, I could do a couple.

400
00:18:16,920 --> 00:18:17,599
Speaker 3: Of days in Berlin.

401
00:18:17,759 --> 00:18:20,680
Speaker 2: So that's me next year, rather sitting like a big

402
00:18:20,720 --> 00:18:22,440
amphithear and watch Blink one a two, then go to

403
00:18:22,480 --> 00:18:24,359
download and watch them at this point because like, just

404
00:18:24,759 --> 00:18:26,359
download just intimidates me now.

405
00:18:26,400 --> 00:18:27,000
Speaker 3: But yeah, I.

406
00:18:26,960 --> 00:18:29,559
Speaker 2: Think like Bling way two kind of back on the

407
00:18:29,559 --> 00:18:31,759
touring festival circuit, there will be a good fun summer.

408
00:18:31,920 --> 00:18:34,039
Speaker 1: Yeah, and it does seem like what has been one

409
00:18:34,079 --> 00:18:35,759
of the sort of white whales again that pop punk

410
00:18:35,759 --> 00:18:38,119
well that Downo has leaned more into in the last

411
00:18:38,119 --> 00:18:41,839
few years. Blinker, you know, obviously right up on that list.

412
00:18:41,880 --> 00:18:43,119
So if it's going to be the year they pulled

413
00:18:43,119 --> 00:18:45,759
the trigger on that, then yeah, why not. I suppose

414
00:18:46,319 --> 00:18:49,519
for the same fan base. I am sure Integrity have

415
00:18:49,640 --> 00:18:54,559
announced a European run where they are playing the thirtieth

416
00:18:54,599 --> 00:18:58,039
anniversary of their record Humanity is the Devil, an absolutely

417
00:18:58,079 --> 00:19:01,119
seminal piece of mid nineties metal cores, and along with

418
00:19:01,160 --> 00:19:03,599
them on that run they're also bringing Ringworm, who are

419
00:19:03,640 --> 00:19:06,559
doing the twenty fifth anniversary of another you know, metallic

420
00:19:06,640 --> 00:19:08,880
hardcore classic Birth Is Pain, and also a band called

421
00:19:08,920 --> 00:19:11,559
World I Hate as well. No UK dates right now,

422
00:19:11,599 --> 00:19:13,720
and Integrity never played the UK. I would love to

423
00:19:13,720 --> 00:19:15,480
see Integrity, I never have. They're like my favorite of

424
00:19:15,519 --> 00:19:20,240
these bands and this pairing. Please someone bring that. I'd

425
00:19:20,240 --> 00:19:21,039
be all over that.

426
00:19:21,880 --> 00:19:25,119
Speaker 2: Integrity are doing one random UK date in Newcastle this year,

427
00:19:25,160 --> 00:19:25,799
just so you're aware of.

428
00:19:25,799 --> 00:19:26,720
Speaker 1: You really, what the hell?

429
00:19:28,000 --> 00:19:30,680
Speaker 2: Yeah, one of those sort of like hardcore weekend of

430
00:19:30,759 --> 00:19:33,119
festival sort of things. Integrity are doing that as like

431
00:19:33,119 --> 00:19:34,960
a UK exclusive, I think at the moment. So I

432
00:19:35,000 --> 00:19:36,160
was like when I was sort of like, oh, yeah,

433
00:19:36,160 --> 00:19:37,680
bring the to one them, and then I remember that

434
00:19:37,799 --> 00:19:39,119
was happening, so I was like, out there goes my

435
00:19:39,200 --> 00:19:44,319
dreams of this particular Integrity, Ringworm, horrid nineties metallic hardcore

436
00:19:44,400 --> 00:19:45,400
turk coming to the UK.

437
00:19:45,519 --> 00:19:47,680
Speaker 3: But if you're in Europe, that is like that's a

438
00:19:47,720 --> 00:19:48,240
sick Night.

439
00:19:48,480 --> 00:19:50,480
Speaker 1: I think they should do it anyway because I want

440
00:19:50,559 --> 00:19:53,160
to see it over in the US. While we're on hardcore,

441
00:19:53,200 --> 00:19:57,480
I suppose Turnstile have announced another leg, another jaunt of

442
00:19:57,519 --> 00:20:01,160
their you know, massive, ongoing Never Enough tour. The main

443
00:20:01,240 --> 00:20:03,839
thing that has you know, garnered attention with this is

444
00:20:03,880 --> 00:20:06,480
the support bill they have under it, which features loads

445
00:20:06,519 --> 00:20:08,559
and loads of acts, because lots of different dates have

446
00:20:08,599 --> 00:20:11,920
their own, you know, variants of the support, but in

447
00:20:12,000 --> 00:20:14,880
Turnstile fashion, I suppose it's the variety. It's the breadth

448
00:20:15,359 --> 00:20:17,839
of the supporting acts that has mainly got tongues of talking.

449
00:20:17,880 --> 00:20:20,920
Where on the one end, the extreme hardcore side, they've

450
00:20:20,920 --> 00:20:23,920
got Agnostic Front, they have got Hate Breeds, They've got

451
00:20:24,039 --> 00:20:26,720
hay Wire, and then on the other end they've got

452
00:20:27,119 --> 00:20:30,440
hip hop acts like Clips, they have upcoming pop acts

453
00:20:30,480 --> 00:20:34,960
like Slater. They've got Thundercat in there. Yeah, real, real,

454
00:20:35,039 --> 00:20:38,440
who's who of every genre you can imagine supporting Turnstile.

455
00:20:38,839 --> 00:20:42,000
Speaker 3: It's Slater's name being right next to Terror on the post.

456
00:20:41,680 --> 00:20:44,400
Speaker 2: And it just kind of like I was like, because I

457
00:20:44,440 --> 00:20:46,799
really like Slaters of the sort of POPACS think she's

458
00:20:46,839 --> 00:20:49,200
really fun, but it's just so like random seeing that

459
00:20:49,279 --> 00:20:49,799
next to terror.

460
00:20:49,799 --> 00:20:51,759
Speaker 3: I was like, and the joke everyone came up about.

461
00:20:51,759 --> 00:20:54,680
Speaker 2: I saw about five people include myself is the agnostic

462
00:20:54,720 --> 00:20:57,519
front slater, Like, please someone make that happen as a

463
00:20:57,599 --> 00:21:00,759
pairing because that would just be the most, like I said,

464
00:21:00,799 --> 00:21:02,039
the two most extreme ends of it.

465
00:21:02,119 --> 00:21:04,720
Speaker 3: But yeah, this is kind of just what Turnstile are now.

466
00:21:05,240 --> 00:21:08,400
Speaker 2: Like these US tours where they have like fifty different

467
00:21:08,400 --> 00:21:10,440
sport bands reminds of you know, the Michromical Romance one

468
00:21:10,480 --> 00:21:12,079
from a couple of years back where we were laughing

469
00:21:12,160 --> 00:21:15,319
at like Devil Master and Pierced the Veil being on

470
00:21:15,599 --> 00:21:18,799
like the same kind of supporting bill. It's that again,

471
00:21:18,880 --> 00:21:23,480
but for like trendy hardcore and indie kids basically. But yeah,

472
00:21:23,519 --> 00:21:24,480
I think this is really cool.

473
00:21:24,880 --> 00:21:26,599
Speaker 4: Yes, it's the sort of thing that's only possible when

474
00:21:26,640 --> 00:21:30,119
you're almost literally a peerless band, like there's no other

475
00:21:30,200 --> 00:21:32,400
bank like Turnstile even to like there's lots of times

476
00:21:32,440 --> 00:21:35,480
you mimic them to have come up since but you know,

477
00:21:35,519 --> 00:21:36,960
you're looking at this line and we're going, like, who's

478
00:21:36,960 --> 00:21:38,599
done that before? Like the only things that even seem

479
00:21:39,279 --> 00:21:42,519
kind of similar you look like the Deaftones, the festivals

480
00:21:42,559 --> 00:21:44,359
they put together and stuff like that, but that's not

481
00:21:44,440 --> 00:21:48,519
the same as a touring package and turnstile being uniquely

482
00:21:48,920 --> 00:21:51,359
placed in the position they're in. It'd be frustrating almost

483
00:21:51,359 --> 00:21:53,160
if they didn't take advantage of it like this and go, yeah,

484
00:21:53,160 --> 00:21:55,160
we're gonna have trash Talk and Vince Staples on the

485
00:21:55,200 --> 00:21:58,440
same night, we're gonna have Agnostic Front with vas Tumor.

486
00:21:58,599 --> 00:22:01,000
It's just like it's it's fucking brilliant.

487
00:22:01,400 --> 00:22:01,599
Speaker 3: Yeah.

488
00:22:01,799 --> 00:22:05,400
Speaker 1: Down under. Parkway Drive have announced that they are going

489
00:22:05,480 --> 00:22:07,519
to be, of course in their home country of Australia,

490
00:22:07,680 --> 00:22:11,400
taking a little run around, playing two dates in each city.

491
00:22:11,440 --> 00:22:14,680
They'll go into alternating nights, much smaller dates than they

492
00:22:14,839 --> 00:22:17,400
you know typically now are playing as obviously a huge

493
00:22:17,720 --> 00:22:20,799
arena fessel handline in metal band. They go into some smaller,

494
00:22:20,920 --> 00:22:25,039
more you know, places of their historic past venues and

495
00:22:25,079 --> 00:22:27,039
they are going to be on alternating nights playing killing

496
00:22:27,119 --> 00:22:29,799
with a smile and horizons. Of course, a real dialect

497
00:22:29,839 --> 00:22:31,319
back to the earliert thing. The thing that gets to

498
00:22:31,359 --> 00:22:34,519
me with Parkway here is that, obviously, you know, this

499
00:22:34,640 --> 00:22:36,720
is not a new concept we have, you know, literally

500
00:22:36,960 --> 00:22:38,839
like coming up in a couple of weeks time. We've

501
00:22:38,880 --> 00:22:41,880
got the brim of the Horizon outbreak cat Your Blessings thing.

502
00:22:42,039 --> 00:22:45,039
But unlike that, for example, Parkway haven't actually ignored this

503
00:22:45,160 --> 00:22:47,799
material of late, because the last arena tour they did,

504
00:22:48,079 --> 00:22:51,039
they were doing a fucking like ten minute medley of

505
00:22:51,200 --> 00:22:53,799
like old school killing with the Smile Washers. So it's

506
00:22:53,799 --> 00:22:55,960
not like even this is the you know, first time

507
00:22:56,000 --> 00:22:58,000
they brought this stuff out, But I like the I

508
00:22:58,039 --> 00:23:00,640
don't know, the following through on the train of thought

509
00:23:00,680 --> 00:23:02,440
and being like, yeah, let's really dial it back.

510
00:23:02,960 --> 00:23:03,559
Speaker 3: Yeah, I think you.

511
00:23:03,599 --> 00:23:05,200
Speaker 2: Mean, like this is gonna be really cool for some

512
00:23:05,240 --> 00:23:07,920
of those like deeper cuts that like I've seen play

513
00:23:07,920 --> 00:23:10,039
fair few songs with those albums, but some of the

514
00:23:10,359 --> 00:23:13,480
real like deep catching gain that's gonna get those crowds

515
00:23:13,519 --> 00:23:16,400
going absolute bananas. And I think it's just like a

516
00:23:16,480 --> 00:23:19,000
good kind of reset moment for Parkway Drive and just

517
00:23:19,039 --> 00:23:21,200
kind of like getting back in touch with the past,

518
00:23:21,240 --> 00:23:22,880
have fun cut loose for these shows.

519
00:23:22,680 --> 00:23:24,640
Speaker 3: And have to worry about the kind of wider impact.

520
00:23:25,079 --> 00:23:28,839
Speaker 1: Yes, And finally on the tour announcement front, happening in

521
00:23:29,319 --> 00:23:32,440
April and May of next year of twenty twenty seven,

522
00:23:32,759 --> 00:23:38,640
mister Ian Gillen of Deep Purple, very briefly Black Sabbath,

523
00:23:39,000 --> 00:23:43,359
several other acts. He has announced a speaking tour a

524
00:23:43,599 --> 00:23:46,559
night in the presence of mister Ian Gillen is titled

525
00:23:46,559 --> 00:23:52,799
the Talking Gibberish Tour, and he's taken on like it's

526
00:23:52,839 --> 00:23:55,720
a long tour, like lots of dates here, lots of

527
00:23:55,839 --> 00:23:59,839
like sizeable venues across the entirety of the UK and

528
00:24:00,079 --> 00:24:02,680
Elliott in terms of big tour announcements for next year

529
00:24:02,720 --> 00:24:04,599
for you, this is bigger than Rush, isn't it.

530
00:24:05,680 --> 00:24:10,480
Speaker 4: This is led Zeppelin with Jesus on drum. I mean,

531
00:24:10,559 --> 00:24:12,359
I would say when I was seeing the toy, like

532
00:24:12,400 --> 00:24:13,759
the announcement of this was a bit of a roller

533
00:24:13,799 --> 00:24:15,960
coast because obviously at first instincts you laugh your head off,

534
00:24:15,960 --> 00:24:17,279
you go, oh my god, and then you go, actually,

535
00:24:17,640 --> 00:24:19,279
I would kind of like to go to that because

536
00:24:19,559 --> 00:24:22,359
a Ian Gillen and be that guy's probably got some

537
00:24:22,400 --> 00:24:25,839
great stories. We know he does, we know, but he

538
00:24:25,920 --> 00:24:27,839
won't tell them because then I remember his blog and

539
00:24:28,079 --> 00:24:31,000
he finds interesting the stuff. So you'll go to this

540
00:24:31,200 --> 00:24:32,799
and you'll be thinking, we're gonna get all the gossip on,

541
00:24:33,039 --> 00:24:34,720
you know, where what fell up with Richie Blackmore and

542
00:24:34,759 --> 00:24:37,400
what really happened on the Born Again cycle and being

543
00:24:37,400 --> 00:24:40,039
in and out of Purple, and he's gonna be chatting

544
00:24:40,039 --> 00:24:44,799
about Marmalade and Paddington and like just his favorite film

545
00:24:44,839 --> 00:24:50,799
about Battle of Britain, gonna it's gonna be so there. Therefore,

546
00:24:51,000 --> 00:24:53,799
I'm going, of course, I don't know where yet I

547
00:24:53,920 --> 00:24:56,279
will be. I don't think this needs to be announced

548
00:24:56,319 --> 00:24:59,720
a fucking year in advance. It's like a month long

549
00:24:59,799 --> 00:25:03,759
tour as well of him ranking department stores by the

550
00:25:03,880 --> 00:25:10,039
toasters which they sell. Coming up the Talking Gibbers store

551
00:25:10,160 --> 00:25:10,559
next year.

552
00:25:10,640 --> 00:25:11,880
Speaker 3: Fucking unbelievable scenes.

553
00:25:12,039 --> 00:25:15,519
Speaker 1: Love it all right over on the Patreon right now.

554
00:25:16,079 --> 00:25:17,720
A preflott of plug just to reminder that we are

555
00:25:17,759 --> 00:25:20,240
currently in the midst of our Corn special. We are

556
00:25:20,359 --> 00:25:22,839
Corn Again, if you will. The last thing that we

557
00:25:22,960 --> 00:25:26,000
did was we covered through the years they went without

558
00:25:26,079 --> 00:25:29,920
head on guitars, which are their most experimental and crazily

559
00:25:30,039 --> 00:25:33,279
all over the place years. We're talking reuniting with Ross Robinson,

560
00:25:33,400 --> 00:25:37,440
We're talking dubstep, we're talking pop producers, we're talking unplugged

561
00:25:37,480 --> 00:25:39,880
with Amy Lee. We're going all over the shop and

562
00:25:40,599 --> 00:25:42,079
obviously we are going to be you know, going to

563
00:25:42,119 --> 00:25:43,920
outbreak next weekend and we'll be back with a report

564
00:25:43,960 --> 00:25:45,319
from that. But on the other side of that, we

565
00:25:45,400 --> 00:25:48,519
will be looking into putting out Part four, the concluding

566
00:25:48,640 --> 00:25:51,559
part of the Corn Special, and then of course we

567
00:25:51,599 --> 00:25:53,359
can look into doing other specials and other bands and

568
00:25:53,400 --> 00:25:55,920
what not into the second half of twenty twenty six.

569
00:25:56,319 --> 00:25:59,960
But right now, the main beef of this particular episode Sandwich.

570
00:26:00,240 --> 00:26:03,440
We are getting into the reviews right now, and we

571
00:26:03,519 --> 00:26:07,839
are going to start with deja vu everyone. We're starting

572
00:26:07,880 --> 00:26:11,559
with Converge again, the hum of Hurt for the second time,

573
00:26:12,480 --> 00:26:14,079
not even just this year, but it's the fact that

574
00:26:14,160 --> 00:26:17,359
it's like four or five months. The second album we

575
00:26:17,480 --> 00:26:21,599
have got from Converge February, of course, graced us with

576
00:26:21,799 --> 00:26:25,759
Love Is Not Enough, the first new solely Converged studio

577
00:26:25,799 --> 00:26:28,519
album in nine years, and then just as we had

578
00:26:28,519 --> 00:26:32,039
gotten our teeth into that new started rumbling of a

579
00:26:32,480 --> 00:26:36,440
second Converged album, Love is Not Enough. We described overall

580
00:26:36,599 --> 00:26:40,720
what a frenetic, bloodthirsty Converge album that often is. It

581
00:26:40,839 --> 00:26:43,640
is one of, if not the shortest Converged albums, and

582
00:26:44,279 --> 00:26:46,720
it felt like having done things like the Blood Moon

583
00:26:46,799 --> 00:26:49,119
colab in the kind of indimdiaary they were, you know,

584
00:26:49,279 --> 00:26:52,440
shaking off the dust by going really wildly on the attack.

585
00:26:52,880 --> 00:26:56,559
You wouldn't necessarily call it the most compositionally ambitious or

586
00:26:56,640 --> 00:27:00,359
far reaching Converge album perhaps, but it simply goes like crazy.

587
00:27:00,799 --> 00:27:03,839
With that description of that album in mind, I think

588
00:27:03,880 --> 00:27:06,920
it's a particularly good or apt year for Converge to

589
00:27:06,960 --> 00:27:09,319
put out a second album, because it means while allowing

590
00:27:09,880 --> 00:27:11,559
Love is not enough to to be what it is

591
00:27:11,680 --> 00:27:14,119
to be this fucking you know, grenade of a Converged album,

592
00:27:14,640 --> 00:27:16,720
we then also get to, you know, deliver and explore

593
00:27:16,759 --> 00:27:18,640
another side of them. And that is certainly when it

594
00:27:18,920 --> 00:27:20,680
was announced it kind of made sense to me. I

595
00:27:20,759 --> 00:27:23,160
was like, okay, I that's kind of what I'm expecting

596
00:27:23,200 --> 00:27:23,839
hum of Her to be.

597
00:27:24,519 --> 00:27:26,880
Speaker 2: This year, Convergion manage to sort of deliver a hyper

598
00:27:26,920 --> 00:27:30,519
condensed version to my ears of acts to fall into

599
00:27:30,559 --> 00:27:32,759
all we love we leave behind again of that kind

600
00:27:32,799 --> 00:27:37,279
of like super hard, violent Converged record, followed by then

601
00:27:37,319 --> 00:27:40,519
a couple years later, you know, a more measured comage record.

602
00:27:40,599 --> 00:27:42,200
I've found find that is you know, a bit of

603
00:27:42,240 --> 00:27:44,599
a sly record times and here on this one, we've

604
00:27:44,640 --> 00:27:47,240
got Love is not Enough, which was as we say,

605
00:27:47,400 --> 00:27:51,279
the most like violent, atic, kind of like pure Musha

606
00:27:51,640 --> 00:27:54,920
scary converged record in quite some time for them, and

607
00:27:55,079 --> 00:27:56,480
so I kind of was expreded them that the follow

608
00:27:56,559 --> 00:27:58,880
up to be the immediate fants be something so different,

609
00:27:58,880 --> 00:28:04,480
and here we have again a slower, darker, very different

610
00:28:04,640 --> 00:28:07,039
kind of mood converge record. And it's kind of given

611
00:28:07,079 --> 00:28:09,640
me that that similar feeling to when those two records

612
00:28:09,680 --> 00:28:11,680
were because that was the time I was getting into

613
00:28:11,680 --> 00:28:14,039
conversion was about those records and the difference in those

614
00:28:14,119 --> 00:28:16,279
sort of sounds and these are a much more of

615
00:28:16,319 --> 00:28:18,680
like condensed and like tighter version of it.

616
00:28:18,759 --> 00:28:20,599
Speaker 3: But it just I got a similar kind of feeling

617
00:28:20,640 --> 00:28:20,799
to that.

618
00:28:21,839 --> 00:28:23,799
Speaker 4: Yeah, if I had one hang up about love is

619
00:28:23,839 --> 00:28:25,839
Not Enough, which again I didn't really have because I

620
00:28:26,039 --> 00:28:29,000
love the record too much for that, But it's that

621
00:28:29,119 --> 00:28:31,799
it was after such a long wait, it being their

622
00:28:31,839 --> 00:28:35,880
shortest record and maybe the most straightforward since like the

623
00:28:35,960 --> 00:28:38,400
Real like even like the pre jel maybe outside of

624
00:28:38,440 --> 00:28:41,000
something like No Heroes, their most straightforward record a long time.

625
00:28:41,039 --> 00:28:42,400
And there was a part of me thinking, oh, you

626
00:28:42,480 --> 00:28:43,920
were gone for so long, and you promised that you

627
00:28:43,960 --> 00:28:45,680
had these twenty songs in the back and it was

628
00:28:45,720 --> 00:28:47,799
going to be you would try all this new stuff,

629
00:28:48,119 --> 00:28:50,759
where's that? But you know quickly forgive them because the

630
00:28:50,839 --> 00:28:53,640
record is outrageously good. But then just like a few

631
00:28:53,680 --> 00:28:56,359
months later, to get the second half of that, it's

632
00:28:56,680 --> 00:29:00,799
and to not feel like b sides or even a sequel.

633
00:29:00,960 --> 00:29:03,319
This isn't like a reload or a hypnotized situation where

634
00:29:03,359 --> 00:29:05,160
it's we're all going to remember the first one and

635
00:29:05,200 --> 00:29:07,200
then the second one came out and it was good

636
00:29:07,240 --> 00:29:12,480
but not great. This is like a very different converged

637
00:29:12,519 --> 00:29:15,400
record in terms of approach, sounds sonically on every level.

638
00:29:15,440 --> 00:29:18,599
You can kind of think it's it's it's a departure

639
00:29:18,640 --> 00:29:22,079
from the last one, and that's exactly what these sort

640
00:29:22,079 --> 00:29:25,480
of sister records should be. Just then being the lesser

641
00:29:25,559 --> 00:29:27,839
version of the former one, it just sets them up

642
00:29:27,880 --> 00:29:30,480
for failure. But I feel like, without skipping too far ahead,

643
00:29:30,519 --> 00:29:33,400
going forward, these records will feel distinct in the converged

644
00:29:33,440 --> 00:29:34,680
cattle of the fact they both came out in a

645
00:29:34,720 --> 00:29:36,960
single year will feel much more incidental.

646
00:29:37,640 --> 00:29:40,160
Speaker 1: Yeah, I do think the phenomenon of two albums in

647
00:29:40,200 --> 00:29:42,519
a year we don't, you know, get super often from bands.

648
00:29:42,880 --> 00:29:46,319
It does provoke the discussion of how you relate such

649
00:29:46,400 --> 00:29:49,960
albums to each other, like, are they completely separated the entities?

650
00:29:50,279 --> 00:29:53,079
These aren't described as a double album, but you can,

651
00:29:53,160 --> 00:29:55,319
of course if you like, as a listener part the

652
00:29:55,359 --> 00:29:58,640
two up back to back. They have described essentially the

653
00:29:58,720 --> 00:30:01,599
realization and when they were right in the sessions for

654
00:30:01,880 --> 00:30:05,480
what became these albums, that they were writing two different albums.

655
00:30:05,640 --> 00:30:07,880
And obviously that conveys a distinction in the fact that

656
00:30:07,920 --> 00:30:10,920
they felt that these belonged to different projects, But fundamentally

657
00:30:10,920 --> 00:30:13,000
it does also mean that the two albums were written

658
00:30:13,000 --> 00:30:15,359
around the same time, and so they capture the artist

659
00:30:15,400 --> 00:30:17,519
at about the same point in their life. And if

660
00:30:17,559 --> 00:30:19,720
we are to you know, kind of describe albums as

661
00:30:19,799 --> 00:30:21,920
time capsules in that way which artists themselves often do,

662
00:30:22,559 --> 00:30:25,079
these two records, you know, emerge from the same point

663
00:30:25,319 --> 00:30:27,279
for conversion. So I think that there are ways, even

664
00:30:27,279 --> 00:30:30,079
though they are distinct records, just through that there are

665
00:30:30,119 --> 00:30:33,039
ways in which they are kind of innately connected. So

666
00:30:33,599 --> 00:30:35,920
taking this as basically, you know, the flip side the

667
00:30:36,039 --> 00:30:38,279
other side of the mirror to love is not enough.

668
00:30:39,960 --> 00:30:43,559
I maybe I'll provide the asterisk that this sort of

669
00:30:43,960 --> 00:30:48,720
in isolation is maybe the least like Blowing Your Hair

670
00:30:48,839 --> 00:30:53,319
Back converge album of this century, which is about the

671
00:30:53,480 --> 00:30:55,880
highest par imaginable all. Do not get me wrong. When

672
00:30:55,920 --> 00:30:57,519
we were talking about Lovers Not Enough, we were talking

673
00:30:57,559 --> 00:30:59,640
about an album that was, you know, guaranteed to be

674
00:30:59,680 --> 00:31:01,960
joss for People's Album of the Year position. I imagine

675
00:31:01,960 --> 00:31:03,359
this one, you know, when we do the audience poll,

676
00:31:03,400 --> 00:31:05,640
I would probably bet that this one will score a

677
00:31:05,680 --> 00:31:08,599
little bit lower than Lover's Not Enough does. But at

678
00:31:08,640 --> 00:31:11,400
the same time, it doesn't really feel quite right to

679
00:31:11,440 --> 00:31:13,799
be saying that about it, because it does provide one

680
00:31:13,880 --> 00:31:19,480
of the most distinct and contained moods of any Converge album.

681
00:31:19,559 --> 00:31:22,400
So I would say it's essential as a fan right

682
00:31:22,480 --> 00:31:25,000
to get your teeth into it and appreciate that mood

683
00:31:25,079 --> 00:31:26,759
coming from them. I think it is it's less of

684
00:31:26,799 --> 00:31:29,240
a crowd pleaser than lover Is Not Enough. But I

685
00:31:29,319 --> 00:31:30,759
have seen some people say that this is the one

686
00:31:30,759 --> 00:31:32,480
they prefer of the two. I don't think that's outlandish

687
00:31:32,480 --> 00:31:35,000
at all. Ultimately, I think we are very lucky to

688
00:31:35,079 --> 00:31:40,279
be receiving such productivity and such considerate, you know, artistic

689
00:31:40,319 --> 00:31:44,519
exploration from one of our best bands. This record is heavy,

690
00:31:44,680 --> 00:31:47,039
isn't it? And I don't mean in the explosive heaviness

691
00:31:47,079 --> 00:31:50,119
that Lovers Not Enough gave us. Instead, it is lurking

692
00:31:50,440 --> 00:31:53,559
and deliberated. It quite brilliantly matches its title in that

693
00:31:53,680 --> 00:31:56,200
sense which Jake Bannon has described it as the sort

694
00:31:56,240 --> 00:31:59,240
of base background frequency of all pain that exists in

695
00:31:59,279 --> 00:32:02,480
the universe. And this album is, I imagine on a

696
00:32:02,640 --> 00:32:04,960
pure wayform level, like if you were to look at it,

697
00:32:05,279 --> 00:32:07,559
I think it will be a lower frequency than most

698
00:32:07,640 --> 00:32:08,519
Convertent albums are.

699
00:32:08,599 --> 00:32:08,680
Speaker 3: Right.

700
00:32:08,759 --> 00:32:14,599
Speaker 1: It exists in the slower, darker corners of what their

701
00:32:14,680 --> 00:32:16,319
band can be. I even you know, I remember staying

702
00:32:16,319 --> 00:32:19,319
about love is not enough. The production on it actually

703
00:32:19,359 --> 00:32:22,200
how kind of almost bass heavy, and mean that album

704
00:32:22,279 --> 00:32:24,119
sounds compared to some of their other ones. And this

705
00:32:24,799 --> 00:32:28,079
following it up like taking it, taking that bat and

706
00:32:28,119 --> 00:32:29,559
and running with it. I mean, I love how the

707
00:32:29,720 --> 00:32:33,039
the opening four seconds kind of trick you because it

708
00:32:33,119 --> 00:32:36,400
is this lumbering Deomie record, But straight away Ben Coller

709
00:32:36,519 --> 00:32:39,759
opens the record with one of his like wild high

710
00:32:39,839 --> 00:32:42,200
tempo drum fills. It could easily go into like I

711
00:32:42,240 --> 00:32:44,440
could tell you about Pain or something like that, but instead,

712
00:32:44,559 --> 00:32:47,799
straight away it snaps into that mid tempo groove on

713
00:32:47,880 --> 00:32:51,319
Slip the noose and the whiplash of that switching tempo alone,

714
00:32:51,599 --> 00:32:53,440
it's like you're a crash test dummy, you know, it

715
00:32:53,559 --> 00:32:55,880
just breaks your neck the second you start the record

716
00:32:56,359 --> 00:32:57,359
by going slower.

717
00:32:58,640 --> 00:32:59,799
Speaker 3: I love that both.

718
00:32:59,640 --> 00:33:02,640
Speaker 2: Albums to Do essentially start with an insane ben colla

719
00:33:02,720 --> 00:33:04,160
drum feel, like obviously you have the little bit of

720
00:33:04,200 --> 00:33:06,160
intron loves enough, but then you get that roads on

721
00:33:06,240 --> 00:33:08,720
feel and from that you are, you know, frashing and

722
00:33:08,799 --> 00:33:11,920
fading away on that. On this one, you hoging like

723
00:33:12,720 --> 00:33:18,039
great swinging this is and nasty and thick, such a

724
00:33:18,240 --> 00:33:21,200
distinct moved like the wiry guitars. It like you go

725
00:33:21,319 --> 00:33:24,160
for convergs like they're kind of used purely for discomfort

726
00:33:24,240 --> 00:33:27,200
this time, and just kind of like snaking over like

727
00:33:27,319 --> 00:33:31,119
the that bass home is like so goddamn heavy, and

728
00:33:31,200 --> 00:33:32,720
you get to that final like sit the news breaking

729
00:33:32,839 --> 00:33:34,880
and the like bucking under the weight of the ton

730
00:33:35,000 --> 00:33:37,359
of like a real statement opening tracks. Same way as

731
00:33:37,400 --> 00:33:38,920
Lovers and Enough Ways, even if it's not as like

732
00:33:39,519 --> 00:33:43,079
initially flashyat it's not got all these like crazy flailing

733
00:33:43,119 --> 00:33:45,359
guitar riffs and breakdowns with big mores calls. It still

734
00:33:45,480 --> 00:33:47,480
hits all the sort of things I want from Converge,

735
00:33:47,640 --> 00:33:52,039
just in a in like say, a sludgier, thicker, more

736
00:33:52,200 --> 00:33:53,160
horrid kind of way.

737
00:33:54,079 --> 00:33:55,799
Speaker 4: Well, what we we sort of said about Lover is

738
00:33:55,799 --> 00:33:58,440
not enough that that might be the most metal Converged record,

739
00:33:58,480 --> 00:33:59,880
Like the things they're pulling from there is you know,

740
00:34:00,039 --> 00:34:03,240
god flesh and in toned Slayer like the things we

741
00:34:03,319 --> 00:34:07,880
were bringing to mind there were very particular to that record.

742
00:34:08,400 --> 00:34:12,159
This one, for me, is much more noise rock. It's

743
00:34:12,360 --> 00:34:14,119
the things that's pulling from it. It's not bands like that.

744
00:34:14,199 --> 00:34:17,039
It's stuff like the Jesus Lizard and shell Ack and

745
00:34:17,639 --> 00:34:21,360
melting Bolts, Melvin's exactly and slip the news that it

746
00:34:21,440 --> 00:34:23,880
kind of it communicates that straight away after that frantic

747
00:34:23,920 --> 00:34:26,639
drum field the guitar. If it's not you know, the

748
00:34:26,679 --> 00:34:28,280
way bad faith, we were saying like, oh, it's so

749
00:34:28,480 --> 00:34:30,159
good to have a rift like that again, a riff

750
00:34:30,199 --> 00:34:32,599
that's actually a riff. We're kind of back to rifts

751
00:34:32,599 --> 00:34:34,480
that aren't riffs for a lot of this record, where

752
00:34:34,480 --> 00:34:40,000
it's just discordant noises and rumbling and angular stabs of sound,

753
00:34:40,119 --> 00:34:44,199
and that is a juxtaposition where it's it's not. You know,

754
00:34:44,400 --> 00:34:46,800
in some ways it's a heavier record because it's it's

755
00:34:47,079 --> 00:34:49,559
nastier and nattier and more difficult to listen to, but

756
00:34:49,679 --> 00:34:52,880
it doesn't really have the same wallop of love is

757
00:34:52,920 --> 00:34:54,679
Not Enough. But I think that suits these songs. These

758
00:34:54,719 --> 00:34:58,079
songs are more sort of testing, and you kind of

759
00:34:58,079 --> 00:35:01,760
have to be more depth keeping up at them, keeping

760
00:35:01,800 --> 00:35:03,559
up with them, and slip the News as an opener

761
00:35:03,679 --> 00:35:06,800
just throws you around so much, and it juxtaposes amazingly

762
00:35:06,840 --> 00:35:08,360
with the follow up track. But just as a way

763
00:35:08,440 --> 00:35:11,360
to set things up, it's it's a nice setting out

764
00:35:11,360 --> 00:35:13,480
of the staller going like this is gonna be like,

765
00:35:13,719 --> 00:35:15,400
there's gonna be more challenging. You're not just gonna be

766
00:35:15,400 --> 00:35:17,920
able to head bang and spin your kicks around.

767
00:35:18,119 --> 00:35:19,960
Speaker 1: Yeah, And yet at the same time, maybe it's because

768
00:35:20,599 --> 00:35:23,639
you know, different people have different sort of like I

769
00:35:23,679 --> 00:35:25,559
don't know how seasoned they are as a converged listener

770
00:35:25,679 --> 00:35:29,159
or whatever, but the vibe of this record and kind

771
00:35:29,199 --> 00:35:31,920
of that consistent you know, noding your head along these

772
00:35:32,360 --> 00:35:34,599
even as they are topsy turvy kind of grooves, you know,

773
00:35:34,719 --> 00:35:37,559
going up and down that kind of slide is like

774
00:35:37,679 --> 00:35:40,480
a really it's another fairly short, like half hourish record.

775
00:35:40,559 --> 00:35:42,440
Light Love Is Not Enough was, which does again kind

776
00:35:42,440 --> 00:35:45,079
of make them complimentary in that sense, a really really

777
00:35:45,159 --> 00:35:47,800
sick ride, and I imagine that Nate as the doom

778
00:35:47,880 --> 00:35:51,440
rider in the Bunch, can really happily slip back into

779
00:35:51,440 --> 00:35:53,199
There's a lot of Nate on this record, like not

780
00:35:53,280 --> 00:35:57,119
just on base but in vocal capacity as well. They

781
00:35:57,239 --> 00:36:02,559
feel really considered in terms of like deliberately testing out

782
00:36:03,079 --> 00:36:04,559
what they are able to do. You know, it's almost

783
00:36:04,559 --> 00:36:06,199
like it's a training exercise. It's like, what can we

784
00:36:06,239 --> 00:36:09,559
get out of ourselves by existing within this particular framework

785
00:36:09,599 --> 00:36:11,199
of this record In these kind of feels, I wouldn't

786
00:36:11,280 --> 00:36:13,039
quite call it a minimalist album, but it does feel

787
00:36:13,079 --> 00:36:16,400
like they are squeezing the bass elements of these songs for,

788
00:36:16,559 --> 00:36:19,559
you know, everything that they are worth. The news the

789
00:36:19,639 --> 00:36:21,719
opener is like one minute forty four seconds long, but

790
00:36:21,800 --> 00:36:24,639
then Doom in Bloom, the first more kind of bulked

791
00:36:24,639 --> 00:36:29,239
out track comes in, and it's those queasy, nasty guitar

792
00:36:29,320 --> 00:36:32,119
licks that bounce off that crawling kind of rhythm that

793
00:36:32,199 --> 00:36:34,400
really does lock you into the rhythm of the record,

794
00:36:34,440 --> 00:36:35,880
and it is more of a vibe record in that

795
00:36:35,920 --> 00:36:39,079
there are you know, several other tracks that kind of

796
00:36:39,119 --> 00:36:42,599
follow up in a similar kind of gait and tempo.

797
00:36:43,119 --> 00:36:46,800
Like the sort of the consistent rhythm of this record

798
00:36:47,039 --> 00:36:50,840
is you know, more lulling in that way than like

799
00:36:50,880 --> 00:36:52,440
Love is Not Enough, which you know fucking speeds up

800
00:36:52,440 --> 00:36:54,159
and slows down and go side size and all this stuff.

801
00:36:54,760 --> 00:36:57,719
But they are able to like offer different tweaks and

802
00:36:57,800 --> 00:37:00,960
sort of come at those base things from different angles

803
00:37:01,000 --> 00:37:03,719
and as a real you know, intricacy in even just

804
00:37:03,760 --> 00:37:06,840
like a rhythmic like a beat level. Right while being

805
00:37:06,880 --> 00:37:09,199
so brawny and slugging it out on this record, there's

806
00:37:09,239 --> 00:37:12,400
real intricacy in what they're able to kind of pull together.

807
00:37:12,719 --> 00:37:16,320
And there is still enough brute force about this record

808
00:37:17,199 --> 00:37:20,440
that is it's different to that live Wire approach of

809
00:37:20,679 --> 00:37:22,159
Love is Not Enough, I guess, is what we're saying.

810
00:37:22,679 --> 00:37:25,039
It is more like being that I love that kind

811
00:37:25,079 --> 00:37:27,679
of noise rock Jesus slizzardy type, you know comparison, because

812
00:37:28,280 --> 00:37:31,000
something like it only gets worse on this feels like

813
00:37:31,079 --> 00:37:33,519
being fucking, you know, getting slugged by a bare knuckle

814
00:37:33,599 --> 00:37:35,400
boxer in the same kind of way as bands like

815
00:37:35,440 --> 00:37:37,760
that Doud like that real drunken gate where you're not

816
00:37:37,960 --> 00:37:39,840
sure when they're just gonna go like a run, you know,

817
00:37:40,039 --> 00:37:42,440
throw out of a punch that kind of you know,

818
00:37:42,960 --> 00:37:45,920
vibrates and oscillates side to side as the core of progresses.

819
00:37:45,960 --> 00:37:48,159
It's an amazing feel that I think they on this

820
00:37:48,280 --> 00:37:53,679
record demonstrate a real handle on this it only gets worse.

821
00:37:53,679 --> 00:37:55,519
Speaker 3: It's probably my my favorite track on this record. It

822
00:37:55,559 --> 00:37:56,000
feels like the.

823
00:37:56,039 --> 00:37:59,400
Speaker 2: Middle ground between the kind of more chaotic mafe converge

824
00:37:59,519 --> 00:38:02,719
with the kind of like I just say, bludgeoning sort

825
00:38:02,719 --> 00:38:06,360
of noisy sludge converged where again that song it is

826
00:38:06,480 --> 00:38:09,159
like hammering you, but it does shift around the time

827
00:38:09,239 --> 00:38:11,960
signature is a bit more. There's a slightly more frantic

828
00:38:12,079 --> 00:38:14,280
energy where it kind of like gives me the best

829
00:38:14,360 --> 00:38:17,760
of both worlds and the rift like that hits you

830
00:38:18,119 --> 00:38:20,599
on on that song, like because the whole record that

831
00:38:20,639 --> 00:38:22,320
every song will have with rift that will just kind

832
00:38:22,360 --> 00:38:24,880
of like completely knock the wind have you because you're

833
00:38:24,880 --> 00:38:27,119
not prepared. Like again, it's a consistent kind of vibe

834
00:38:27,119 --> 00:38:29,280
converged record, but every every song will have one moment

835
00:38:29,280 --> 00:38:31,920
where they will slam into a rift that you're just

836
00:38:32,000 --> 00:38:33,679
not prepared for. Not with the window and you go like,

837
00:38:33,800 --> 00:38:37,519
fucking hell, this is the heaviest band around at the moment.

838
00:38:37,719 --> 00:38:39,239
I mean, it's such a great one for that in

839
00:38:39,880 --> 00:38:41,800
early before you then you know, you follow it with

840
00:38:41,920 --> 00:38:46,800
detonay To that goes even slower and just like gets

841
00:38:46,880 --> 00:38:50,079
quite sparse and tightly wound and eerie, and so they

842
00:38:50,519 --> 00:38:52,719
they keep like from like the thing.

843
00:38:53,000 --> 00:38:54,800
Speaker 3: I think it's for a vibe record, but we said

844
00:38:54,800 --> 00:38:58,079
it's slow. It's more this and the other. They're still curveballs.

845
00:38:58,159 --> 00:39:00,320
Speaker 2: They'll they'll still keep you going for it never feel

846
00:39:00,519 --> 00:39:03,480
too dull or repetitive or monotonous. And I think that's

847
00:39:03,480 --> 00:39:06,000
again just the genius of Convergion, how much they can

848
00:39:06,079 --> 00:39:09,760
do even within kind of like a more rigid framework.

849
00:39:09,800 --> 00:39:11,559
Speaker 3: I guess that they kind of assigned for this album.

850
00:39:12,719 --> 00:39:14,280
Speaker 4: I don't know if he possible for them to do

851
00:39:14,559 --> 00:39:17,719
a dull and monotonous record, because you have Ben Coller

852
00:39:17,800 --> 00:39:20,480
on drums, everything in his power.

853
00:39:21,880 --> 00:39:22,840
Speaker 3: To throw you about.

854
00:39:22,880 --> 00:39:24,800
Speaker 4: And it's like the way he every time he kind

855
00:39:24,800 --> 00:39:26,920
of takes the lead on a song, like the way

856
00:39:26,960 --> 00:39:30,039
he opens up when it only gets worse is just ridiculous.

857
00:39:30,079 --> 00:39:32,000
The stuff he's throwing it all over detonator and then

858
00:39:32,000 --> 00:39:34,119
it's not up to us opening with an almost like

859
00:39:34,159 --> 00:39:37,280
reggaeton beat. It's just everything that he's got on his locker.

860
00:39:37,599 --> 00:39:40,320
It's coming at you. So even though these songs, you know,

861
00:39:40,360 --> 00:39:42,400
they might tell themselves to a particular idea for longer,

862
00:39:42,440 --> 00:39:45,719
or explore something or lean moys that slippery hypnotic thing,

863
00:39:47,039 --> 00:39:49,360
at any moment, he might just come in and pepper

864
00:39:49,400 --> 00:39:52,719
you with a thousand fills in ten seconds. And it's

865
00:39:53,559 --> 00:39:56,599
it just not that they needed any help, but it's

866
00:39:56,639 --> 00:39:59,039
one of the reason why I Converge are still so

867
00:39:59,239 --> 00:40:01,159
exciting after so long.

868
00:40:01,599 --> 00:40:04,480
Speaker 1: I agree that the fact that the rhythm section is

869
00:40:04,599 --> 00:40:07,519
so elite tier in these kind of terrains, as well

870
00:40:07,599 --> 00:40:09,360
as the faster stuff we know that they can do,

871
00:40:09,800 --> 00:40:13,360
like the intro and dream Debris is pure like what

872
00:40:13,599 --> 00:40:15,519
what Ben has been playing on High and Fire, basically

873
00:40:15,639 --> 00:40:19,840
right tribal terms. Nate Newton of course mentioned going all

874
00:40:19,840 --> 00:40:21,960
the way way back to your hell to pays right

875
00:40:22,079 --> 00:40:24,920
these kind of converged temposts, he can really shine and

876
00:40:25,159 --> 00:40:27,480
put himself forward as like a potential man of the match.

877
00:40:27,639 --> 00:40:30,599
And the bass tone all through this record, snaking around

878
00:40:30,639 --> 00:40:33,280
in the gutters of it is brilliant. You mentioned Detonator,

879
00:40:33,320 --> 00:40:35,679
and I love that strange beat that Ben builds, like

880
00:40:35,760 --> 00:40:38,920
pinging off the symbols at the start, and then they

881
00:40:39,000 --> 00:40:41,480
can like build these songs from the ground up, brick

882
00:40:41,559 --> 00:40:43,239
by brick, and it's just such a pleasure to hear

883
00:40:43,280 --> 00:40:45,519
them hear them do that. The riff at the end

884
00:40:46,000 --> 00:40:47,440
of Detonator on there like.

885
00:40:47,440 --> 00:40:50,239
Speaker 3: Don't be blown up, Papa, your mistake, dude, now.

886
00:40:51,920 --> 00:40:55,079
Speaker 1: Just rolling lolling its head side to side is so

887
00:40:55,519 --> 00:40:58,239
nasty but so intoxicating at the same time. And like

888
00:40:58,280 --> 00:40:59,639
I said, there are a few songs where they do

889
00:41:00,440 --> 00:41:04,119
deliberately build on a sort of consistent, doomed out kind

890
00:41:04,159 --> 00:41:07,760
of tempo. The closing track Nothing is Over, really hammering

891
00:41:07,800 --> 00:41:09,880
on like quite a simple by their standards, but really

892
00:41:09,960 --> 00:41:13,480
colossal riff. And going back to Dream Debris, that's almost

893
00:41:13,559 --> 00:41:15,280
like the centerpiece of the record, I think, because it's

894
00:41:15,360 --> 00:41:17,400
it's the one song that breaches like six minutes long,

895
00:41:17,639 --> 00:41:20,840
and it is this like hypnotic marathon effect of it,

896
00:41:20,920 --> 00:41:24,400
you know, sprawling out the whisper to a raw effect

897
00:41:24,639 --> 00:41:27,239
over that track's six minutes literally in the case of

898
00:41:27,320 --> 00:41:29,400
Jake's vocals, but the overall effect is a band, you know,

899
00:41:30,119 --> 00:41:32,800
drawing energy together on that core pattern and then hitting

900
00:41:32,840 --> 00:41:35,079
you with the fist. There's that really consistent chug the

901
00:41:35,199 --> 00:41:36,440
kind of did it did it?

902
00:41:36,599 --> 00:41:36,840
Speaker 3: Did that?

903
00:41:36,880 --> 00:41:40,199
Speaker 1: They kind of they hammer on throughout it all the way,

904
00:41:40,320 --> 00:41:43,000
even to the false finish for the last fifteen seconds,

905
00:41:43,119 --> 00:41:45,760
like you thought you had enough of just us hitting

906
00:41:45,800 --> 00:41:48,400
those same notes again and again, but you haven't one

907
00:41:48,519 --> 00:41:50,039
last wallop. It's rules.

908
00:41:50,639 --> 00:41:52,960
Speaker 2: That's how you make it more drawn out song, kind

909
00:41:52,960 --> 00:41:56,599
of keep me locked in because it's like a sloky

910
00:41:56,639 --> 00:41:58,159
to build, but once you kind of get to the

911
00:41:58,320 --> 00:42:02,519
rocking part, it's so and again that that falls finish

912
00:42:02,639 --> 00:42:04,480
is such a like again every time that's the record,

913
00:42:04,519 --> 00:42:06,360
I kind of forget it's coming because the songe's going

914
00:42:06,400 --> 00:42:08,119
to load me in and then it's like bam, hit

915
00:42:08,159 --> 00:42:10,079
you with that one more time, and it like I

916
00:42:10,119 --> 00:42:11,559
think the second half of this record is where they

917
00:42:11,679 --> 00:42:14,880
really do experiment and push out their sound a bit

918
00:42:14,920 --> 00:42:16,840
more because you get you know, it used to matter,

919
00:42:16,920 --> 00:42:19,719
having almost like doomed Western kind of thing with like

920
00:42:20,719 --> 00:42:23,480
the twanging guitar sound and as like again it's a

921
00:42:23,519 --> 00:42:25,280
bit of an interlude, but it's a cool thing to

922
00:42:25,320 --> 00:42:26,880
sort of slot into the back half of the record.

923
00:42:27,639 --> 00:42:30,519
Speaker 4: Yeah, and it talk about false endings. It's not even

924
00:42:30,559 --> 00:42:32,840
the only false ending on the record, because nothing is over.

925
00:42:33,199 --> 00:42:35,119
I guess we should have known from the title, but

926
00:42:35,239 --> 00:42:37,400
like it. That kind of descends into a sound collage,

927
00:42:37,480 --> 00:42:40,320
and then for the last few seconds that fucking boots

928
00:42:40,360 --> 00:42:43,440
off again. It's a trick that I frankly never get

929
00:42:43,480 --> 00:42:45,840
tired of and converged our excellent asset that I think

930
00:42:45,840 --> 00:42:47,360
you're saying, but you used to mass at that being

931
00:42:48,639 --> 00:42:51,199
an inslute. It almost works in intro, or not not

932
00:42:51,320 --> 00:42:55,920
even almost. It segues masterfully into the title track, which

933
00:42:56,280 --> 00:42:59,519
when you've already heard as a single, has maybe the

934
00:42:59,599 --> 00:43:02,239
disadvance of being less surprising, but just that bit of

935
00:43:02,280 --> 00:43:05,599
sequencing so genius because you're listening to this new piece

936
00:43:05,639 --> 00:43:07,599
of music, and you're right, it's throwing this kind of

937
00:43:07,639 --> 00:43:11,400
Americana slide guitar thing to it, which if we're comparing

938
00:43:11,400 --> 00:43:13,119
interludes with this in the last record, you compare that

939
00:43:13,199 --> 00:43:15,880
to Be on Repair, which was just cavernous and terrifying,

940
00:43:17,000 --> 00:43:19,280
and the way this tees up hum of hurt to

941
00:43:19,320 --> 00:43:23,079
then boot off with maybe the most traditionally converged song

942
00:43:23,119 --> 00:43:26,719
on the record, or songs which a more casual fan

943
00:43:26,880 --> 00:43:28,880
with know things like dark Horse or Single Tier or

944
00:43:28,960 --> 00:43:30,599
even like make Me Forget You on the last record,

945
00:43:30,599 --> 00:43:32,239
that style of converged song, which I don't think there's

946
00:43:32,239 --> 00:43:35,320
another band that does that thing better than them. It

947
00:43:35,480 --> 00:43:39,119
just creates such such drama, and like the first half

948
00:43:39,119 --> 00:43:42,199
of this record, drama isn't really the thing that's going

949
00:43:42,280 --> 00:43:46,000
for It's it's like I say, it's slimy, it's it's slippery,

950
00:43:46,039 --> 00:43:49,719
it's it's slightly evasive and a bit more cumbersome. But

951
00:43:49,840 --> 00:43:52,159
then you get to that moment and it just takes

952
00:43:52,199 --> 00:43:54,719
off and it's like, Yeah, this is again, this is

953
00:43:54,840 --> 00:43:56,960
why this band of the best is. This is the

954
00:43:57,039 --> 00:43:59,000
thing that they can do which no one else in

955
00:43:59,039 --> 00:43:59,800
their scene even comes.

956
00:44:00,760 --> 00:44:02,480
Speaker 1: Yeah, I mean we skipped over in the track list

957
00:44:02,639 --> 00:44:04,800
I Won't Let You Go, which I didn't even twig

958
00:44:04,840 --> 00:44:06,320
this until I sat down to do the notes for it.

959
00:44:06,599 --> 00:44:09,119
That's originally one of the songs that they contributed to

960
00:44:09,239 --> 00:44:12,199
the Cyberpunk twenty seven to seven soundtrack a couple of

961
00:44:12,360 --> 00:44:15,119
years ago, and like they've updated it for this album

962
00:44:15,159 --> 00:44:16,320
and that's blown my mind. Cind of like, what do

963
00:44:16,360 --> 00:44:17,800
you mean there was a converged song, this Good, that

964
00:44:17,920 --> 00:44:19,199
was just out there for like two three years, and

965
00:44:19,239 --> 00:44:22,840
I wasn't really you know, cognizant of its existence really,

966
00:44:23,000 --> 00:44:25,800
but that start of that song is like it's almost

967
00:44:25,800 --> 00:44:28,800
like an out and out homage to Keroscene by Big Black,

968
00:44:29,000 --> 00:44:31,840
like that almost like yeah, orchestra of corrugated iron type

969
00:44:31,880 --> 00:44:34,400
fool and the guitars, and that as it progresses, really

970
00:44:34,440 --> 00:44:36,000
goes into that. As we're saying, that kind of almost

971
00:44:36,039 --> 00:44:40,159
like Melvin's Houdini like up tempo for this record, but

972
00:44:40,280 --> 00:44:43,320
less a hardcore band, more a strange, bustling noise rock.

973
00:44:43,360 --> 00:44:45,800
At It's really like, even though that is a song

974
00:44:45,880 --> 00:44:48,400
that has been around a little while, it fits the

975
00:44:48,559 --> 00:44:51,559
world of this record so like seamlessly. That's obviously the

976
00:44:51,599 --> 00:44:53,559
reason they thought, okay, this actually like we should put

977
00:44:53,599 --> 00:44:56,599
this one on that record. It just slips in without

978
00:44:56,599 --> 00:44:58,960
any pons whatso weather. But to go back to it

979
00:44:59,079 --> 00:45:01,079
used to matter, that's almost like the moment that kind

980
00:45:01,119 --> 00:45:03,960
of completed the circle with Lovers. Not enough for me

981
00:45:04,280 --> 00:45:06,960
because as well as having like a really for you know,

982
00:45:06,960 --> 00:45:09,039
an instrumental, it's always helpful when you give instrumental a

983
00:45:09,119 --> 00:45:11,360
quite an evocative title, I think because the words aren't

984
00:45:11,360 --> 00:45:13,239
there to do it for it, and that like you know,

985
00:45:13,360 --> 00:45:17,079
sort of languid, disassociated sort of sense of being of

986
00:45:17,239 --> 00:45:19,440
you know, the world that this album is entering into.

987
00:45:20,280 --> 00:45:22,599
But it was almost like a musical twin to Beyond

988
00:45:22,639 --> 00:45:24,679
Repair on the last record. Not that they are you know,

989
00:45:24,719 --> 00:45:27,320
exactly the same piece of music or anything, but how

990
00:45:27,360 --> 00:45:32,440
many times have converged done solow atmospheric guitar interludes on

991
00:45:32,599 --> 00:45:36,599
records before twenty twenty six? Not many, if any, I recall,

992
00:45:36,760 --> 00:45:38,840
and now into twenty six on two different records, we

993
00:45:38,880 --> 00:45:41,480
have two of them, you know, and that kind of uneasy,

994
00:45:41,639 --> 00:45:45,760
really unsettled effect that you know, that track introduced to

995
00:45:45,840 --> 00:45:48,199
that previous record where it's an interlude, but you do

996
00:45:48,360 --> 00:45:50,679
not feel like you're safe with it. You know, there

997
00:45:50,719 --> 00:45:52,199
are different you know, there are different points on the

998
00:45:52,199 --> 00:45:53,760
record literally in the track list. But it did kind

999
00:45:53,800 --> 00:45:55,639
of like almost you know, it lit me up a bit,

1000
00:45:55,719 --> 00:45:58,079
drawing that connection and that through line between the two albums.

1001
00:45:58,079 --> 00:46:01,000
And even though these are very different sort of you know,

1002
00:46:01,199 --> 00:46:04,280
vibes and approaches of albums, they managed to kind of

1003
00:46:04,400 --> 00:46:07,760
draw a an emotional connection with something like that, that

1004
00:46:07,880 --> 00:46:09,760
kind of you know, helps usher one part of the

1005
00:46:09,800 --> 00:46:11,639
record into another in the same kind of way. On

1006
00:46:11,679 --> 00:46:14,719
both records and the title track, I always love when

1007
00:46:14,880 --> 00:46:17,039
Nate gets to majorly carry some vocals, whether it be

1008
00:46:17,079 --> 00:46:18,800
in you know, converge or in cave in as well,

1009
00:46:18,880 --> 00:46:22,400
and that raw and gushing effect like a waterfall with

1010
00:46:22,599 --> 00:46:25,480
him just bellowing full pelt through that midsection on that

1011
00:46:25,559 --> 00:46:27,920
kind of more melodic guitar line is just sublime. I

1012
00:46:28,039 --> 00:46:29,960
agree the fact that the record is only you know,

1013
00:46:30,079 --> 00:46:33,920
thirty three minutes long. It lives in a more you

1014
00:46:34,000 --> 00:46:36,599
could say, a slower paced world than Love is not enough,

1015
00:46:36,639 --> 00:46:39,000
but it's ultra disciplined right in that kind of tempo,

1016
00:46:39,119 --> 00:46:42,239
it delivers exactly what it needs to to make the

1017
00:46:42,360 --> 00:46:44,960
punch of it feel just as you know, kind of

1018
00:46:45,000 --> 00:46:48,000
contained and felt as they're more erratic records, it makes

1019
00:46:48,039 --> 00:46:49,960
it very easy to go back and want to experience

1020
00:46:50,000 --> 00:46:52,000
it again and again as well. And yeah, they might

1021
00:46:52,079 --> 00:46:55,199
not be intended as deliberate companion records, I do think

1022
00:46:55,280 --> 00:46:59,280
that they nonetheless compliment each other. They both feel like

1023
00:46:59,360 --> 00:47:02,639
they are you know, processing the particular sort of you know,

1024
00:47:02,880 --> 00:47:06,480
emotional disconnection and bitterness of the modern world, but through

1025
00:47:06,519 --> 00:47:08,119
these different filters of what they do as a band.

1026
00:47:08,480 --> 00:47:11,320
And you know, I think potentially, because this is a

1027
00:47:11,440 --> 00:47:15,199
less you know, immediately wild eyed record, this would be

1028
00:47:15,719 --> 00:47:18,039
for particularly on a first lesson, maybe the less eye

1029
00:47:18,079 --> 00:47:19,920
popping of the two for a lot of people. But

1030
00:47:21,199 --> 00:47:23,159
we've just we've had a master class this year, haven't they.

1031
00:47:23,159 --> 00:47:25,639
It feels like we've attended the converged workshop and we've

1032
00:47:25,679 --> 00:47:28,239
just gone and seen like the most skilled artists in

1033
00:47:28,280 --> 00:47:30,280
the world, you know, do their thing in these different ways.

1034
00:47:31,760 --> 00:47:34,239
Speaker 4: I think you're right. It just nails the thing it

1035
00:47:34,320 --> 00:47:36,599
needed to be as a sister record, where if you

1036
00:47:36,639 --> 00:47:39,039
want to enjoy it on its own terms, you absolutely

1037
00:47:39,119 --> 00:47:42,000
can because it's maybe the more ambitious of the two records.

1038
00:47:42,039 --> 00:47:45,480
It's the more I guess, like demanding of the listener

1039
00:47:45,599 --> 00:47:47,760
in some sense, rewarding in a way that love is

1040
00:47:47,800 --> 00:47:49,599
not enough because it's such a smack in the mouth,

1041
00:47:49,920 --> 00:47:52,320
doesn't require anything of you. But if you want to

1042
00:47:52,440 --> 00:47:55,280
just lose your fucking mind and let your eyesballs pop,

1043
00:47:55,679 --> 00:47:55,960
you got.

1044
00:47:56,000 --> 00:47:56,639
Speaker 3: Love is not enough.

1045
00:47:56,800 --> 00:47:58,559
Speaker 4: But like you said, so, you can listen to them

1046
00:47:58,679 --> 00:48:01,599
individually without connecting the two, but if you do contrast them,

1047
00:48:02,800 --> 00:48:06,119
both records are enhanced by that experience. I think. I

1048
00:48:06,159 --> 00:48:09,000
think if you ab these records, you get more out

1049
00:48:09,039 --> 00:48:11,440
of them than you would just in isolation, which is

1050
00:48:11,519 --> 00:48:13,400
always the test and is the hardest thing to do

1051
00:48:13,760 --> 00:48:19,280
and converge like they do. Everything just absolutely passed with

1052
00:48:19,320 --> 00:48:19,920
Flying Colors.

1053
00:48:20,639 --> 00:48:20,840
Speaker 3: Yeah.

1054
00:48:21,119 --> 00:48:23,199
Speaker 1: Our other lead review though, is Within the T and

1055
00:48:23,320 --> 00:48:25,920
M World, one of the most anticipated albums of the decade.

1056
00:48:26,039 --> 00:48:30,480
Maybe you might notice May was extremely busy as a

1057
00:48:30,559 --> 00:48:33,960
month for big records for us and our tastes. Last month,

1058
00:48:34,079 --> 00:48:35,840
Elliet and I kind of went off the beating track

1059
00:48:35,840 --> 00:48:37,840
a little bit and we pulled out some more obscure choices,

1060
00:48:37,880 --> 00:48:40,079
which I'm very happy we did and got to do. Today,

1061
00:48:40,199 --> 00:48:41,760
we're kind of mopping up a few of those bigger

1062
00:48:41,840 --> 00:48:43,920
names that we missed from last month that we've got

1063
00:48:44,000 --> 00:48:46,599
to do obviously, and having Sam back as well, we

1064
00:48:46,679 --> 00:48:48,320
thought it best to do some of these here. So

1065
00:48:48,480 --> 00:48:52,760
next we have Marmozettes and their album Cowardice, which feels

1066
00:48:52,880 --> 00:48:55,440
like it enters into a completely different world to the

1067
00:48:55,519 --> 00:48:58,000
last time Marmozet's release material if you are newer to

1068
00:48:58,079 --> 00:49:00,719
the scene, which is entirely feasible as it been eight years.

1069
00:49:01,000 --> 00:49:04,280
Marmozettes are one of the most beloved rock bands to

1070
00:49:04,360 --> 00:49:07,199
emerge from the UK scene in the last fifteen years.

1071
00:49:07,480 --> 00:49:10,559
Their debut album, The Weird and Wonderful Marmazettes, tore a

1072
00:49:10,719 --> 00:49:13,159
hole through the UK rock scene that at the time

1073
00:49:13,320 --> 00:49:17,559
was dominated by all of the boring, useless, soggy toilet

1074
00:49:17,599 --> 00:49:20,079
brush likes of View Me at Six and Young Guns

1075
00:49:20,280 --> 00:49:24,519
and all those shit bands that Sam liked. Suddenly here

1076
00:49:24,599 --> 00:49:27,280
comes the new rock UK rock band who are electric

1077
00:49:27,519 --> 00:49:30,079
to the touch, like drawing on everything from garage rock

1078
00:49:30,159 --> 00:49:33,800
to mathcore with this genuine knockout star of a front

1079
00:49:33,840 --> 00:49:37,559
woman and one of those rare, instant classic debuts, with

1080
00:49:37,639 --> 00:49:39,880
a set of songs more full of life and character

1081
00:49:40,159 --> 00:49:43,039
than anything that scene had produced in years and years.

1082
00:49:43,320 --> 00:49:46,280
Their next album, Knowing What You Know Now Change tapped

1083
00:49:46,559 --> 00:49:49,599
a bit but was also essentially brilliant. Took four years

1084
00:49:49,719 --> 00:49:51,679
to make that follow up, which felt back then I

1085
00:49:51,760 --> 00:49:54,159
recall like it was quite a long time, but little

1086
00:49:54,199 --> 00:49:56,679
did we know it'd be the third album where the

1087
00:49:56,679 --> 00:49:59,400
real weight would come. Eight years on, the band essentially

1088
00:49:59,400 --> 00:50:01,199
has gone on high for a while while they focused

1089
00:50:01,239 --> 00:50:05,199
on family matters. A pandemic split that period into the

1090
00:50:05,400 --> 00:50:08,400
industry has changed the bands around them in the scene

1091
00:50:08,519 --> 00:50:11,360
have changed. A different generation of rock fans has come

1092
00:50:11,400 --> 00:50:15,440
in and changed things. As people who remember twenty fourteen,

1093
00:50:15,599 --> 00:50:18,079
we were looking forward to new Marmers as material. But

1094
00:50:18,880 --> 00:50:21,199
they're one of the hardest bands I think to gauge

1095
00:50:21,480 --> 00:50:24,519
how relevant they would actually be through this new mid

1096
00:50:24,639 --> 00:50:25,639
twenty twenties world.

1097
00:50:26,559 --> 00:50:30,199
Speaker 2: Well, that's thing was like they've never fit I think

1098
00:50:30,280 --> 00:50:32,960
think Mamas is they never actually fit in necessarily with

1099
00:50:33,800 --> 00:50:36,239
what was going on as I obviously the garage rock

1100
00:50:36,280 --> 00:50:38,480
thing in twenty fourteen was you know, starting to bubble

1101
00:50:38,559 --> 00:50:40,519
up again when you had you know, Royal Blood and that.

1102
00:50:40,559 --> 00:50:41,039
Speaker 3: Sort of stuff.

1103
00:50:41,039 --> 00:50:42,960
Speaker 2: But even then Marmas were doing that, but with so

1104
00:50:43,039 --> 00:50:45,480
many other weird tax and that's what made them stand

1105
00:50:45,480 --> 00:50:47,400
out is that like you couldn't put them in with

1106
00:50:48,000 --> 00:50:49,880
the Uniit sixes, but you can really put them in

1107
00:50:49,920 --> 00:50:52,119
with Royal Blood or that thing, and they just with

1108
00:50:52,239 --> 00:50:54,920
this eccentric kind of like Ireland of a band. So

1109
00:50:55,519 --> 00:50:58,480
when it comes to sort of like placing them in

1110
00:50:58,639 --> 00:51:02,159
the sort of the landscape of the twenty twenties, like again,

1111
00:51:02,360 --> 00:51:06,239
they don't fit in again because they're never gonna be

1112
00:51:06,360 --> 00:51:09,000
draw on what is the popular trends of music right now.

1113
00:51:09,039 --> 00:51:11,039
But we weren't going to be getting you know, a

1114
00:51:11,119 --> 00:51:14,519
baddie core Marmazette's record, or or like any kind of

1115
00:51:14,599 --> 00:51:17,800
thing that draws on you know, the all pop worgasm

1116
00:51:18,079 --> 00:51:19,880
whatever you want to like all of those bands. So

1117
00:51:20,039 --> 00:51:21,960
like they were, they weren't going to come back in

1118
00:51:22,159 --> 00:51:24,000
and immediately follow the trend. So I was kind of like,

1119
00:51:24,239 --> 00:51:26,599
I was like, it's not gonna be for everyone, and

1120
00:51:26,639 --> 00:51:28,400
I think this is where they're gonna land as a

1121
00:51:28,599 --> 00:51:30,920
cult band now. They're not gonna, you know, be quite

1122
00:51:30,920 --> 00:51:33,800
as like the sort of positioned world conquering band that

1123
00:51:33,840 --> 00:51:35,079
we once hoped they might be.

1124
00:51:35,280 --> 00:51:37,239
Speaker 3: But I had hopes that you know, marms that come

1125
00:51:37,280 --> 00:51:39,119
band just do you just be. It's one of the

1126
00:51:39,199 --> 00:51:40,920
kind of mishmash of all different ideas.

1127
00:51:40,719 --> 00:51:43,239
Speaker 1: Yeah, because I mean, amongst other things, right, Marmosettes are

1128
00:51:43,760 --> 00:51:46,760
They're not a younger person's band now, right, like people

1129
00:51:46,840 --> 00:51:49,360
who are getting into this kind of music through you know,

1130
00:51:49,440 --> 00:51:53,000
TikTok and these avenues we have now, Marmosettes isn't what's

1131
00:51:53,079 --> 00:51:55,159
what's coming through to that like that that's our generation

1132
00:51:55,320 --> 00:51:58,599
what Marmosettes are for obviously, because we are doing this

1133
00:51:58,679 --> 00:52:01,880
a month later than in ten. We've got a sense

1134
00:52:01,920 --> 00:52:04,000
of how it's settled into the wealth this album, and

1135
00:52:04,320 --> 00:52:05,960
I asked on our socials to try and get like

1136
00:52:06,000 --> 00:52:08,880
a gauge on it, because I said there was so

1137
00:52:09,199 --> 00:52:11,280
much between it, particularly our you know, the t and

1138
00:52:11,360 --> 00:52:15,880
m audience, the Marmosettes, you know, follow up album to

1139
00:52:16,199 --> 00:52:19,679
the previous record was so long in the waking. I

1140
00:52:19,760 --> 00:52:21,519
wanted to know with new people felt that it lived

1141
00:52:21,559 --> 00:52:24,800
up to expectations, And on that post, the responses I

1142
00:52:24,880 --> 00:52:27,320
got was quite a lot of like, I like it

1143
00:52:27,440 --> 00:52:30,159
a lot seven or eight out of ten rather than

1144
00:52:30,360 --> 00:52:33,239
the gushing that we've come to expect before this, and

1145
00:52:33,360 --> 00:52:35,440
then a you know, not insignificant amount of people who

1146
00:52:35,440 --> 00:52:35,880
were just kind.

1147
00:52:35,800 --> 00:52:36,679
Speaker 3: Of like eh.

1148
00:52:37,199 --> 00:52:41,519
Speaker 1: And it does feel like perhaps it's gone quietly down

1149
00:52:41,599 --> 00:52:44,199
well within their loyal core fan base, which I think

1150
00:52:44,239 --> 00:52:47,599
ultimately is what they'll be pleased with. But the larger

1151
00:52:47,679 --> 00:52:49,599
ripples that were used to from the first two Marmers

1152
00:52:49,599 --> 00:52:51,480
that this album haven't happened with this, I think for

1153
00:52:51,599 --> 00:52:53,119
one thing, and I won't go too long on this,

1154
00:52:53,519 --> 00:52:55,639
but I think that the scene that they're surrounded by

1155
00:52:56,119 --> 00:52:59,719
is worse than it was in twenty eighteen, because twenty fourteen,

1156
00:53:00,480 --> 00:53:02,719
like I said, they really helped shake up what was

1157
00:53:02,760 --> 00:53:06,679
a very stagnant scene then. And by twenty eighteen nineteen

1158
00:53:07,000 --> 00:53:11,360
we had Milk Teeth and Black Peaks and the Rise

1159
00:53:11,400 --> 00:53:13,760
of Creeper and your Dinosaur Pile Up came back with

1160
00:53:13,800 --> 00:53:15,880
their best ever record, and Frank Carter and the Rattlesnakes.

1161
00:53:15,920 --> 00:53:17,519
There were great bands everywhere you looked in sort of

1162
00:53:17,559 --> 00:53:21,079
the UK, you know, commercial leaning rock scene. But by

1163
00:53:21,239 --> 00:53:24,119
twenty twenty six, the best bands in the UK rock

1164
00:53:24,159 --> 00:53:27,159
scene are the few of those bands who are still around.

1165
00:53:27,639 --> 00:53:29,360
And instead the past few years it's been the years

1166
00:53:29,400 --> 00:53:32,280
of you know, Nova Twins and Hot Milk and just

1167
00:53:32,320 --> 00:53:34,199
band too. At the very least, we feel much less

1168
00:53:34,199 --> 00:53:36,480
of a connection with I think brit rock, if you

1169
00:53:36,519 --> 00:53:39,559
want to very loosely use that term, I unfortunately think

1170
00:53:39,679 --> 00:53:42,960
is bad again. And it's been a very long time

1171
00:53:43,159 --> 00:53:44,599
since of those kind of bands who you know, the

1172
00:53:44,679 --> 00:53:46,199
kind of bands you'd expect to be played on the

1173
00:53:46,280 --> 00:53:48,559
radio one rock show or get pushed in Kerrang or

1174
00:53:48,599 --> 00:53:50,639
so on. It's been a long time since the UK

1175
00:53:50,760 --> 00:53:53,280
produced one that stood out. I know that people love unpeople,

1176
00:53:53,320 --> 00:53:55,039
for example, but it's still very early days for them,

1177
00:53:55,079 --> 00:53:56,760
you know, it's prior to them putting out their first album,

1178
00:53:57,039 --> 00:54:00,000
we've sort of been desperately waiting for someone to follow

1179
00:54:00,199 --> 00:54:01,840
up and deliver on the level of that those bands

1180
00:54:01,880 --> 00:54:03,800
were delivering on. And that's part of why I think

1181
00:54:03,840 --> 00:54:05,679
the wait for you Marmsetes felt so long because nothing

1182
00:54:05,679 --> 00:54:08,400
else was doing the job. And for me, it's had

1183
00:54:08,480 --> 00:54:11,239
this effect where this kind of rock band I've just

1184
00:54:11,360 --> 00:54:13,280
listened to so much less of it than I was

1185
00:54:13,360 --> 00:54:15,320
at the time that the last Marms's record was coming out.

1186
00:54:16,000 --> 00:54:17,920
So even just putting this record and hearing the production

1187
00:54:18,079 --> 00:54:20,119
job on it and how the guitar sound and how

1188
00:54:20,159 --> 00:54:23,920
the snare sounds felt weird because nothing like this enters

1189
00:54:23,960 --> 00:54:27,159
my rotation anymore. So I've got this like dual effect

1190
00:54:27,360 --> 00:54:32,559
of feeling out of sync with it. But also nothing

1191
00:54:32,639 --> 00:54:34,960
as good as Marmozet's has come out since then, so

1192
00:54:35,039 --> 00:54:37,079
it's like it at the same time, it's something of

1193
00:54:37,800 --> 00:54:39,480
a return to it. I mean, do you feel like

1194
00:54:39,559 --> 00:54:42,719
this sort of say this Maybe it's I think it

1195
00:54:42,760 --> 00:54:46,840
probably is quite subjective and uniquely to me and my

1196
00:54:46,920 --> 00:54:49,159
taste and where I'm coming from, But I do feel

1197
00:54:49,199 --> 00:54:52,039
this strange sort of like returning to the world that

1198
00:54:52,119 --> 00:54:55,679
produced Marmozets in twenty twenty six is quite I don't know,

1199
00:54:55,719 --> 00:54:57,760
it's like an out of body experience for me. Somehow,

1200
00:54:59,719 --> 00:55:02,000
I I agree with you because it's like, I think,

1201
00:55:02,039 --> 00:55:03,559
you know the im that I could most competitor in

1202
00:55:03,639 --> 00:55:05,800
terms of how I actually feel about it. And is

1203
00:55:05,840 --> 00:55:07,599
a band you mentioned there, which is the last Dinosaur

1204
00:55:07,599 --> 00:55:10,880
Pilot record, which again is a sort of long awaited

1205
00:55:11,519 --> 00:55:14,639
comeback record where you go like, yeah, this is not

1206
00:55:14,760 --> 00:55:17,559
as good as you're kind of like your classic record

1207
00:55:17,599 --> 00:55:18,840
that you will be part of your last one. But

1208
00:55:18,920 --> 00:55:21,880
it's still giving me that sort of feeling that we

1209
00:55:21,960 --> 00:55:23,880
don't really get these kind of like brit rock bands

1210
00:55:23,920 --> 00:55:27,159
anymore because, as we say, it's all doing the at pop,

1211
00:55:27,360 --> 00:55:28,239
Nover Twins or.

1212
00:55:28,559 --> 00:55:30,079
Speaker 3: President and all that shit now.

1213
00:55:30,719 --> 00:55:33,480
Speaker 2: So because no one's doing that sort of thing, I'm

1214
00:55:33,599 --> 00:55:36,719
kind of really happy to go along with the the

1215
00:55:36,840 --> 00:55:42,159
fuzzed up eccentric garage rock by way of like indie

1216
00:55:42,239 --> 00:55:44,280
disco with a bit of math cork and of thing.

1217
00:55:44,320 --> 00:55:47,840
Marmosett's kind of made the kind of like most base

1218
00:55:47,880 --> 00:55:49,679
elements of their sound, and I'm happy to.

1219
00:55:49,639 --> 00:55:49,920
Speaker 3: Go with that.

1220
00:55:50,880 --> 00:55:54,360
Speaker 2: And for like part of this album, I'm so away

1221
00:55:54,480 --> 00:55:56,199
and and I'm like, yeah, I hit play on this

1222
00:55:56,280 --> 00:55:57,480
and you know, you get a kissed from my mother

1223
00:55:57,559 --> 00:55:59,599
and I'm like, Marmozet's a fucking back.

1224
00:55:59,679 --> 00:56:01,760
Speaker 3: This is everything want with this band. This is amazing.

1225
00:56:02,920 --> 00:56:05,000
Speaker 2: And that doesn't quite ride out for the whole album,

1226
00:56:05,000 --> 00:56:06,480
and other times I was just kind of like, yeah,

1227
00:56:06,519 --> 00:56:10,159
this is Mama's I recognize, but I don't know if

1228
00:56:10,159 --> 00:56:12,880
it's because, as you say, the world around it just doesn't.

1229
00:56:13,280 --> 00:56:14,800
It doesn't feel like we can get excited about this

1230
00:56:14,840 --> 00:56:15,800
kind the British rock anymore.

1231
00:56:15,800 --> 00:56:18,559
Speaker 3: But it doesn't. It doesn't excite me as much as

1232
00:56:18,599 --> 00:56:20,639
I hoped it would across the whole record.

1233
00:56:20,840 --> 00:56:23,440
Speaker 1: Yeah, that the Weird and Wonderful is what it is, right,

1234
00:56:23,480 --> 00:56:25,280
It's one of the seminal albums of the twenty tens.

1235
00:56:25,440 --> 00:56:27,239
I actually think Knowing what You Know Now is at

1236
00:56:27,280 --> 00:56:29,159
the very least about as good like I think. There's

1237
00:56:29,159 --> 00:56:31,440
obviously there's a there's a magic around the Waird and Wonderful,

1238
00:56:31,639 --> 00:56:35,679
But songs like Major System Error and Play and Meant

1239
00:56:35,719 --> 00:56:37,920
to Be and Run with the Rhythm for me, they

1240
00:56:37,960 --> 00:56:40,679
are up there with Move, Shaking, Hide and Born Young

1241
00:56:40,719 --> 00:56:42,719
and Free and all those records, songs from the first record.

1242
00:56:43,159 --> 00:56:45,360
If there's any disappointment with this album is that it

1243
00:56:45,519 --> 00:56:49,639
is a clear undeniable third place, like they've got these

1244
00:56:49,719 --> 00:56:52,239
two worldies going almost neck and neck, I think. And

1245
00:56:52,360 --> 00:56:54,400
then what, in my mind is an album that is

1246
00:56:54,760 --> 00:56:58,000
very obviously not as good. It's the question of is

1247
00:56:58,119 --> 00:57:01,280
that acceptable expectations give in the ludicrously high level of

1248
00:57:01,360 --> 00:57:03,320
there's albums or is that more of a letdown? And

1249
00:57:03,440 --> 00:57:05,320
I feel like I'm sort of getting to grips with

1250
00:57:05,400 --> 00:57:08,719
being somewhere in the middle of those feelings. Elliet, I

1251
00:57:08,800 --> 00:57:11,199
must ask, because for as significant as Marmosettes are as

1252
00:57:11,239 --> 00:57:14,719
a pivotal T and M Universe band, you don't necessarily

1253
00:57:14,760 --> 00:57:16,400
strike me as the kind of fan for whom maybe

1254
00:57:16,440 --> 00:57:19,000
as important. So maybe your expectations are slightly different. I

1255
00:57:19,159 --> 00:57:20,800
don't know if that I'm just assuming, So so what.

1256
00:57:20,880 --> 00:57:25,559
Speaker 4: Is it that's that's correct? They're a band who I admire,

1257
00:57:25,760 --> 00:57:27,719
and I love the effect that they haven't the scene

1258
00:57:27,719 --> 00:57:29,159
more than the actually love their music. I think they've

1259
00:57:29,159 --> 00:57:31,119
got some great tunes, especially on that first record. I'm

1260
00:57:31,159 --> 00:57:33,199
not very familiar with the second one, so I'm going

1261
00:57:33,239 --> 00:57:36,880
into this but basically not blind, but without much way

1262
00:57:36,920 --> 00:57:37,320
to ex.

1263
00:57:37,800 --> 00:57:40,480
Speaker 1: Going into this record knowing the first one and not

1264
00:57:40,599 --> 00:57:43,239
having the intermedia the second one I can imagine being

1265
00:57:43,480 --> 00:57:44,480
like what's happened?

1266
00:57:45,599 --> 00:57:48,760
Speaker 4: Yeah, there was that, but based on like what you

1267
00:57:48,840 --> 00:57:52,119
two were saying, it feels like Marmozettes. I'm not saying

1268
00:57:52,119 --> 00:57:53,679
that you're putting this pressure on them, but for them

1269
00:57:53,719 --> 00:57:57,079
to have an effect like those first two records, it's

1270
00:57:57,159 --> 00:58:00,440
kind of impossible because the thing that made that so

1271
00:58:01,079 --> 00:58:03,320
interesting and exciting and invigorating for people was it was

1272
00:58:03,400 --> 00:58:05,480
an album which took from other places but were still

1273
00:58:05,519 --> 00:58:07,639
relatable to that boring brit rock scene where if you

1274
00:58:07,840 --> 00:58:09,599
liked U Me at six and Mallory Knox, it wasn't

1275
00:58:09,679 --> 00:58:12,320
inconceivable that you would like the Marmosets. Yeah, even though

1276
00:58:12,320 --> 00:58:14,440
they were taking from so many different things in.

1277
00:58:14,440 --> 00:58:15,960
Speaker 1: This way, I think lots of people got into them

1278
00:58:15,960 --> 00:58:17,599
because they would open for those kind of bands, and

1279
00:58:17,679 --> 00:58:19,480
people who were you know, you liked those kind of

1280
00:58:19,480 --> 00:58:21,320
bands because they were their gateways into rock music went

1281
00:58:21,360 --> 00:58:23,960
and saw whoever it might have been, and then these

1282
00:58:24,000 --> 00:58:25,760
guys come up opening and they go, WHOA, this is

1283
00:58:25,840 --> 00:58:28,639
like a real, actual live way a crazy rock band

1284
00:58:28,639 --> 00:58:29,840
I've never seen anything like this before.

1285
00:58:30,119 --> 00:58:32,119
Speaker 4: Yeah, And whereas now, if you were to do that

1286
00:58:32,239 --> 00:58:35,639
for the boring brit rock bands today, you're thinking, you know,

1287
00:58:35,639 --> 00:58:37,159
you're going to make a record that's appealing to people

1288
00:58:37,159 --> 00:58:39,599
who like President and it's like, well, we still have

1289
00:58:39,719 --> 00:58:43,800
the death tones, so like that's just that. Then they'd

1290
00:58:43,800 --> 00:58:45,400
have to completely change their sound for that to even

1291
00:58:45,440 --> 00:58:49,199
be possible. But for me, going into this record without

1292
00:58:49,199 --> 00:58:52,280
the intermediary and just taking it as is, I was like, oh,

1293
00:58:52,800 --> 00:58:55,239
I like Sparks, I like Queens of the Stone Age.

1294
00:58:55,639 --> 00:58:57,480
That's this is a sort of combination of the two.

1295
00:58:58,400 --> 00:59:00,440
This is this is an all right time. And as

1296
00:59:00,440 --> 00:59:03,719
someone who's I don't have this wide eyed adoration for

1297
00:59:03,800 --> 00:59:08,239
those first two records, that was that was good enough

1298
00:59:08,400 --> 00:59:10,440
for me. I like this one enough. I don't adore it.

1299
00:59:10,519 --> 00:59:12,480
It's I kind of hear what you're saying, where that

1300
00:59:12,639 --> 00:59:15,960
the song craft of song quality isn't overly consistent all

1301
00:59:16,000 --> 00:59:18,320
the way through, But for the time that it's on,

1302
00:59:19,440 --> 00:59:22,400
I'm I was happy on my foot. Maybe that's not

1303
00:59:22,559 --> 00:59:25,880
enough for some people, but as someone who's yeah you

1304
00:59:25,960 --> 00:59:27,039
get you go on trying to get out.

1305
00:59:27,159 --> 00:59:29,039
Speaker 1: Yeah, you know what I feared that you would really

1306
00:59:29,079 --> 00:59:31,199
dislike this record. So I'm actually pleased to hear that

1307
00:59:31,280 --> 00:59:32,800
and I'll take the same four.

1308
00:59:33,280 --> 00:59:35,480
Speaker 2: Yeah, I was like, you know what I can that

1309
00:59:35,559 --> 00:59:37,400
is a win, like if it like because that things

1310
00:59:37,480 --> 00:59:40,880
I think this record is. I can't see how possibly

1311
00:59:40,960 --> 00:59:43,199
like really dislikes. I think it's still hitting a pretty

1312
00:59:43,400 --> 00:59:46,679
good level of quality throughout. I mean I said, we

1313
00:59:46,880 --> 00:59:49,719
just have that that connection to the previous two records,

1314
00:59:49,760 --> 00:59:52,159
and that bar is so high, like those are like

1315
00:59:53,079 --> 00:59:55,400
nine out of ten, like maybe would one if you're

1316
00:59:55,400 --> 00:59:57,320
pushing a ten out of ten on that to go

1317
00:59:57,480 --> 00:59:59,840
from that to like a seven out of ten, like

1318
01:00:00,079 --> 01:00:01,760
I think like the best I think that like the

1319
01:00:01,840 --> 01:00:04,639
best Monsters record. I take over a chunk of that

1320
01:00:04,760 --> 01:00:07,239
second album at least, Like again, like Kiss from My

1321
01:00:07,280 --> 01:00:09,440
Mother I think is so good.

1322
01:00:09,480 --> 01:00:11,400
Speaker 3: I think that song is really great. That song that's

1323
01:00:11,440 --> 01:00:12,159
really stuck with me.

1324
01:00:12,920 --> 01:00:15,079
Speaker 2: But there is they just feels a little bit less

1325
01:00:15,119 --> 01:00:18,079
kind of like stuff to really get excited about Puss record.

1326
01:00:18,159 --> 01:00:20,000
But it's I don't think it's ever bat I don't

1327
01:00:20,000 --> 01:00:22,599
think like this ef there could ever does anything particularly wrong.

1328
01:00:22,679 --> 01:00:25,440
I just don't think it's It's not as good as

1329
01:00:25,639 --> 01:00:29,679
what I did the mythical kind of Marmozettes thing of

1330
01:00:29,719 --> 01:00:31,440
the twenty tens that we built up.

1331
01:00:32,400 --> 01:00:33,039
Speaker 3: It's on and off.

1332
01:00:33,199 --> 01:00:35,679
Speaker 1: For me, I was I was maybe selfishly hoping for

1333
01:00:35,840 --> 01:00:38,239
more kiss from my mother because that was the first

1334
01:00:38,239 --> 01:00:40,840
thing that they put out. And they are in like

1335
01:00:41,039 --> 01:00:43,960
UK rock terms, they are like sticking your extremities directly

1336
01:00:43,960 --> 01:00:46,119
into a socket, right like they are just such a fucking,

1337
01:00:46,280 --> 01:00:48,360
you know, shot all around your body. And that is

1338
01:00:48,400 --> 01:00:51,039
the first song that we got. Is that is like

1339
01:00:51,119 --> 01:00:54,039
on the level of attack and fizziness and energy of

1340
01:00:54,119 --> 01:00:58,039
the earlier Marmozets. That like Western Entering the Saloon, any

1341
01:00:58,079 --> 01:01:01,079
Amricney thing. It's about the coolest, most exciting way you

1342
01:01:01,119 --> 01:01:03,360
could announce your return to you know, being back and

1343
01:01:03,440 --> 01:01:07,679
making music. And that Jagg guitariff is irrepressible, that fucked

1344
01:01:07,760 --> 01:01:10,079
up evil disco beat and Becker, who is one of

1345
01:01:10,119 --> 01:01:12,440
the greatest front women this genre has produced, when she

1346
01:01:12,599 --> 01:01:15,599
hits that kind of ah is just bonkers and that

1347
01:01:15,760 --> 01:01:18,880
track alone makes this album worthwhile in a success, I

1348
01:01:19,000 --> 01:01:22,320
think that is it could be a top ten Marmazete song.

1349
01:01:22,440 --> 01:01:25,000
I think it is that brilliant and that is again

1350
01:01:25,000 --> 01:01:26,719
it lives up to it but as the first single,

1351
01:01:27,360 --> 01:01:29,079
it g'ed me up for an album that's only that

1352
01:01:29,280 --> 01:01:31,960
in places. It's the one bit on the album where

1353
01:01:32,000 --> 01:01:34,039
she hits the full fucking like ah scream as well,

1354
01:01:34,079 --> 01:01:36,639
which is one of their great weapons. And the energy

1355
01:01:36,679 --> 01:01:39,280
in the band is obviously different. They are now legitimately

1356
01:01:39,480 --> 01:01:43,119
kind of you know, adult parents with kids marmozettes. This

1357
01:01:43,239 --> 01:01:45,559
is their third album, but they've only they've been around

1358
01:01:45,559 --> 01:01:47,039
for like, you know, a decade and a half. They're

1359
01:01:47,079 --> 01:01:48,679
not going to be as mental as they were starting out,

1360
01:01:48,880 --> 01:01:52,320
and it's very welcome that they you know, they turn

1361
01:01:52,400 --> 01:01:54,679
it on in the concentrated doses that we get. I

1362
01:01:54,760 --> 01:01:56,440
love that they can to kind of flit into it

1363
01:01:56,480 --> 01:02:01,360
at precise little moments, but it often sort of, you know,

1364
01:02:01,440 --> 01:02:04,280
it follows on mainly, I would say, obviously from the

1365
01:02:04,400 --> 01:02:07,920
last record, which was a noticeably more commercial rock effort

1366
01:02:08,199 --> 01:02:10,199
than The Weird and Wonderful, had more in common with

1367
01:02:10,280 --> 01:02:12,280
you know, titans like Meuse and all these kind of things,

1368
01:02:12,880 --> 01:02:15,679
but it did still have for me, an electric kick

1369
01:02:15,800 --> 01:02:18,400
and a real consistency of just tune after tune after

1370
01:02:18,480 --> 01:02:22,159
tune that album. This is a roughly natural step on

1371
01:02:22,280 --> 01:02:23,639
from that, so I don't think it's a big, ill

1372
01:02:23,679 --> 01:02:26,599
fitting gear shift or anything. I just think that the

1373
01:02:27,519 --> 01:02:31,719
consistency of it does not match that, and there are

1374
01:02:31,880 --> 01:02:34,400
ways in which that sort of sound in twenty twenty

1375
01:02:34,480 --> 01:02:37,840
six just comes off on the record a little bit

1376
01:02:37,920 --> 01:02:41,480
less convincing and alive than it did in twenty eighteen.

1377
01:02:41,639 --> 01:02:43,079
It's a lot of bargaining for an album I think

1378
01:02:43,159 --> 01:02:45,360
is largely decent, right that it has at moments that

1379
01:02:45,440 --> 01:02:48,480
are brilliant. Like I said, by and large, it is

1380
01:02:48,599 --> 01:02:52,119
pretty good when they shift into that, you know, built

1381
01:02:52,159 --> 01:02:53,719
to be played on the mainstay of two thousand and

1382
01:02:53,719 --> 01:02:55,920
trees kind of contemporary dance rock thing. I do think

1383
01:02:56,000 --> 01:02:58,199
they do that better than basically anyone else around. Right.

1384
01:02:58,400 --> 01:03:01,840
It's not always setting the place alight on this the

1385
01:03:01,880 --> 01:03:03,880
way I think it was on the last record, maybe

1386
01:03:03,960 --> 01:03:07,360
because the production is so stiff and inorganic, but it

1387
01:03:07,519 --> 01:03:10,000
is quite hard to not have some fun with at

1388
01:03:10,079 --> 01:03:12,320
least the upper tier of songs on this going into

1389
01:03:12,400 --> 01:03:13,840
you know, the next track on the record is New York,

1390
01:03:13,880 --> 01:03:15,280
and I think that's a good example of that's just

1391
01:03:15,360 --> 01:03:18,559
a fun, dancey rock song in that kind of vein.

1392
01:03:18,920 --> 01:03:21,840
Maybe there is too much interference in the production on

1393
01:03:21,920 --> 01:03:24,239
Becker's voice, Like on this album overall, there is this

1394
01:03:24,320 --> 01:03:26,480
sort of staticky sound where it's like you could just

1395
01:03:26,519 --> 01:03:29,280
be letting her be one of the most naturally charismatic

1396
01:03:29,360 --> 01:03:32,079
in the singers and the scene, but she is having

1397
01:03:32,119 --> 01:03:34,239
to kind of fight her way through to make that

1398
01:03:34,320 --> 01:03:36,840
chorus feel alive. She's doing it. I think it's a

1399
01:03:36,960 --> 01:03:39,920
great chorus. But that's a sort of a running sort

1400
01:03:39,960 --> 01:03:42,599
of impression that I get with this record.

1401
01:03:43,039 --> 01:03:45,000
Speaker 2: You've got exactly what I said about New York. I

1402
01:03:45,039 --> 01:03:48,599
think that's a really fun kind of like dancey garage rocker.

1403
01:03:49,239 --> 01:03:51,599
Production kind of smothers it a little bit. And it's

1404
01:03:51,599 --> 01:03:53,119
odd because I don't think the production does that on

1405
01:03:53,280 --> 01:03:56,639
Kiss My Mother, because that song sounds you know, yeah,

1406
01:03:56,840 --> 01:04:02,239
live wire in eccentric and bold New York like I mean,

1407
01:04:02,280 --> 01:04:03,800
you know, it's got that kind of like fuzzed up

1408
01:04:04,159 --> 01:04:06,320
Queens of the Stone age worship riff that all of

1409
01:04:06,440 --> 01:04:08,599
sort of the bands or the garage rock bands from

1410
01:04:08,599 --> 01:04:10,639
like the twenty tens onwards did and moment.

1411
01:04:10,719 --> 01:04:11,320
Speaker 3: It's a fun one.

1412
01:04:11,679 --> 01:04:14,400
Speaker 2: Like but I feel like the drums, you know, like one,

1413
01:04:14,400 --> 01:04:16,239
I think the drumps and pre moments because they like

1414
01:04:16,480 --> 01:04:18,800
Pound and clatter About and you never really get that

1415
01:04:18,960 --> 01:04:21,360
and and it's just it kind of self for being

1416
01:04:21,599 --> 01:04:25,519
a fun, as you say, main stage rip rock kind

1417
01:04:25,559 --> 01:04:28,360
of track, but it doesn't pop off. And I think

1418
01:04:28,360 --> 01:04:30,639
the production contantly holds these songs back. I thing, like

1419
01:04:31,079 --> 01:04:33,880
even songs like Cutback, which kind of like has his

1420
01:04:34,079 --> 01:04:36,519
weird interesting electronics that kind of add in now and

1421
01:04:36,559 --> 01:04:37,719
I'm like, that's kind of cool, and it's got, you know,

1422
01:04:37,719 --> 01:04:41,280
the hip shaking disco beat, but it doesn't ever like

1423
01:04:41,960 --> 01:04:45,239
it doesn't ever do enough to totally come alive and

1424
01:04:45,320 --> 01:04:48,360
be more than just like decent. And that that I

1425
01:04:48,440 --> 01:04:50,239
think that's my frustration of the record is every song

1426
01:04:50,400 --> 01:04:53,320
almost almost like there's ingreeents for this to be fantastic

1427
01:04:53,360 --> 01:04:55,000
if there's just a few little tweaks to the sound

1428
01:04:55,039 --> 01:04:57,800
of the record, the production. I mean, I mean, I

1429
01:04:57,880 --> 01:04:59,960
do agree with the thing on Becker's focus in Fit,

1430
01:05:00,199 --> 01:05:02,320
but I think she never disappoints to this record. She

1431
01:05:02,559 --> 01:05:05,840
is like great the entire time, and I think, take

1432
01:05:05,920 --> 01:05:08,400
some of these songs that could be like with a

1433
01:05:08,559 --> 01:05:11,559
lesson focus, these could be bad, really like flat, stodgy

1434
01:05:11,719 --> 01:05:15,039
brit rock songs, and she kind of like drags them

1435
01:05:15,159 --> 01:05:17,960
up with such a like on ten performance, but at

1436
01:05:18,000 --> 01:05:19,599
the same time I assume mean where there's sort of

1437
01:05:19,840 --> 01:05:21,519
stuff interfering with that performance.

1438
01:05:21,880 --> 01:05:23,679
Speaker 1: Yeah, I mean you mentioned cut Back, which I like

1439
01:05:23,880 --> 01:05:26,800
Cutback going full spaceship rock like it's a kind of

1440
01:05:26,840 --> 01:05:30,679
straight up dance tempo with these futuristic synthesizers wibbling all

1441
01:05:30,760 --> 01:05:33,239
over it. And you know, stuff like Running with the

1442
01:05:33,280 --> 01:05:34,679
Sun in Your Eyes has a sort of like Death

1443
01:05:34,679 --> 01:05:36,840
from Above nineteen seventy nine feel to a lot this

1444
01:05:36,960 --> 01:05:38,320
record as well. It kind of it reminds me of

1445
01:05:38,639 --> 01:05:40,719
was it the third Royal Blood record where they just

1446
01:05:40,760 --> 01:05:43,519
went really hard on like the again Death from Above

1447
01:05:43,920 --> 01:05:49,000
queens dance rock feel, and you know, maybe stuff like

1448
01:05:49,079 --> 01:05:50,800
cut Back when it breathed the synsize as well, you

1449
01:05:50,840 --> 01:05:52,920
start to think of like bands like Orgasm and their Ilk.

1450
01:05:52,960 --> 01:05:55,639
But this is like doing it a whole lot better, right.

1451
01:05:55,679 --> 01:06:00,559
I think it is major. It's missing the real that

1452
01:06:00,639 --> 01:06:02,559
come in that radio rock lane when you think about

1453
01:06:02,920 --> 01:06:05,440
your plays, your major system errors that the last one

1454
01:06:05,480 --> 01:06:09,400
has where you go, this is an irrepressible rager taking

1455
01:06:09,440 --> 01:06:12,800
the roof off it these songs past the opening track,

1456
01:06:12,920 --> 01:06:14,280
and I think one other that I'll get to in

1457
01:06:14,320 --> 01:06:17,239
a minute. They don't really do that for me, but

1458
01:06:17,760 --> 01:06:21,039
I find these that innate tempo just something that is

1459
01:06:21,239 --> 01:06:22,960
easy to kind of bustle along with. You know.

1460
01:06:24,159 --> 01:06:26,760
Speaker 4: See, it's weird because I'm coming out from a very

1461
01:06:26,760 --> 01:06:29,000
different place where I have a real problem with. I

1462
01:06:29,079 --> 01:06:31,599
don't like Death of Above. I really hate Royal Blood.

1463
01:06:31,639 --> 01:06:36,679
That's sort of expensive garage rock. Just it does something

1464
01:06:36,719 --> 01:06:39,599
to me which I'm not keen on. And this I

1465
01:06:39,679 --> 01:06:41,119
can hit now that you're talking, I can hear that

1466
01:06:41,199 --> 01:06:43,119
this does share a lot with that, but the way

1467
01:06:43,199 --> 01:06:47,480
that I was hearing it, well, yeah, but like I

1468
01:06:47,599 --> 01:06:50,920
mentioned Sparks earlier, who are a band I love, and

1469
01:06:51,000 --> 01:06:53,039
this has loads of that. And they've got this thing

1470
01:06:53,119 --> 01:06:55,559
with their like camp and over the top and flamboyant

1471
01:06:55,599 --> 01:06:58,639
and super colorful, but the performances and the recording of

1472
01:06:58,639 --> 01:07:02,599
their records is really stiff and really disciplined, and it's

1473
01:07:02,679 --> 01:07:07,360
this strange juxtaposition of styles, which for some people it's

1474
01:07:07,400 --> 01:07:09,559
the worst thing ever. For me, I absolutely love it.

1475
01:07:09,639 --> 01:07:12,679
And in this case, on this record, I don't know

1476
01:07:12,719 --> 01:07:14,039
if it's deliberate or not, but I hear a lot

1477
01:07:14,079 --> 01:07:16,119
of that, and when I'm seeing it through that you

1478
01:07:16,199 --> 01:07:19,079
know that lens. It makes a lot more sense, and

1479
01:07:19,199 --> 01:07:21,960
maybe why I'm kind of okay with these songs and

1480
01:07:22,039 --> 01:07:24,639
not booting off or clattering and all the things which

1481
01:07:24,639 --> 01:07:27,079
you're saying, which normally I'd be crying out for with

1482
01:07:27,159 --> 01:07:30,480
songs like these, but I'm kind of willing to go

1483
01:07:30,599 --> 01:07:32,960
with it for reasons that are confusing even to me.

1484
01:07:33,760 --> 01:07:35,920
Speaker 1: Okay, interesting, I want to mention the other I think

1485
01:07:36,000 --> 01:07:39,280
absolute fucking rager on it, which does helpfully to kind

1486
01:07:39,280 --> 01:07:40,920
of help bring the record alive again. It comes more

1487
01:07:40,960 --> 01:07:43,360
in the back end You Want the Truth, which is

1488
01:07:44,119 --> 01:07:47,119
not a like debut Marmosettes type song, because it is

1489
01:07:47,239 --> 01:07:49,400
much more in that sort of robo rock feel falling

1490
01:07:49,440 --> 01:07:51,559
off from the last record. But it really reminds me

1491
01:07:51,639 --> 01:07:53,840
of again why I love the last record, the real

1492
01:07:54,000 --> 01:07:56,480
up tempo, how alive they can make songs like that

1493
01:07:56,599 --> 01:07:59,280
feel that tell me what go in and on with

1494
01:07:59,360 --> 01:08:02,840
the band just hammering behind, you know, Becker like really

1495
01:08:02,920 --> 01:08:04,880
fucking nervely, like firing off in all these directions in

1496
01:08:04,920 --> 01:08:08,639
the chorus, and then this pure queensy like Little Sister

1497
01:08:08,800 --> 01:08:11,079
or six six Sick or something kind of noisy psychedelic

1498
01:08:11,119 --> 01:08:13,719
guitar lead the answers are that is what Marmazetes can

1499
01:08:13,760 --> 01:08:16,600
sound like in full flight. That is an absolute fucking banger. Again,

1500
01:08:17,520 --> 01:08:19,840
but a lot of this record does I don't know,

1501
01:08:19,880 --> 01:08:21,880
it sits in a pocket a little bit more than

1502
01:08:21,920 --> 01:08:23,920
that maybe, and maybe Marmosettes are a little bit more.

1503
01:08:24,920 --> 01:08:27,760
I think Marmozet's their eccentricity is a big feature of

1504
01:08:27,800 --> 01:08:29,520
White what makes them great. And I know that's something

1505
01:08:29,520 --> 01:08:31,960
that actually people, you know, people like when they sort

1506
01:08:32,000 --> 01:08:34,600
of take it a little bit more straightforward sometimes. But

1507
01:08:34,960 --> 01:08:36,560
I like, for example, on the last record, there were

1508
01:08:36,600 --> 01:08:38,720
parts where Becker was really fucking going out there and

1509
01:08:38,800 --> 01:08:41,600
trying on weird voices and stuff like that, and those

1510
01:08:41,640 --> 01:08:44,920
were the bits that people you know, tended to, you know,

1511
01:08:45,039 --> 01:08:46,319
kind of go back and forth and whether they were

1512
01:08:46,359 --> 01:08:48,159
into it or not. I really liked all of that stuff.

1513
01:08:48,399 --> 01:08:51,560
And when they allow that eccentricity to fly on this

1514
01:08:52,720 --> 01:08:55,520
it even if it's not on great songs, because sometimes

1515
01:08:55,560 --> 01:08:57,279
on this record isn't on great songs, but it's at

1516
01:08:57,359 --> 01:08:59,840
least interest to the ear. There's a song made made

1517
01:08:59,840 --> 01:09:01,720
of which.

1518
01:09:02,000 --> 01:09:03,760
Speaker 2: That and you want the truth of the back end

1519
01:09:03,800 --> 01:09:05,199
of the album of the two I really like because

1520
01:09:05,279 --> 01:09:08,800
Made's ear is so weird where Becker's going like operatically,

1521
01:09:08,880 --> 01:09:11,720
like baroque pop Becker like on the Marma Struck, And

1522
01:09:11,760 --> 01:09:13,800
I think that's that's really cool because it's something different

1523
01:09:13,800 --> 01:09:15,199
to the ear and then you get what you want,

1524
01:09:15,199 --> 01:09:18,159
the truth as you know, in your face confrontational ragia

1525
01:09:18,239 --> 01:09:19,359
that those are the two in the back end of

1526
01:09:19,359 --> 01:09:19,680
the record.

1527
01:09:19,720 --> 01:09:22,920
Speaker 3: I'm like, but I'd keep them in the set, like, yeah,

1528
01:09:23,000 --> 01:09:23,439
maybe's there.

1529
01:09:23,520 --> 01:09:26,640
Speaker 1: I don't think that's necessarily a standout song. It's got

1530
01:09:26,680 --> 01:09:28,960
this really almost like a dad rock arena rip, like

1531
01:09:29,079 --> 01:09:32,880
slightly generic kind of you know, uh UK festival TV

1532
01:09:33,000 --> 01:09:35,199
package kind of riff going on there, But I like

1533
01:09:35,279 --> 01:09:37,319
that it lets Becker off the leash go in again

1534
01:09:37,359 --> 01:09:41,439
those like operatic registers, and it's those moments of eccentricity

1535
01:09:41,520 --> 01:09:43,319
that give them so much character that I really crave

1536
01:09:43,720 --> 01:09:47,960
from Marmozettes. Sometimes this record, maybe it is burying it

1537
01:09:48,039 --> 01:09:50,319
in production and stuff like that, but it doesn't entirely

1538
01:09:50,720 --> 01:09:52,399
allow that to go out. And some of the slower

1539
01:09:52,479 --> 01:09:54,159
songs I think are some of the real casualties of that,

1540
01:09:54,439 --> 01:09:57,359
which for a band who, for all of their frizzy

1541
01:09:57,439 --> 01:10:00,039
haired mania, Marmozettes are a band who when they've be

1542
01:10:00,079 --> 01:10:01,720
able to slow things down to a lull, they can

1543
01:10:01,840 --> 01:10:04,199
really make your heart sore, or like I mentioned on

1544
01:10:04,239 --> 01:10:06,359
the last record, songs like Insomnia where they go really

1545
01:10:06,399 --> 01:10:10,520
strange you when expecting things swear I'm alive on this

1546
01:10:11,680 --> 01:10:13,880
is Okay. It's a kind of a production experiment and

1547
01:10:13,920 --> 01:10:16,479
again going to a basicier, deeper kind of sound. But

1548
01:10:16,920 --> 01:10:19,279
Becker is so obscured with the static there that that

1549
01:10:19,560 --> 01:10:22,880
in rapturing focal point that like Marmosette's you know, Quasi

1550
01:10:22,960 --> 01:10:26,319
ballad or whatever could have, doesn't really feel like it's there. Flowers,

1551
01:10:26,439 --> 01:10:28,880
I think is actually a complete dud, like doesn't pick

1552
01:10:28,960 --> 01:10:30,359
up any momentum as a song at all, and I

1553
01:10:30,399 --> 01:10:33,039
think it's actually quite unpleasant to listen to. I think

1554
01:10:33,119 --> 01:10:35,119
that's the first at least on the studio album of

1555
01:10:35,199 --> 01:10:38,279
first like subpart marm that song.

1556
01:10:38,199 --> 01:10:40,000
Speaker 2: I mean, that's the worst song on the record, Flowers.

1557
01:10:40,039 --> 01:10:42,279
It's the it's the general I'm just like, could I

1558
01:10:42,359 --> 01:10:45,920
could cut that from the record? Like it is really

1559
01:10:46,079 --> 01:10:49,359
clunky in a weird way that it's kind of overblown

1560
01:10:49,479 --> 01:10:52,600
but boring, And that's the one that's the one song

1561
01:10:52,640 --> 01:10:53,399
on this record.

1562
01:10:53,159 --> 01:10:53,960
Speaker 3: I really don't like.

1563
01:10:54,439 --> 01:10:57,079
Speaker 1: Yeah, I agree, it's the low of it for sure,

1564
01:10:57,439 --> 01:10:59,279
and then there is dandy as well, which is the

1565
01:10:59,359 --> 01:11:01,359
most like think it back to a delicate level. I

1566
01:11:01,399 --> 01:11:03,279
think it's really pretty. I don't think it necessarily it

1567
01:11:03,319 --> 01:11:05,640
brings the emotional wallop that when you think about like

1568
01:11:06,159 --> 01:11:07,600
a me and you or you know, run with the

1569
01:11:07,680 --> 01:11:09,520
rhythm or something. It doesn't really go there, But I

1570
01:11:09,560 --> 01:11:11,119
do think it's a pretty song and I'm fine with

1571
01:11:11,119 --> 01:11:13,520
it on the record. Keep going dull in the seven

1572
01:11:13,560 --> 01:11:15,560
minute closer, I guess, is where they push for that

1573
01:11:15,640 --> 01:11:17,520
kind of transcendence the most, because it's not a ballad

1574
01:11:17,600 --> 01:11:20,479
or anything, but it's like this long form, sort of

1575
01:11:20,600 --> 01:11:23,520
jangly indie song almost, but it's really stirring and it

1576
01:11:23,600 --> 01:11:25,159
really feels like they come alive at the end there

1577
01:11:25,159 --> 01:11:27,000
after Flowers always arounds me of hive Is or something

1578
01:11:27,039 --> 01:11:29,119
with that kind of distortion effect that it has.

1579
01:11:29,560 --> 01:11:31,960
Speaker 3: It's got a kind of heartland rock kind of thing

1580
01:11:32,039 --> 01:11:33,199
going on, and it keep going darling.

1581
01:11:33,239 --> 01:11:35,560
Speaker 2: I was like, there is like Springsden influence on that intro,

1582
01:11:35,880 --> 01:11:39,399
like a little Tubibit has that kind of like big

1583
01:11:39,800 --> 01:11:42,760
and like like say stirring. It's all gonna be all right.

1584
01:11:42,800 --> 01:11:44,000
You know, you've got a big chorus and it's just

1585
01:11:44,119 --> 01:11:46,479
very breezy and uplifting. I like that as a close

1586
01:11:46,520 --> 01:11:48,640
because it kind of taps on things that I'm into.

1587
01:11:49,359 --> 01:11:50,760
I feel like you guys are talking to me out

1588
01:11:50,800 --> 01:11:52,640
of liking this record, which.

1589
01:11:54,199 --> 01:11:57,119
Speaker 3: It's like we're saying that it's good, I know, but.

1590
01:11:57,239 --> 01:11:59,800
Speaker 4: Just it's just in the last five minutes, the things

1591
01:11:59,800 --> 01:12:01,720
that come off, I'm going, oh, oh yeah, forgot about that?

1592
01:12:01,840 --> 01:12:05,279
Oh yeah, now did mention that there was a patch

1593
01:12:05,359 --> 01:12:08,079
of it there? But it's a yeah, that bit with

1594
01:12:08,199 --> 01:12:11,880
the where it was a bit Springsteen, I thought Tom Petty,

1595
01:12:12,039 --> 01:12:13,880
but you know, splice the me in for each other.

1596
01:12:14,359 --> 01:12:15,560
Speaker 3: Yeah, yeah, yeah.

1597
01:12:15,760 --> 01:12:17,359
Speaker 4: That is one of the times where the production does

1598
01:12:17,439 --> 01:12:19,640
feel like it hampers the record for me, where you

1599
01:12:19,760 --> 01:12:22,680
go that would really help from being more organic, but

1600
01:12:22,760 --> 01:12:26,920
because it still sounds a bit synthetic and processed, it

1601
01:12:27,640 --> 01:12:29,439
it loses a bit of that flair. Maybe.

1602
01:12:29,760 --> 01:12:33,760
Speaker 1: Yeah. I think there's a few quite forgettable tracks, and

1603
01:12:33,880 --> 01:12:37,159
I don't think it sounds sonically as appealing as there

1604
01:12:37,159 --> 01:12:39,560
are other records. And I think maybe part of that

1605
01:12:39,680 --> 01:12:41,399
is that I have moved so far away from anything

1606
01:12:41,520 --> 01:12:42,720
like this. But I do think if you were to

1607
01:12:42,760 --> 01:12:44,680
put this on one to one just with the last record,

1608
01:12:44,720 --> 01:12:47,359
I think there is the robotic side of this feels

1609
01:12:47,399 --> 01:12:49,560
like it has, you know, grown a little bit forward.

1610
01:12:49,960 --> 01:12:52,960
I gets from a mother New York cutback, you want

1611
01:12:53,000 --> 01:12:55,760
the truth and keep going darling, really good songs. I

1612
01:12:55,840 --> 01:12:57,880
think I can sort of leave the rest. And I

1613
01:12:57,960 --> 01:13:00,840
think the thing we're caught between is the standards that

1614
01:13:00,920 --> 01:13:03,760
marmas Thatts have set for themselves across two unbelievable albums.

1615
01:13:04,319 --> 01:13:06,159
You know, they're both released in what might as well

1616
01:13:06,199 --> 01:13:08,279
be for them another lifetime right because they are so

1617
01:13:08,960 --> 01:13:11,800
far ahead in their lives, But those standards are higher

1618
01:13:12,000 --> 01:13:15,520
than this album. On the flip side, there is way

1619
01:13:15,680 --> 01:13:18,439
more quality here than in their peers at the moment,

1620
01:13:18,600 --> 01:13:20,600
Like this isn't really the kind of rock muses that

1621
01:13:20,640 --> 01:13:23,039
I'm always looking for, But good luck finding an album

1622
01:13:23,479 --> 01:13:26,039
in this lane released in the last five years with

1623
01:13:26,159 --> 01:13:27,920
higher highs than this one. With the exception of the

1624
01:13:27,960 --> 01:13:29,319
Queens of Stone Age, of course, who are just so

1625
01:13:29,439 --> 01:13:31,279
much better than anyone ever to have done this sort

1626
01:13:31,319 --> 01:13:33,800
of thing, but Marmozettes have they've kind of wandered in

1627
01:13:34,279 --> 01:13:37,000
doing it part time, and they've sort of shown everyone

1628
01:13:37,119 --> 01:13:40,039
up trying their hand at like dance a UK festival

1629
01:13:40,119 --> 01:13:43,039
rock with like one absolute worldy song and then at

1630
01:13:43,119 --> 01:13:45,680
least a couple of others without actually having to bring

1631
01:13:45,720 --> 01:13:46,640
a spectacular album.

1632
01:13:49,840 --> 01:13:50,800
Speaker 3: People a depressing way.

1633
01:13:50,640 --> 01:13:53,239
Speaker 2: To look at the state of like UK rock music,

1634
01:13:53,279 --> 01:13:58,359
where by their standard subpar Marmazets album is still the

1635
01:13:58,439 --> 01:14:01,039
best thing to come from that scene right now.

1636
01:14:01,199 --> 01:14:04,840
Speaker 1: Like ah, I think in terms of what to expect

1637
01:14:04,920 --> 01:14:07,039
out of the Marmozettes come back, I think this is

1638
01:14:07,079 --> 01:14:09,079
a record that feels like they're happy to be here

1639
01:14:09,239 --> 01:14:12,199
rather than you knowp scraping to be the big thing.

1640
01:14:12,239 --> 01:14:14,279
You know, even though now they are back, yeah, and

1641
01:14:14,399 --> 01:14:16,119
the album is out, it doesn't feel like the band

1642
01:14:16,239 --> 01:14:18,000
is the number one focus in their life, which is cool.

1643
01:14:18,039 --> 01:14:19,359
You know, we're very happy to have them back, even

1644
01:14:19,399 --> 01:14:21,119
if it's in a part time capacity, and you know,

1645
01:14:21,399 --> 01:14:23,479
maybe we're saying about half of the record is of

1646
01:14:23,640 --> 01:14:25,600
the real quality we expect from them, But it does

1647
01:14:25,680 --> 01:14:28,079
feel like this is a a different chapter, and I

1648
01:14:28,079 --> 01:14:30,079
suppose it's just a different way we should be looking

1649
01:14:30,119 --> 01:14:33,319
at Marzetes going forward during you know, compared to during

1650
01:14:33,359 --> 01:14:34,680
the twenty tens when they were running shit.

1651
01:14:34,960 --> 01:14:36,880
Speaker 2: Yeah, I think, like, I think that's a fair way

1652
01:14:36,880 --> 01:14:38,119
to do it. Is because like I said that they

1653
01:14:38,159 --> 01:14:40,359
are you know, parents, how they've got kids. This is

1654
01:14:40,439 --> 01:14:43,039
the sort of the casual marmozette. Apparently they are still

1655
01:14:43,399 --> 01:14:46,439
insane live Apparently like live shows have been like as

1656
01:14:46,520 --> 01:14:48,640
electrifying as you remember them being, which I think that

1657
01:14:48,680 --> 01:14:50,039
that's you know, at least that they've got in there

1658
01:14:50,079 --> 01:14:51,960
in their arsenal where if you're gonna go see this live,

1659
01:14:52,039 --> 01:14:54,439
I imagine these songs will yeah, pop off in a

1660
01:14:54,479 --> 01:14:56,119
way that they might not draw on record, so that

1661
01:14:56,199 --> 01:14:57,840
that kind of adds a bit more.

1662
01:14:58,000 --> 01:14:58,399
Speaker 3: Mph to it.

1663
01:14:58,560 --> 01:15:01,680
Speaker 2: But selfishly I would love the you know, the excitement

1664
01:15:01,760 --> 01:15:04,520
of that twenty tents moments. But I am if they're

1665
01:15:04,600 --> 01:15:06,319
happy to just kind of come back and jam out

1666
01:15:06,319 --> 01:15:08,880
some songs and just kind of do it casually for

1667
01:15:09,000 --> 01:15:11,159
fun and not have the kind of the stress and pressure,

1668
01:15:11,439 --> 01:15:12,560
I'm happy for them.

1669
01:15:12,560 --> 01:15:13,039
Speaker 3: At the same time.

1670
01:15:13,119 --> 01:15:14,640
Speaker 1: Yeah, I think it's quite nice that we can move

1671
01:15:14,680 --> 01:15:16,600
on from that point to talk about a band who

1672
01:15:16,640 --> 01:15:18,359
have been rising within the last few years, and we

1673
01:15:18,399 --> 01:15:21,880
can talk about hopefully you know, lifting something up Static

1674
01:15:22,039 --> 01:15:25,720
Dress with injury episode. Now Static Dress are by no

1675
01:15:25,840 --> 01:15:29,159
means new. They are kind of alongside the likes of Loathe,

1676
01:15:29,279 --> 01:15:32,119
one of the most established newer contemporary heavy bands in

1677
01:15:32,159 --> 01:15:34,279
this country. And maybe it's a case that they got

1678
01:15:34,319 --> 01:15:37,119
pushed too quickly, but I after about five years a

1679
01:15:37,159 --> 01:15:39,920
Status Dress being around, I've seen them open up arena

1680
01:15:39,960 --> 01:15:41,640
bills for bringing the Horizon right off the back of

1681
01:15:41,720 --> 01:15:44,479
like one album or whatever else. I'd kind of checked

1682
01:15:44,520 --> 01:15:46,399
out of Status Dress being a band I was particularly

1683
01:15:46,439 --> 01:15:49,199
interested in because they came out doing this you know,

1684
01:15:49,520 --> 01:15:52,399
nostalgic early two thousands post hardcore thing, and it got

1685
01:15:52,439 --> 01:15:55,239
a lot of buzz early on, but for basically half

1686
01:15:55,279 --> 01:15:58,039
a decade there it merely felt like Statu Dress were

1687
01:15:58,079 --> 01:16:01,479
a band who were all right, and that feels harsh

1688
01:16:01,600 --> 01:16:04,199
after basically like a debut album and a couple of

1689
01:16:04,279 --> 01:16:08,399
EPs whatever. If I didn't have a second thought about

1690
01:16:08,439 --> 01:16:10,640
Status Dress again after that point, I wouldn't have been surprised.

1691
01:16:10,840 --> 01:16:13,720
But it does feel like they've stepped up to the

1692
01:16:13,760 --> 01:16:16,039
plate and made an album that lots of people were

1693
01:16:16,119 --> 01:16:19,079
wanting them to make. With this album, I am not

1694
01:16:19,279 --> 01:16:22,520
inherently a mark for this sound like I do not

1695
01:16:22,640 --> 01:16:25,560
actually worship at the feet of Glass Jaw, like everybody else.

1696
01:16:25,720 --> 01:16:27,560
I don't like under Oath, even the ones that people

1697
01:16:27,600 --> 01:16:31,840
say are good, and I think this album is really good.

1698
01:16:32,199 --> 01:16:34,920
So if you are much more in the market for this,

1699
01:16:35,399 --> 01:16:39,520
that should be even more of an endorsement on paper.

1700
01:16:39,560 --> 01:16:41,520
Speaker 3: Statuic Dress are a band perfect for me.

1701
01:16:41,840 --> 01:16:44,000
Speaker 2: I've been all over so many of these kind of

1702
01:16:44,439 --> 01:16:48,119
scene revival, post article throwback bands, and I'm with you.

1703
01:16:48,640 --> 01:16:50,720
I thought Status Dress were all right. I thought, you know,

1704
01:16:50,760 --> 01:16:52,399
they had a couple of really good songs, and it

1705
01:16:52,800 --> 01:16:55,960
never really will blow me away. I fucking love this record.

1706
01:16:56,159 --> 01:16:59,560
I'm so happy they have come out, and again they

1707
01:16:59,640 --> 01:17:03,760
are all doing that kind of just like throwback two

1708
01:17:03,880 --> 01:17:06,239
thousands post harkpin where again there are songs that you

1709
01:17:06,239 --> 01:17:09,319
can pinpoint that's who they are, you know, homaging there

1710
01:17:09,359 --> 01:17:11,159
that that you can feel the influence and they're not

1711
01:17:11,359 --> 01:17:13,520
hiding them you can hear. I mean, there's a fucking

1712
01:17:13,640 --> 01:17:15,439
Under Oath guest feature on this record, but you can

1713
01:17:15,479 --> 01:17:18,000
go that's Thursday, that's Glass Draw.

1714
01:17:18,000 --> 01:17:20,840
Speaker 3: That's Michael mcrumman's, that's Finch. Because you have the most

1715
01:17:20,840 --> 01:17:22,000
funeral friend like being you.

1716
01:17:22,520 --> 01:17:25,039
Speaker 2: They're all over this record, but what's that just just

1717
01:17:25,119 --> 01:17:27,800
done is gone let's just write fucking good songs doing

1718
01:17:27,880 --> 01:17:29,359
this thing and it can be done.

1719
01:17:29,840 --> 01:17:33,600
Speaker 3: And I think this album is like just so good,

1720
01:17:33,760 --> 01:17:33,960
Like you.

1721
01:17:34,039 --> 01:17:37,119
Speaker 2: Get that some intro, but then they're on that angular

1722
01:17:37,239 --> 01:17:41,800
post hardcore riff comes in with that d like pop

1723
01:17:41,920 --> 01:17:44,560
rock bounce, and then that first scream Ollie lets out

1724
01:17:45,119 --> 01:17:47,319
like is like, oh yeah, we're in two thousand and three,

1725
01:17:48,159 --> 01:17:51,000
let's fucking go Like I mean, this album just grabs

1726
01:17:51,000 --> 01:17:53,399
my attention right away, and for the entire thing, it

1727
01:17:53,479 --> 01:17:55,960
just keeps doing stuff I am a mark for to

1728
01:17:56,039 --> 01:17:56,960
a really high standard.

1729
01:17:57,039 --> 01:17:59,880
Speaker 1: Yeah, they haven't massively changed tapped kind of the style

1730
01:18:00,039 --> 01:18:02,960
or anything, but I did. The quality and the level

1731
01:18:03,000 --> 01:18:07,319
of songcraft is much much higher than what statg Dress

1732
01:18:07,359 --> 01:18:09,239
have been doing before. I know there's a larger like

1733
01:18:09,359 --> 01:18:13,600
sort of conceptual like cross textual interactive world this as well,

1734
01:18:13,640 --> 01:18:16,600
but purely in the song stakes. I don't Knowssari know

1735
01:18:16,640 --> 01:18:18,680
how much identity I could ascribe to Earlie as a singer,

1736
01:18:18,720 --> 01:18:21,680
Like he kind of does the yelpie scratchy post hardcore

1737
01:18:21,720 --> 01:18:23,600
thing and then swings into this like you know, MySpace

1738
01:18:23,680 --> 01:18:26,479
early two thousands MTV melodies, but the hit rate of

1739
01:18:26,600 --> 01:18:31,119
those is higher than the majority of albums that are

1740
01:18:31,199 --> 01:18:33,079
released in this style completely agree.

1741
01:18:33,199 --> 01:18:36,640
Speaker 2: Like Pharmacy Film that's the second track, Like that is

1742
01:18:36,680 --> 01:18:38,600
a like riff, that's Paul strevving what it is to burn.

1743
01:18:39,039 --> 01:18:43,239
Its super kind of glossy pop post hardcore, but it's

1744
01:18:43,319 --> 01:18:47,479
still got that grip. So it's catchy and it's got

1745
01:18:47,560 --> 01:18:50,479
like strong melodies, but it doesn't feel sanded down like

1746
01:18:50,560 --> 01:18:53,000
the worst of this kind of like seeing stuff and

1747
01:18:53,039 --> 01:18:54,720
particularly some of like the ReViral stuff in it, which

1748
01:18:54,760 --> 01:18:58,000
sounds like doing this bit through the modern horrid like

1749
01:18:58,399 --> 01:19:02,640
synthetic twenty twenty sound. This is just hitting all the

1750
01:19:02,720 --> 01:19:07,000
right notes of like catchy memorable songs that still sound hard.

1751
01:19:07,039 --> 01:19:08,640
They have bits where you are I want to throw

1752
01:19:08,720 --> 01:19:10,760
hands to their bits. I won't want to tug my

1753
01:19:10,800 --> 01:19:14,279
shirt and do an emotional cry. It just is delivering

1754
01:19:14,319 --> 01:19:16,279
that exact thing I want. Again, we're out changing tact,

1755
01:19:16,720 --> 01:19:19,079
but just nailing the craft better this time.

1756
01:19:19,840 --> 01:19:21,800
Speaker 4: This has been the surprise of the month for me

1757
01:19:22,319 --> 01:19:24,800
because I went into this with my with my back

1758
01:19:25,079 --> 01:19:28,199
all the way up. I saw that it was fifteen tracks.

1759
01:19:28,239 --> 01:19:31,039
I saw the lowercase song titles. I saw the band

1760
01:19:31,079 --> 01:19:33,119
folks were only one of them is in a mask

1761
01:19:33,439 --> 01:19:35,880
that drives me nuts. And then I saw the under

1762
01:19:35,960 --> 01:19:38,199
oath on this thing, and I'm going, oh, why do

1763
01:19:38,319 --> 01:19:40,920
we have to do this? Surely there must have been

1764
01:19:41,000 --> 01:19:43,720
something else, And I started thinking back to that record

1765
01:19:43,760 --> 01:19:45,600
we did a couple of years ago where I was

1766
01:19:46,600 --> 01:19:48,319
sort of in this having a bit of a mental

1767
01:19:48,359 --> 01:19:50,600
breakdown about I was nostalgic for something which I didn't

1768
01:19:50,600 --> 01:19:50,960
even like.

1769
01:19:51,560 --> 01:19:53,439
Speaker 3: Cowboy Yeah, and.

1770
01:19:53,479 --> 01:19:53,960
Speaker 1: I was I was.

1771
01:19:54,319 --> 01:19:55,479
Speaker 4: I was going, I don't want to go I don't

1772
01:19:55,479 --> 01:19:56,359
want to go through that again.

1773
01:19:57,560 --> 01:19:59,000
Speaker 3: That's why I thought you were gonna hate this. That's

1774
01:19:59,000 --> 01:20:00,319
why I'm so sure you're going to I hate this.

1775
01:20:01,079 --> 01:20:03,920
Speaker 4: I did wonder and when it kicked off, I didn't

1776
01:20:03,920 --> 01:20:05,720
just start smiling. So I thought, it's like playing skate

1777
01:20:05,760 --> 01:20:08,119
three again or watching top ten Heaviest Bands in the

1778
01:20:08,159 --> 01:20:10,439
World slide shows on YouTube from twenty ten, like this

1779
01:20:10,560 --> 01:20:12,680
is it's all one of the warms and fuzzies. And

1780
01:20:12,720 --> 01:20:16,199
then very quickly I started to go like, hang on, now,

1781
01:20:16,960 --> 01:20:20,000
these songs are absolute jams. And by the end of

1782
01:20:20,039 --> 01:20:22,600
the record, I was so one hundred percent on board,

1783
01:20:22,720 --> 01:20:24,760
ready to listen to it again. And this is you know,

1784
01:20:24,800 --> 01:20:26,199
I am not a mark for this. This is not

1785
01:20:26,680 --> 01:20:29,560
a slam dunk for a band, and you know, if

1786
01:20:29,640 --> 01:20:31,359
you reference all the right things, I'm gonna love it.

1787
01:20:31,399 --> 01:20:33,640
This is not that style of music for me. And

1788
01:20:33,760 --> 01:20:37,279
yet in spite of that, purely through song power and

1789
01:20:38,199 --> 01:20:42,079
your pairing, maybe not personality but conviction of performance, which

1790
01:20:42,199 --> 01:20:45,359
is such a sorely lacking thing in a lot of

1791
01:20:45,399 --> 01:20:50,000
these retroactive bands. Now this is this record is excellent.

1792
01:20:50,640 --> 01:20:53,079
Speaker 1: It's so nice and unexpected, which is what makes it

1793
01:20:53,199 --> 01:20:55,239
nice that a band that we can all come together

1794
01:20:55,359 --> 01:20:58,079
on this episode is Staty Dress, who, like said I,

1795
01:20:59,199 --> 01:21:01,960
I essentially didn't give a shit that's diacist. Before this,

1796
01:21:02,079 --> 01:21:05,920
I thought they were the most okay band in their lane,

1797
01:21:06,119 --> 01:21:08,399
and yet here they are with like songs that if

1798
01:21:08,439 --> 01:21:10,199
you put them on MTV in two thousand and four,

1799
01:21:10,399 --> 01:21:13,239
would pop the fuck off. I agree, Pharmacy Film is

1800
01:21:13,319 --> 01:21:15,880
the first like undeniable chorus of their career. I would

1801
01:21:15,920 --> 01:21:18,760
say that and break me here so wackon I feel it.

1802
01:21:18,800 --> 01:21:21,319
Obviously you're you're referencing Glass Jaw, but I get like

1803
01:21:21,960 --> 01:21:26,600
Prime Era thirty six crazy swists feel to choruses like that,

1804
01:21:26,640 --> 01:21:28,680
which I'm into as well, Like lip Critic really gives

1805
01:21:28,720 --> 01:21:30,600
me that as well, and either way, you know, whether

1806
01:21:30,600 --> 01:21:32,199
you're going to the PoTA or the medical side, it's

1807
01:21:32,199 --> 01:21:33,920
stuff that I said you would you would. You can

1808
01:21:34,159 --> 01:21:38,279
envision it prime to carve that place in that kind

1809
01:21:38,319 --> 01:21:41,359
of rotation. And I'm thinking that this is a band

1810
01:21:41,399 --> 01:21:45,479
who's formative years together playing as a band, well obviously

1811
01:21:45,520 --> 01:21:48,359
during the COVID era, right, And it's been four years

1812
01:21:48,399 --> 01:21:51,640
since they put out their technically their debut album. And

1813
01:21:51,760 --> 01:21:54,359
when they were pre you know, writing that thing, the

1814
01:21:54,520 --> 01:21:57,319
you know, the world hadn't too long opened up and

1815
01:21:57,399 --> 01:22:00,640
they wouldn't have had too many shows under their belt

1816
01:22:00,680 --> 01:22:03,279
compared to what they have now. And these four years

1817
01:22:03,319 --> 01:22:05,439
in the interim, I imagine when the vast majority of

1818
01:22:05,479 --> 01:22:08,880
their touring and live performances has happened. And you know,

1819
01:22:08,920 --> 01:22:10,439
maybe it's a good thing they took those four years,

1820
01:22:10,439 --> 01:22:13,279
because they seem just so much more well oiled here,

1821
01:22:13,520 --> 01:22:15,920
like so much more together. They used to have this

1822
01:22:16,039 --> 01:22:18,600
sort of scrappiness that was you know, violent that it

1823
01:22:18,600 --> 01:22:21,000
didn't really congeal to anything, but this feels like an

1824
01:22:21,039 --> 01:22:24,399
album where they know which songs will work live and why,

1825
01:22:24,880 --> 01:22:26,760
and there is still a variety, like they are still

1826
01:22:26,800 --> 01:22:30,079
playing within the rough wheelhouse of things you have heard

1827
01:22:30,119 --> 01:22:32,600
before in this kind of style. But within that, on

1828
01:22:32,720 --> 01:22:35,800
the riffier side you've got stuff like Nostalgia Kills, which

1829
01:22:35,880 --> 01:22:38,159
did amuse me in having the under oath guest feature,

1830
01:22:38,159 --> 01:22:40,840
because you cannot get fucking rid of them, like any

1831
01:22:40,960 --> 01:22:45,239
album like this, Throw a dart at a modern post

1832
01:22:45,239 --> 01:22:47,720
Harper album and you will find an under oath guest spot.

1833
01:22:47,760 --> 01:22:50,600
It's ridiculous. They're not that good. We don't need to

1834
01:22:50,640 --> 01:22:55,079
revere them and invite them that hard to everything. But

1835
01:22:55,720 --> 01:22:58,159
the core if on that song is like a genuine

1836
01:22:58,239 --> 01:23:00,920
jackhammer that will sound good on big stages, like heavy

1837
01:23:01,000 --> 01:23:04,079
in the way that will you know, carry rather than

1838
01:23:04,119 --> 01:23:06,520
just really getting lost in the sound system. A bit

1839
01:23:06,560 --> 01:23:08,439
of Coheed on that chorus as well, with they close

1840
01:23:08,560 --> 01:23:12,199
your Eyes like choruses are consistently great on it. And

1841
01:23:12,319 --> 01:23:16,039
also on that rowdier end, I love how stupid rowdy

1842
01:23:16,239 --> 01:23:19,359
male Bomb is, which has just got this yes stump

1843
01:23:19,439 --> 01:23:22,239
truck of a riff. But then that Dear Reader is

1844
01:23:22,319 --> 01:23:26,000
like melodic pot hardcore, you know, Darryl Polumbo Mei's China

1845
01:23:26,079 --> 01:23:28,479
Marino one oh one, and it's suddenly like OLLI has

1846
01:23:28,840 --> 01:23:31,640
He's stumbled into a gold mine of melodic hooks. Like

1847
01:23:31,680 --> 01:23:33,840
he's just pulling them out left, right and center on

1848
01:23:33,920 --> 01:23:35,079
this album in a way that I didn't know he

1849
01:23:35,119 --> 01:23:35,560
had in him.

1850
01:23:35,880 --> 01:23:37,520
Speaker 2: That's the thing, is so like i'd like to know

1851
01:23:37,720 --> 01:23:39,760
on the older stat just stuff that the really chaotic

1852
01:23:39,920 --> 01:23:42,279
kind of mathy songs over the cool, but they never

1853
01:23:42,359 --> 01:23:45,359
had anything to actually make them kind of stand out

1854
01:23:45,359 --> 01:23:48,399
other than that kind of like brahs or blast of excitement.

1855
01:23:48,920 --> 01:23:51,479
Here's songs that they say like nostalgia kills having like

1856
01:23:51,600 --> 01:23:53,840
ad you can like a groove to it, and like

1857
01:23:53,920 --> 01:23:56,880
Ollie kind of flailing him out vocally but also looking

1858
01:23:56,960 --> 01:24:01,119
in and going here's a chorus that like breakdown where

1859
01:24:01,119 --> 01:24:03,640
he goes like full on guttural with it. It's so hard,

1860
01:24:04,039 --> 01:24:06,800
and then like male bomb, You're right that just that's slammed.

1861
01:24:07,279 --> 01:24:11,600
But then again has of course classic death pots, has

1862
01:24:11,680 --> 01:24:14,600
you know again just a two minute musha that kind

1863
01:24:14,600 --> 01:24:18,039
of like staccato panic chord ending bit. It's got all

1864
01:24:18,079 --> 01:24:21,600
these sort of things, but these feel like more well realized,

1865
01:24:21,640 --> 01:24:23,439
fort out songs rather than just the kind of like

1866
01:24:24,039 --> 01:24:26,000
explosions of noise and cares that they were on the

1867
01:24:26,079 --> 01:24:28,840
last record, And they sit so nicely along you know,

1868
01:24:29,800 --> 01:24:33,239
the more ballad tracks and all of those sort of things.

1869
01:24:33,279 --> 01:24:35,840
So you know we have like the internet of this

1870
01:24:35,960 --> 01:24:39,880
farewell is into hospice like that's you know, this shimmering

1871
01:24:39,920 --> 01:24:44,399
microgram is ballad and it just sits so nicely against

1872
01:24:44,439 --> 01:24:47,159
the more violent moments, the poping moments. They they cover

1873
01:24:47,199 --> 01:24:48,640
a lot of ground, even if again it is all

1874
01:24:48,720 --> 01:24:52,239
within like kind of thrown back to bands of the

1875
01:24:52,319 --> 01:24:55,199
two thousands, but they have that kind of the jukebox

1876
01:24:55,279 --> 01:24:57,319
thing about it, just feeling like covers because they're still

1877
01:24:57,359 --> 01:24:59,880
putting their own personality on the song.

1878
01:25:00,159 --> 01:25:03,640
Speaker 1: Yeah. Classic Deadpots, which you mentioned, is like legitimately brutal,

1879
01:25:03,720 --> 01:25:05,760
like it's not afraid to be really heavy. Within the

1880
01:25:05,800 --> 01:25:08,000
style of USA that it is. There's an interesting sort

1881
01:25:08,000 --> 01:25:11,319
of production approach where it's not a like one size

1882
01:25:11,399 --> 01:25:14,119
fits all, like things like the volume and the mixing

1883
01:25:14,760 --> 01:25:17,359
actually do like EBB and flow even inside the same songs.

1884
01:25:17,399 --> 01:25:20,960
It can do sometimes which can be a dangerous, like

1885
01:25:21,119 --> 01:25:24,640
messy approach to take if you get it wrong. And

1886
01:25:24,680 --> 01:25:27,399
I'm not gonn necessarily say it's done completely perfectly frantic back,

1887
01:25:27,439 --> 01:25:29,640
but more often it is that kind of careful attention

1888
01:25:29,720 --> 01:25:31,439
to detail they do manage to pull it off. You

1889
01:25:31,479 --> 01:25:33,640
get a little things like in Pharmacy film there's like

1890
01:25:33,680 --> 01:25:35,960
a chopped up vocal sound on the screen that actually

1891
01:25:36,039 --> 01:25:40,079
lands quite well, you know, and that there's a glitchiness

1892
01:25:40,119 --> 01:25:42,920
of the record that does show I think some attempt

1893
01:25:43,000 --> 01:25:45,399
to like not just completely fall back into nostalgia right

1894
01:25:45,479 --> 01:25:47,920
like it is. It's definitely this kind of you know,

1895
01:25:47,960 --> 01:25:50,119
the heritage of the style of music, but done during

1896
01:25:50,199 --> 01:25:53,399
the Internet era. And then the choruses they still hand

1897
01:25:53,479 --> 01:25:54,720
up on the quiet end of the record as well,

1898
01:25:54,760 --> 01:25:58,119
because like Adapter goes down really smoothly with that you know,

1899
01:25:58,920 --> 01:26:01,880
again manages to a vote deaf tonesiness, but without just

1900
01:26:01,920 --> 01:26:04,760
being a pitiful deaf tones rip, because it's mixing that

1901
01:26:05,039 --> 01:26:08,840
real two thousand emo wistfulness as well, and down to

1902
01:26:09,000 --> 01:26:12,760
the key change at the end, like genuine beautiful chorus

1903
01:26:12,800 --> 01:26:14,520
to see all the deal. And then Hospice as well,

1904
01:26:14,560 --> 01:26:17,000
which you mentioned almost reminds me of like the dreamier

1905
01:26:17,159 --> 01:26:19,279
end of Naughty's Paramore, like all we Know is falling

1906
01:26:19,399 --> 01:26:21,359
or maybe brand New Eyes or something like that huge

1907
01:26:21,439 --> 01:26:26,000
fountain of a guitar riff sounds really assured and confident

1908
01:26:26,079 --> 01:26:28,399
with like what it's trying to deliver emotionally.

1909
01:26:29,239 --> 01:26:31,439
Speaker 4: Hospice was the one for me, where like the Foot,

1910
01:26:31,479 --> 01:26:33,680
the opening run of this record was excellent. When Hospice

1911
01:26:33,680 --> 01:26:36,359
comes through, that's when I thought, this is this is

1912
01:26:37,119 --> 01:26:39,119
a clearing of the standard that I had set for

1913
01:26:39,159 --> 01:26:42,399
this because that song sounds like you're saying early Paramore,

1914
01:26:42,399 --> 01:26:44,159
I thought that the guests up kids like something like

1915
01:26:44,239 --> 01:26:47,119
something shot home about and honestly to a stand that

1916
01:26:47,199 --> 01:26:49,640
isn't a million miles away from that record, which which

1917
01:26:49,640 --> 01:26:52,159
I don't say lightly, and just quickly going back to

1918
01:26:52,199 --> 01:26:54,600
that thing you were saying about the bespoke mixing on

1919
01:26:54,680 --> 01:26:57,960
each track of this record, I think that shows up

1920
01:26:58,000 --> 01:27:01,399
why so many bands who try this song of jukebox

1921
01:27:02,279 --> 01:27:05,840
playlist kind of style record where it messes up. And

1922
01:27:05,920 --> 01:27:08,439
it's those songs that male bum and classic death buds,

1923
01:27:08,479 --> 01:27:12,000
which are so much more bruising and brutal and you know,

1924
01:27:12,279 --> 01:27:17,920
draw on much heavier, much nastier, gnarlier things than than

1925
01:27:17,920 --> 01:27:21,159
the vast majority of this record. You you kind of

1926
01:27:21,239 --> 01:27:23,039
need that bespoke mixing because if you don't do that,

1927
01:27:23,119 --> 01:27:25,319
if you just go one size fits all, you end

1928
01:27:25,359 --> 01:27:27,720
up with stuff like that one hardcore song on the

1929
01:27:27,800 --> 01:27:30,159
last Architects record where it just sounds daft, it goes, no,

1930
01:27:30,239 --> 01:27:34,039
you're you still sound safe, You're not leaning enough into

1931
01:27:34,119 --> 01:27:36,039
the thing that you're trying to lean into here, And

1932
01:27:36,119 --> 01:27:37,920
it means that this record, because it can pull you

1933
01:27:37,960 --> 01:27:39,520
in all sorts of directions, and you're right, it's maybe

1934
01:27:39,600 --> 01:27:43,199
not completely seamlessly done, it makes it thrilling and it

1935
01:27:43,319 --> 01:27:45,039
keeps you on your toes, and it means that for

1936
01:27:45,319 --> 01:27:47,319
a longer record that does a lot of different things,

1937
01:27:48,079 --> 01:27:49,439
it never feels flabby.

1938
01:27:50,039 --> 01:27:52,359
Speaker 1: Yeah, and the track list is it's not just the

1939
01:27:52,439 --> 01:27:54,760
best that that address have done to date, but pretty

1940
01:27:54,840 --> 01:27:57,079
much more than anyone in this kind of style has

1941
01:27:57,119 --> 01:27:59,680
done in a long long time, unless there's some really

1942
01:27:59,720 --> 01:28:02,840
really obvious one slip in my mind, but it's ten

1943
01:28:02,920 --> 01:28:05,079
years since the last let Live album, right, are there

1944
01:28:05,119 --> 01:28:07,279
many albums in that kind of you know, naughty style

1945
01:28:07,319 --> 01:28:10,279
post hardcore lane in that time with more hits on

1946
01:28:10,319 --> 01:28:13,760
it than this. It's tighter, it's more confident, really good

1947
01:28:14,039 --> 01:28:16,039
fucking record to release right before those Bringing her Eyes

1948
01:28:16,079 --> 01:28:18,119
and outbreakshows as well, where they're also playing, so you know,

1949
01:28:18,199 --> 01:28:19,960
just get some of these on that stage in that arsenal.

1950
01:28:20,199 --> 01:28:22,880
It it just feels really good to finally be able

1951
01:28:22,920 --> 01:28:25,159
to move Static Dress out of neutral into the you're

1952
01:28:25,239 --> 01:28:28,359
a really good band camp Like Static Dress were fine

1953
01:28:28,600 --> 01:28:30,520
if you are if you're looking, if you're in the

1954
01:28:30,560 --> 01:28:32,840
market for this kind of thing, they are an approximation

1955
01:28:33,000 --> 01:28:35,359
of it. This is the first Static Dress album that

1956
01:28:35,399 --> 01:28:38,359
I will give unambiguous thumbs up, and by the sounds

1957
01:28:38,359 --> 01:28:39,319
of it, we all are, which is great.

1958
01:28:40,039 --> 01:28:42,359
Speaker 3: Yeah. No, I completely agree that that add them in

1959
01:28:42,359 --> 01:28:42,840
the same position.

1960
01:28:42,840 --> 01:28:44,880
Speaker 2: And again maybe I was just a bit more like

1961
01:28:45,159 --> 01:28:47,439
akin to just go with that because I again I

1962
01:28:48,159 --> 01:28:50,800
this is my my sort of area. But that's the

1963
01:28:50,800 --> 01:28:52,600
thing is because it was my own I was always

1964
01:28:52,640 --> 01:28:56,079
willing Static Dressed to do something more and just getting

1965
01:28:56,199 --> 01:28:58,000
this album kind of going, like I heard the Pson

1966
01:28:58,159 --> 01:29:00,239
was like, this is better. This is a kind of

1967
01:29:00,279 --> 01:29:02,159
good sign for the album and the album delivering even

1968
01:29:02,239 --> 01:29:04,680
you know, when you get to Adult Diamond where they

1969
01:29:04,720 --> 01:29:07,399
go full acoustic ballad that's not even totally well and

1970
01:29:07,439 --> 01:29:10,119
that has like really interesting kind of detailing with some

1971
01:29:10,159 --> 01:29:12,680
of the electronics and sort of stuff they weave in

1972
01:29:12,800 --> 01:29:14,880
through it for the band kicks at the end. I'm

1973
01:29:14,880 --> 01:29:17,079
like they're doing all of these things and they're doing

1974
01:29:17,159 --> 01:29:19,239
them well, and it's just this has been one of

1975
01:29:19,279 --> 01:29:21,880
the real Again, it's weird to say that a post

1976
01:29:21,960 --> 01:29:23,520
hardcore throwback record.

1977
01:29:23,319 --> 01:29:24,960
Speaker 3: Is one of the big surprises of the year for me,

1978
01:29:25,399 --> 01:29:26,680
but this genuinely is.

1979
01:29:27,319 --> 01:29:30,039
Speaker 1: Yeah, big step up, major props to start address for

1980
01:29:30,159 --> 01:29:33,000
injury episode next. We're keeping it pretty emo though, because

1981
01:29:33,000 --> 01:29:35,560
we are going to go to Turnover with their album

1982
01:29:35,720 --> 01:29:39,920
Down on Earth. Turnover ascended to emo godhood in twenty

1983
01:29:40,079 --> 01:29:42,560
fifteen when they release their album Peripheral Vision, which is

1984
01:29:42,640 --> 01:29:47,359
one of the most outrageously unavoidably beloved albums of the

1985
01:29:47,439 --> 01:29:50,039
modern era, covered on Album Club last year, followed it

1986
01:29:50,159 --> 01:29:52,600
up with another very good record in a similar style

1987
01:29:52,600 --> 01:29:56,199
of good Nature, and then abruptly turned into relaxing beats

1988
01:29:56,199 --> 01:29:58,800
to revise to. There were a few years there where

1989
01:29:58,960 --> 01:30:03,520
the relationship between Turnover, who were heading into more indie circles,

1990
01:30:04,039 --> 01:30:06,840
and the you know, the hardcore slash emo community which

1991
01:30:06,920 --> 01:30:10,119
they came from, kind of fragmented a bit. Does that

1992
01:30:10,279 --> 01:30:12,920
mean those records are bad? Not too much, as a

1993
01:30:12,960 --> 01:30:14,560
couple tracks that I'm somewhat fond of, like the one

1994
01:30:14,600 --> 01:30:16,520
with Brendan Yates on the last record, but they were

1995
01:30:16,600 --> 01:30:20,399
definitely playing away from what had made them so beloved,

1996
01:30:20,800 --> 01:30:23,960
that being pretty much the very best to have done

1997
01:30:24,000 --> 01:30:28,359
that emo slash shoe gaze hybrid. Recently, though, like some

1998
01:30:28,399 --> 01:30:30,000
of those bridges were being repaired a bit. There was

1999
01:30:30,039 --> 01:30:32,880
the Peripheral Vision tenth anniversary tour last year where all

2000
01:30:32,880 --> 01:30:34,680
of the loving feelings that people have for that record

2001
01:30:35,039 --> 01:30:38,199
came right back up, and then the first rumblings and

2002
01:30:38,279 --> 01:30:41,199
first tracks from the new album, people started to wonder

2003
01:30:41,279 --> 01:30:44,520
whether the turnover had come home. Maybe. I suppose the

2004
01:30:44,600 --> 01:30:47,880
questions we have to answer here is how much is

2005
01:30:48,000 --> 01:30:50,319
that true or reflective of the album that we have,

2006
01:30:51,039 --> 01:30:54,640
and independent from that question, how good is what they've

2007
01:30:54,680 --> 01:30:55,319
made Sam.

2008
01:30:55,920 --> 01:30:58,720
Speaker 3: I think this is definitely has more of that kind

2009
01:30:58,760 --> 01:30:59,920
of emo shoe gaysing go.

2010
01:31:00,119 --> 01:31:02,319
Speaker 2: I don't think it is an entirely kind of like

2011
01:31:02,760 --> 01:31:06,199
we're back to doing the Perifle Vision style sort of thing.

2012
01:31:06,560 --> 01:31:08,479
It's definitely way more present, but I think they they

2013
01:31:09,359 --> 01:31:11,640
clearly have their interests outside of this so that they

2014
01:31:11,680 --> 01:31:15,199
can't help but bring in. So I think it's kind

2015
01:31:15,199 --> 01:31:17,399
of like not quite fifty. I think there's definitely more

2016
01:31:17,399 --> 01:31:19,560
of the emos of the film here, but it is

2017
01:31:19,880 --> 01:31:20,880
still a bit of a mixture.

2018
01:31:21,479 --> 01:31:22,239
Speaker 3: I'm happy to go with.

2019
01:31:22,319 --> 01:31:26,119
Speaker 2: Though I don't love this entire record, but this record,

2020
01:31:26,199 --> 01:31:28,439
for a lot of it is it's a cozy, knitted

2021
01:31:28,520 --> 01:31:31,720
jumper in autumn. Like it's that kind of like just

2022
01:31:31,840 --> 01:31:34,560
a nice comfy vibe for this record that I think

2023
01:31:34,840 --> 01:31:37,840
would have got on I'm having a pleasant time, Elliott.

2024
01:31:37,840 --> 01:31:39,520
Speaker 1: You're already let slip to us off Mike that you

2025
01:31:39,560 --> 01:31:40,520
think this album's very boring.

2026
01:31:41,880 --> 01:31:42,600
Speaker 3: It's yeah.

2027
01:31:43,079 --> 01:31:47,239
Speaker 4: I I was really jazzed at the thought of turnover,

2028
01:31:47,319 --> 01:31:50,880
coming back and making another record, even if not fully

2029
01:31:51,000 --> 01:31:53,319
like more leaning as the pRIFLE Vision thing, because as

2030
01:31:53,520 --> 01:31:55,039
we said it last year that I was, you know,

2031
01:31:55,119 --> 01:31:57,640
it's incredible for the thing that it does. There's maybe

2032
01:31:57,680 --> 01:32:00,560
not a better one release that decade. And while this

2033
01:32:00,680 --> 01:32:03,479
isn't a fully flaged return to that sound, this is

2034
01:32:04,039 --> 01:32:05,720
the closest they've been to it by a long way

2035
01:32:05,760 --> 01:32:08,239
since then. So I went in with with hope and

2036
01:32:09,560 --> 01:32:13,600
I feel nothing about this record. It just evaporated on

2037
01:32:13,760 --> 01:32:14,640
contacts with their and.

2038
01:32:16,159 --> 01:32:17,000
Speaker 3: I think you're saying.

2039
01:32:16,760 --> 01:32:19,840
Speaker 4: About it being a warm, wooly jumper of an album

2040
01:32:20,439 --> 01:32:22,720
that's I sit here in a wife beata now I'm

2041
01:32:22,720 --> 01:32:28,800
not in the mood for that fundamentally, I can see

2042
01:32:28,960 --> 01:32:32,520
what you're getting up there, but it just it had

2043
01:32:32,520 --> 01:32:35,560
a distance to it. Well, I just I never connected that.

2044
01:32:35,680 --> 01:32:38,239
I never felt the nourishing warmth of the record. I

2045
01:32:38,359 --> 01:32:40,239
just came away. I've listened to it three or four times,

2046
01:32:40,279 --> 01:32:44,760
and every time I come away with nothing, just a vacancy.

2047
01:32:45,479 --> 01:32:49,119
Speaker 1: Yeah, I'm not completely mad at that assessment, Elliott. I

2048
01:32:49,760 --> 01:32:51,800
think this is the most I have enjoyed a turnover album.

2049
01:32:51,800 --> 01:32:53,239
So it's good Nature, which I do think is a

2050
01:32:53,239 --> 01:32:56,760
great record. It's not quite on that level. But if

2051
01:32:56,800 --> 01:33:00,239
there's a sort of intermediary tear between like the real

2052
01:33:00,319 --> 01:33:03,119
eightier stuff op Top, which obviously you know peripheral vision

2053
01:33:03,279 --> 01:33:04,840
is the best. But for the sake of argument, I'll

2054
01:33:04,840 --> 01:33:07,159
put Good Nature in that level as well, and then

2055
01:33:07,199 --> 01:33:09,439
the last couple of albums would be below those. I

2056
01:33:09,479 --> 01:33:11,399
would put this in that sort of intermediary between those

2057
01:33:11,399 --> 01:33:14,000
two levels. And I suppose that is reflective of you know,

2058
01:33:14,079 --> 01:33:15,880
if the idea was out there that after doing the

2059
01:33:15,920 --> 01:33:18,239
return to perihle vision and all of that, that they

2060
01:33:18,279 --> 01:33:21,119
would slip right back into that style. This is definitely

2061
01:33:21,199 --> 01:33:23,760
the most of that flavor they've had in a record

2062
01:33:23,920 --> 01:33:26,319
in you know what, like eight nine years something like that,

2063
01:33:27,079 --> 01:33:29,439
But in terms of going back in time and the

2064
01:33:29,439 --> 01:33:32,079
time capsule, it doesn't really work like that realistically speaking,

2065
01:33:32,119 --> 01:33:34,000
and instead it is mixed in with the markers of

2066
01:33:34,479 --> 01:33:37,640
the more experimental material they've played with since, which this

2067
01:33:37,840 --> 01:33:40,920
is a weirder record I think than certainly what you

2068
01:33:41,000 --> 01:33:43,520
might term classic Turnover, and when you were describing it

2069
01:33:43,560 --> 01:33:44,880
as like, you know, a nice cozy jumper, for me,

2070
01:33:44,960 --> 01:33:46,600
it's like a cozy jumper that might have some fucking

2071
01:33:46,920 --> 01:33:49,039
novelty ball balls hanging on it or something like. There

2072
01:33:49,079 --> 01:33:52,359
are parts that really feel like classic Turnover and then

2073
01:33:52,439 --> 01:33:55,079
parts where you go peripheral vision. Turnofth would definitely have

2074
01:33:55,159 --> 01:33:58,279
never put that particular choice in the record, and I

2075
01:33:58,359 --> 01:34:00,920
don't think it's all essential. I found it at least

2076
01:34:00,960 --> 01:34:04,600
quite enjoyable hearing them basically sprinkle in that like the

2077
01:34:05,640 --> 01:34:08,600
weirder sort of south By Southwest Indie hipster instincts that

2078
01:34:08,680 --> 01:34:12,239
they have onto at least a foundation that is more familiar.

2079
01:34:12,600 --> 01:34:15,479
I think this record plays to their strengths more than

2080
01:34:15,520 --> 01:34:19,159
the previous two do, but while still letting them, you know,

2081
01:34:19,319 --> 01:34:21,880
have their fun and go off the leash and fuck

2082
01:34:21,960 --> 01:34:23,239
around a little bit essentially.

2083
01:34:23,720 --> 01:34:25,560
Speaker 2: Well, it's funny because like you get weely from one

2084
01:34:25,600 --> 01:34:28,239
opening and it's like musically that has that kind of

2085
01:34:28,319 --> 01:34:30,680
like shimmering or rock thing, and then that was just

2086
01:34:30,800 --> 01:34:33,800
the weird vocal effects and you're trying to do them

2087
01:34:33,800 --> 01:34:34,479
at the same time.

2088
01:34:34,520 --> 01:34:35,439
Speaker 3: Here it's really jarring.

2089
01:34:35,960 --> 01:34:38,640
Speaker 2: But then like you get these really nice twinkling guitars

2090
01:34:38,680 --> 01:34:41,119
and pretty melodies, the catchy chorus even with the weird

2091
01:34:41,199 --> 01:34:43,399
vogue effects, and I'm like, yeah, cool. And then you

2092
01:34:43,439 --> 01:34:45,520
get Nijar, which was one of the singles, and I

2093
01:34:45,640 --> 01:34:50,239
think Nigi is the best turnover song since I will

2094
01:34:50,279 --> 01:34:51,920
take over a lot of the ourt market for Vision.

2095
01:34:52,319 --> 01:34:56,720
I think nija is amazing. I really like that song.

2096
01:34:56,800 --> 01:34:59,800
I think it just nails that emo vibe for me.

2097
01:35:00,039 --> 01:35:01,920
I was like, that's great, That's that's what we want.

2098
01:35:02,680 --> 01:35:04,960
But then again, they do so many other weird stuff

2099
01:35:04,960 --> 01:35:08,159
across the record, like I See You Realize has these

2100
01:35:08,199 --> 01:35:10,880
like real nice potime it's been this is like weird

2101
01:35:11,000 --> 01:35:14,439
kind of again like brooding basically a vocal and they

2102
01:35:14,560 --> 01:35:17,319
just they never wanted to talk like again. Whilst one

2103
01:35:17,359 --> 01:35:19,479
it is a very cozy album selling, they're clearly still

2104
01:35:19,479 --> 01:35:22,640
trying to be experimental and a little bit eccentric within

2105
01:35:22,800 --> 01:35:25,399
the kind of framework of nice emo music.

2106
01:35:25,560 --> 01:35:26,880
Speaker 4: Yeah, because we've.

2107
01:35:26,720 --> 01:35:29,520
Speaker 1: Got those those two songs you've just listed there were

2108
01:35:29,560 --> 01:35:31,640
like a you know, A and B single they released

2109
01:35:31,680 --> 01:35:35,239
right Nightjar and I See You Realize, and Nightjar is

2110
01:35:35,760 --> 01:35:39,960
absolutely the closest thing we've had since Good Nature nearly

2111
01:35:39,960 --> 01:35:42,439
a decade to classic Turnover, like and if you like

2112
01:35:42,600 --> 01:35:47,640
that style of like gorgeous autumnal you know, wistful melodies

2113
01:35:47,680 --> 01:35:50,079
at dusk kind of emo shoegays that they, of all

2114
01:35:50,119 --> 01:35:51,680
the bands who tried their hand of that thing, are

2115
01:35:51,680 --> 01:35:54,119
the one who perfected it. Night Jar is such a

2116
01:35:54,199 --> 01:35:58,159
welcome throwback and like those descending guitar lines that connect

2117
01:35:58,239 --> 01:36:01,000
the verse the chorus, like it heart breaking in that wonderful,

2118
01:36:01,039 --> 01:36:04,000
wonderful way. And then I See You and Realize has

2119
01:36:04,159 --> 01:36:06,119
elements of that that are again familiar to Turnover, but

2120
01:36:06,319 --> 01:36:08,000
it's almost like it's come out of the other end

2121
01:36:08,039 --> 01:36:11,119
of a mixer, you know, and the really caught my

2122
01:36:11,199 --> 01:36:14,199
ear with that like peppy post punk rhythm. It's like

2123
01:36:14,239 --> 01:36:17,279
a really excellent like Smith's or kind of chameleon Z

2124
01:36:17,560 --> 01:36:21,239
dream pop track. Basically, I think like those like if

2125
01:36:21,359 --> 01:36:23,119
that as a two track single, as they put it out,

2126
01:36:23,840 --> 01:36:26,199
could on its own be like the best emo or

2127
01:36:26,319 --> 01:36:28,279
like indie rock release of this year. Like those two

2128
01:36:28,319 --> 01:36:31,319
songs are fantastic, top class, but they do off again,

2129
01:36:31,319 --> 01:36:33,640
they show some different size of what's going on. We

2130
01:36:33,800 --> 01:36:37,359
leave for No. One as the opening track is much

2131
01:36:37,439 --> 01:36:40,600
more and again the side of it of bittersweet indie

2132
01:36:40,720 --> 01:36:43,239
emo guitar chords, really settling in the mood. But when

2133
01:36:43,319 --> 01:36:46,680
Austin comes in, he's singing through this like worring my

2134
01:36:46,840 --> 01:36:51,079
bloody Valentine kind of liquid filter, which which I quite like.

2135
01:36:51,159 --> 01:36:52,960
I think it gives it this trippiness that they were

2136
01:36:52,960 --> 01:36:55,039
aiming for on the later material. I think it's a

2137
01:36:55,159 --> 01:36:58,039
question of how consistently that quality is maintained, and I

2138
01:36:58,279 --> 01:37:00,399
do think it's more of a grab bag based on

2139
01:37:00,439 --> 01:37:02,560
what they're trying on eat song, because I think after

2140
01:37:02,640 --> 01:37:06,439
the first three I think distinctly pretty cool songs. You

2141
01:37:06,600 --> 01:37:09,239
get My Hand as a Curtain, which is very truggy.

2142
01:37:09,399 --> 01:37:12,720
I think it's fairly pleasant and maybe melodically again a

2143
01:37:12,760 --> 01:37:14,399
little closer to the peripheral vision side of things, but

2144
01:37:14,439 --> 01:37:16,680
I can definitely see how that hits like a turgid rhythm,

2145
01:37:17,000 --> 01:37:18,520
and I think that's around the point where you could

2146
01:37:18,560 --> 01:37:21,840
slip into gosh, this is dull. There are numerous of

2147
01:37:21,880 --> 01:37:24,319
those amusing little bits across the record where he sings

2148
01:37:24,359 --> 01:37:26,199
with that lower register and it sounds like the album's

2149
01:37:26,199 --> 01:37:28,880
been chopped and screwed almost. It's like artificially slowed down,

2150
01:37:29,600 --> 01:37:31,960
and he does sing differently like song to song, which

2151
01:37:31,960 --> 01:37:34,039
I think for some people maybe would be disruptive of

2152
01:37:34,039 --> 01:37:36,760
an album. Flow. You've got I'm Up, I'm Up, which

2153
01:37:36,840 --> 01:37:39,760
is like them doing a sort of Oasis song, but

2154
01:37:39,840 --> 01:37:43,039
it's vibrating and distorting, like My Bloody Valentine, which I

2155
01:37:43,119 --> 01:37:46,359
think sounds more interesting than it maybe actually is in practice.

2156
01:37:46,800 --> 01:37:48,239
Speaker 2: That's one that's just you know, you've got a bit

2157
01:37:48,239 --> 01:37:49,640
of a riff and he's doing that the weird kind

2158
01:37:49,640 --> 01:37:52,039
of falsetto vocals on the chorus.

2159
01:37:52,079 --> 01:37:52,359
Speaker 3: I mean that.

2160
01:37:52,439 --> 01:37:53,920
Speaker 2: I quite like I Mup, Come Up, because it's just

2161
01:37:54,199 --> 01:37:55,840
it brings a bit of pacing after the kind of

2162
01:37:55,880 --> 01:37:58,680
like the first few songs are a bit more kind.

2163
01:37:58,520 --> 01:38:00,840
Speaker 3: Of like laid back, and it's just kind of different.

2164
01:38:01,159 --> 01:38:02,119
Little Bees Don't Bite.

2165
01:38:02,119 --> 01:38:04,399
Speaker 2: It's like the weirdest one for me, where you've got

2166
01:38:04,479 --> 01:38:08,960
these kind of like worrying, fizzy sound all over the track,

2167
01:38:09,079 --> 01:38:11,239
and it just can like it's trying to be again

2168
01:38:11,880 --> 01:38:13,520
this emo song with like a bit of like an

2169
01:38:13,560 --> 01:38:16,119
indie sort of disco thing going on, but then it's

2170
01:38:16,119 --> 01:38:20,000
just got this like odd like buzzing filter going on

2171
01:38:20,079 --> 01:38:20,319
over it.

2172
01:38:20,399 --> 01:38:21,960
Speaker 3: It's such a like bizarre choice.

2173
01:38:22,039 --> 01:38:25,119
Speaker 1: Yeah, that's my favorite track on the back half after

2174
01:38:25,239 --> 01:38:27,680
like the first few songs, because it does it embraces

2175
01:38:27,760 --> 01:38:30,720
those distorting shoegaze effects. But you can maybe argue that

2176
01:38:30,800 --> 01:38:33,119
that song is like because it's so buzzy, it's almost

2177
01:38:33,119 --> 01:38:35,640
like the harshest on the ear that for be right

2178
01:38:35,720 --> 01:38:38,119
at least, and to be at least since they used

2179
01:38:38,119 --> 01:38:40,560
to be a heavier band. But it's it's up tempo

2180
01:38:40,840 --> 01:38:43,039
and it delivers those kind of alien, my bloody valentine

2181
01:38:43,079 --> 01:38:44,920
ish you know, guitar melodies with an actual spring in

2182
01:38:44,960 --> 01:38:47,279
its depth. So I do enjoy that. But Elliott, I

2183
01:38:47,359 --> 01:38:50,039
suppose during like some of the other mid section tracks,

2184
01:38:50,399 --> 01:38:53,560
is where you are having little bee nap time.

2185
01:38:54,199 --> 01:38:56,000
Speaker 4: Oh yeah, I mean to be honest, all this talk

2186
01:38:56,000 --> 01:38:59,359
about the most exciting and interesting of azarre. It's like

2187
01:39:00,239 --> 01:39:06,000
arguing what's the spiciest blemonge it's it's just there's so it's.

2188
01:39:07,960 --> 01:39:08,359
Speaker 3: This album.

2189
01:39:08,439 --> 01:39:10,920
Speaker 4: Listening to it was like it's not listening to the

2190
01:39:11,000 --> 01:39:17,159
teachers in Charlie Brown Cartoon. Is I was zoning out

2191
01:39:17,640 --> 01:39:20,880
for song for songs at a time. That's why I've

2192
01:39:20,920 --> 01:39:22,399
listened to it so much, to keep going back to

2193
01:39:22,439 --> 01:39:25,039
God have I which songs that again and are yeah,

2194
01:39:25,119 --> 01:39:26,520
vaguely and then by the time it gets the end,

2195
01:39:27,000 --> 01:39:30,079
I've forgot and again. And you know, it's not bereft

2196
01:39:30,159 --> 01:39:32,760
of quality, like there are those nice guitar lines woven

2197
01:39:32,800 --> 01:39:36,000
through it, and you the general sound of the record

2198
01:39:36,159 --> 01:39:38,119
is very pleasant. It's it's kind of a hard thing

2199
01:39:38,159 --> 01:39:43,920
to dislike. But those odd curiosities aside that you guys

2200
01:39:43,960 --> 01:39:47,680
have kind of mentioned, the moments which the stretches of

2201
01:39:47,720 --> 01:39:50,760
this record that are bereft of it. It kind of

2202
01:39:50,800 --> 01:39:55,000
feels like dream pop music which A and other band

2203
01:39:55,000 --> 01:39:56,800
could do. And that was the thing. It almost showed

2204
01:39:56,840 --> 01:39:59,119
up what made porofle Visions such a special record, because

2205
01:39:59,119 --> 01:40:02,640
that album's not playing with many fascinating or innovative tools.

2206
01:40:03,199 --> 01:40:07,239
They just wrote, like Brian Wilson Paul McCartney level songs

2207
01:40:07,960 --> 01:40:10,079
in a style of music that I've been crying out

2208
01:40:10,119 --> 01:40:13,960
for songwriting of that standard for over a decade at

2209
01:40:13,960 --> 01:40:18,000
that point. It has been since. It's just there's lots

2210
01:40:18,039 --> 01:40:20,199
of this record I think honestly could be anyone. Yeah.

2211
01:40:20,239 --> 01:40:22,159
Speaker 1: I mean, it's not like they're giving Loveless run for

2212
01:40:22,199 --> 01:40:24,000
its money here, right. We are still essentially at the

2213
01:40:24,000 --> 01:40:26,760
stage of this music was knocked far out of reach

2214
01:40:26,800 --> 01:40:30,800
of anyone thirty five years ago. And that muzac quality

2215
01:40:30,880 --> 01:40:33,039
that you're describing there, that was, you know, very prevalent

2216
01:40:33,079 --> 01:40:35,800
on the previous two Turnover albums. It does creep back

2217
01:40:35,880 --> 01:40:38,960
in on a good like half of this album. But

2218
01:40:39,039 --> 01:40:41,800
I do think that the balance of more experimental material

2219
01:40:41,880 --> 01:40:45,439
and the classic Turnover feel that they themselves do best,

2220
01:40:45,479 --> 01:40:46,800
and we kind of missed that for a while. I

2221
01:40:46,880 --> 01:40:49,039
do think that balance is at least better on this album,

2222
01:40:49,119 --> 01:40:53,079
and at its best. It reminded me why Turnover our band,

2223
01:40:53,079 --> 01:40:55,119
who I fell for, and how sublime they can be,

2224
01:40:55,439 --> 01:40:56,920
even if those moments are inconsistent.

2225
01:40:57,319 --> 01:40:58,720
Speaker 3: Yeah, I think that's sort of a fair assessment.

2226
01:40:58,920 --> 01:41:01,119
Speaker 2: I kind of again, just I'm happy to sort of

2227
01:41:01,159 --> 01:41:03,800
settle into the vibe because it's got enough of those beautiful,

2228
01:41:03,960 --> 01:41:06,439
just kind of wistful emo things I'll go with and

2229
01:41:06,520 --> 01:41:08,960
then just a couple like funny little Quirks, I just

2230
01:41:09,039 --> 01:41:11,319
can going. Ah, that spices up a little bit, So

2231
01:41:11,359 --> 01:41:13,840
I think it's a ad same record. It's the most

2232
01:41:13,880 --> 01:41:15,680
consistently enjoyable thing they've done in a while.

2233
01:41:16,079 --> 01:41:18,079
Speaker 1: Yeah, it's the spiciest prom one that they have put

2234
01:41:18,119 --> 01:41:21,159
their name to in the fucking in the baking tent

2235
01:41:21,840 --> 01:41:24,840
for a little while. So down on Earth from Turnover,

2236
01:41:25,159 --> 01:41:29,279
our trip into full blown hardcore this month comes with

2237
01:41:29,560 --> 01:41:33,680
Guilt Trip and Armor of Angels. I heard the previous

2238
01:41:33,720 --> 01:41:35,399
Guilt Trip albums that you know, caught a little bit

2239
01:41:35,439 --> 01:41:37,680
of buzzer a few years ago. The first one I

2240
01:41:37,760 --> 01:41:39,359
thought was was decent. I was like, okay, you know,

2241
01:41:39,439 --> 01:41:41,279
one of many many hardcore bands who were coming through

2242
01:41:41,560 --> 01:41:43,000
carving a bit of the name themselves. We'll keep an

2243
01:41:43,000 --> 01:41:45,720
eye on this. By the second one, I thought that

2244
01:41:45,960 --> 01:41:49,840
is some perfectly okay meat and potatoes hardcore really, but

2245
01:41:50,159 --> 01:41:53,199
nothing that majorly impressed me. After a couple of albums,

2246
01:41:53,640 --> 01:41:55,560
and then while I was sort of looking the other

2247
01:41:55,560 --> 01:41:57,960
way at bands, I found more interesting. They started to,

2248
01:41:58,079 --> 01:42:01,680
particularly in this country, get really put and yeah we're

2249
01:42:01,720 --> 01:42:03,479
not talking like a not loose or anything in terms

2250
01:42:03,520 --> 01:42:06,399
of skyrocketing popularity, but they have become one of the

2251
01:42:06,439 --> 01:42:10,039
bands emerging brushing against the upper ceilings of like, you know,

2252
01:42:10,279 --> 01:42:12,760
hardcore events and so on and so. Sam, when asked

2253
01:42:13,039 --> 01:42:14,800
what from the world of hardcore we should check in

2254
01:42:14,920 --> 01:42:16,840
on this month, when we had a few options to

2255
01:42:17,039 --> 01:42:18,640
choose from, you were like, I think we should do

2256
01:42:18,640 --> 01:42:20,720
the Guilt Trip happen because they are you know, are

2257
01:42:20,760 --> 01:42:23,159
they pretty much the biggest British hardcore band right now.

2258
01:42:23,800 --> 01:42:26,039
Speaker 3: Malevolence is the only one you'd take over them? Really

2259
01:42:26,159 --> 01:42:26,840
there are.

2260
01:42:27,199 --> 01:42:29,319
Speaker 1: I'm obviously there's there's a connection, but I'm counting them

2261
01:42:29,359 --> 01:42:31,720
as more of a metal band, full on hard. It's

2262
01:42:31,760 --> 01:42:32,159
Guilt Trip.

2263
01:42:32,520 --> 01:42:34,680
Speaker 2: Yeah, Yeah, Guilt Trip are the band blowing up in

2264
01:42:34,680 --> 01:42:36,439
the UK hard and that that's pute much the reason

2265
01:42:36,439 --> 01:42:38,600
why to do it, because again, like I've seen Guilt

2266
01:42:38,640 --> 01:42:40,359
for a bunch, you know, they they've been going since

2267
01:42:40,359 --> 01:42:42,359
the late twenty tens. They were always I think I've

2268
01:42:42,359 --> 01:42:44,840
always liked Guilt Trip. I think they I just say, yeah,

2269
01:42:44,840 --> 01:42:46,760
they are meeting Poto's hardcore by when they we did

2270
01:42:46,800 --> 01:42:49,479
it to a good standard, good live band and then

2271
01:42:49,560 --> 01:42:50,840
but I'd kind of was like, yeah, cool, you know

2272
01:42:50,880 --> 01:42:53,960
our cats guild when raycatcham and then they say, and

2273
01:42:54,239 --> 01:42:56,159
I just want it's not just over here.

2274
01:42:56,520 --> 01:43:00,640
Speaker 3: They are blowing up globally fair like like I said,

2275
01:43:00,680 --> 01:43:01,720
they're recent to in America.

2276
01:43:01,760 --> 01:43:04,439
Speaker 2: They co headlined with Malevolence in America, Like I know,

2277
01:43:04,560 --> 01:43:06,079
No Malevolance are kind of a bit of like a

2278
01:43:06,159 --> 01:43:08,560
recent kind of thing America, but guilty of I'm on

2279
01:43:08,720 --> 01:43:11,640
level pegging there, and like they've been playing on big

2280
01:43:11,720 --> 01:43:14,840
outdoor festival stages in America and in Europe like it is,

2281
01:43:15,399 --> 01:43:17,119
it is happening, and that that is why I kind

2282
01:43:17,119 --> 01:43:19,920
of wanted to sort of pick this album as when

2283
01:43:19,920 --> 01:43:21,760
we talk about it to kind of go like, so,

2284
01:43:21,920 --> 01:43:22,479
what's going on?

2285
01:43:22,720 --> 01:43:25,800
Speaker 3: Why why Guiltrum? What have they done that has kind

2286
01:43:25,840 --> 01:43:26,600
of blown up?

2287
01:43:26,760 --> 01:43:29,199
Speaker 2: Why have they gone from being you know, the band

2288
01:43:29,279 --> 01:43:32,960
that opens the pre show at Outbreak Festival the first

2289
01:43:33,039 --> 01:43:35,439
year I went in twenty twenty two to four years

2290
01:43:35,520 --> 01:43:39,560
later being the biggest UK band around, Like what what?

2291
01:43:39,720 --> 01:43:40,680
Speaker 3: What? What changed?

2292
01:43:40,760 --> 01:43:43,319
Speaker 2: And I kind of like like, because that's what I

2293
01:43:43,760 --> 01:43:45,840
do like this record, but I also just think there's

2294
01:43:45,880 --> 01:43:48,000
a weird So what is the sort of the thing

2295
01:43:48,079 --> 01:43:50,840
that has kind of like grab on because as someone

2296
01:43:50,880 --> 01:43:51,520
who likes the record.

2297
01:43:51,600 --> 01:43:54,479
Speaker 3: I'm not entirely sure I can explender the party.

2298
01:43:56,239 --> 01:43:59,199
Speaker 1: Yeah, because they we've mentioned my levelnce there they are

2299
01:43:59,359 --> 01:44:00,560
for a little while. They've been the sort of like

2300
01:44:00,600 --> 01:44:02,279
little brother band and I'm sure at some point they'll

2301
01:44:02,319 --> 01:44:04,760
got tired of that descriptor. But like they have had

2302
01:44:04,800 --> 01:44:09,039
this sort of like leg up from through them Malevolence Popularities.

2303
01:44:08,520 --> 01:44:09,520
Speaker 3: Also on the same label.

2304
01:44:09,800 --> 01:44:13,279
Speaker 1: Yeah, Malevlence's popularity is obviously skyrockets sort of after after

2305
01:44:13,359 --> 01:44:16,760
COVID and they've had their label and stuff like that,

2306
01:44:16,800 --> 01:44:18,560
and Guilt Trip were like almost one of the flagship

2307
01:44:18,600 --> 01:44:20,720
bands for like you know, the sort of Malevolence family

2308
01:44:20,840 --> 01:44:22,479
and the kind of that side of the industry. Uh,

2309
01:44:22,640 --> 01:44:24,439
this record they've made them move on to road Runner,

2310
01:44:24,640 --> 01:44:26,800
So like some of the you know in bigger, more

2311
01:44:26,920 --> 01:44:30,119
established historic sort of you know, heavy music industry names

2312
01:44:30,439 --> 01:44:32,479
checking in now. And I guess again, after that popularity

2313
01:44:32,560 --> 01:44:34,960
increase that they've had, you would they had a fucking

2314
01:44:35,279 --> 01:44:38,960
added dask Co lab like a month or two ago,

2315
01:44:39,039 --> 01:44:40,439
like how and I know that you know they got

2316
01:44:40,600 --> 01:44:41,000
they got.

2317
01:44:40,920 --> 01:44:43,279
Speaker 2: Picked to replace the Cavalira's like Hellfest on the main

2318
01:44:43,359 --> 01:44:46,600
stage like the other day, like after the Calos had

2319
01:44:46,600 --> 01:44:48,199
to put out Guilt Trip with the band who were

2320
01:44:48,239 --> 01:44:50,840
kind of like plucked to fill in that slot. Like

2321
01:44:52,640 --> 01:44:54,319
it's such a bizarre thing where like this band is

2322
01:44:54,439 --> 01:44:57,439
just everything that is happening, it's going on through Guilt Trip.

2323
01:44:57,760 --> 01:45:00,640
Speaker 1: Yeah, so I suppose, you know, for the record, I

2324
01:45:00,760 --> 01:45:03,239
agree that we should be talking about Guilty for this

2325
01:45:03,319 --> 01:45:05,439
reason because it is a fascinating little phenomenon that's been

2326
01:45:05,479 --> 01:45:07,520
going on for a couple of years. I suppose what

2327
01:45:07,600 --> 01:45:11,039
we're looking for to see if they have something like

2328
01:45:11,079 --> 01:45:14,640
a real breakout record, you know, like something that musically

2329
01:45:15,520 --> 01:45:18,920
comes through and you know, makes that statement for them

2330
01:45:19,600 --> 01:45:21,880
in the way that you would hope with all of that, Sam,

2331
01:45:22,119 --> 01:45:23,119
what do you think about that?

2332
01:45:23,720 --> 01:45:23,760
Speaker 3: So?

2333
01:45:24,399 --> 01:45:27,359
Speaker 2: I think with this album, I do like sound quite

2334
01:45:27,359 --> 01:45:30,279
a bit because it's just kind of like Miimto's hardcore,

2335
01:45:30,319 --> 01:45:32,920
but it also, you know, it worships out the Auto

2336
01:45:33,000 --> 01:45:34,479
machine Head quite a bit, which I think is a

2337
01:45:34,520 --> 01:45:37,119
fun flavored to kind of like filter into your hardcore.

2338
01:45:38,439 --> 01:45:40,039
But at the same time, this to me, like als

2339
01:45:40,159 --> 01:45:41,840
is going to go Yeah, this is just as kind

2340
01:45:41,880 --> 01:45:45,439
of like glossy and shiny and wide screen as hardcore

2341
01:45:45,520 --> 01:45:48,159
and sound while still being hardcore. So I guess that's

2342
01:45:48,199 --> 01:45:51,159
the reason why it's really crossed over. I think there

2343
01:45:51,199 --> 01:45:53,680
are like a couple of really really cool tracks on this,

2344
01:45:54,439 --> 01:45:56,239
and you know when it comes to just like big

2345
01:45:56,439 --> 01:45:59,479
Larry groovy hardcore that makes you want a mosh every

2346
01:45:59,560 --> 01:46:01,319
song of this like it's that.

2347
01:46:02,000 --> 01:46:03,600
Speaker 3: Yeah. I think this is a step up for Guilt Trip.

2348
01:46:03,600 --> 01:46:06,319
Speaker 2: I think this is probably their strongest record, but I'm

2349
01:46:06,359 --> 01:46:09,119
still gonna wait for that kind of like that's exactly

2350
01:46:09,199 --> 01:46:13,840
why they are the band becoming hugely popular because I like, again,

2351
01:46:13,880 --> 01:46:15,720
I do like this record, but I'm still gonna wait

2352
01:46:15,800 --> 01:46:18,600
for it to kind of like have that holy shit moment.

2353
01:46:18,800 --> 01:46:21,479
Speaker 1: Yeah, I mean they might have done it. I don't know.

2354
01:46:21,720 --> 01:46:25,439
They're definitely a we cover Davidian Live coded hardcore band.

2355
01:46:26,079 --> 01:46:27,239
Speaker 3: They haven't covered Davidian Live.

2356
01:46:27,279 --> 01:46:29,319
Speaker 2: There's an amazing video of someone getting drop kicked off

2357
01:46:29,319 --> 01:46:32,000
of some guy stage Potato in so someone drop kicks

2358
01:46:32,039 --> 01:46:32,600
them off the stage.

2359
01:46:32,840 --> 01:46:35,359
Speaker 3: I'll find that video because it's amazing. But they have

2360
01:46:35,760 --> 01:46:36,560
Davidian Live yet.

2361
01:46:36,640 --> 01:46:38,039
Speaker 1: Well you can tell that from the record, because I

2362
01:46:38,079 --> 01:46:39,960
would say it's entire personality, Like they've got the little

2363
01:46:40,000 --> 01:46:43,239
harmonics and stuff, the clean intro at the very start,

2364
01:46:43,840 --> 01:46:47,279
has that like darker, spookier end of nineties machine Head,

2365
01:46:47,319 --> 01:46:48,720
you know, cleaner stuff. And I can get down with

2366
01:46:48,760 --> 01:46:50,520
bands embracing that, right because I you know, I love

2367
01:46:50,600 --> 01:46:54,680
that sound obviously, and there's definitely a boisterous attitude that

2368
01:46:54,720 --> 01:46:57,079
I can see being infectious in the live arena, like

2369
01:46:57,199 --> 01:46:59,520
the if this is the Will of God mosh call,

2370
01:46:59,600 --> 01:47:02,560
but in in Blood of Tonement that's hard, that kind

2371
01:47:02,560 --> 01:47:05,039
of thing. I can see that carrying across live. There

2372
01:47:05,079 --> 01:47:07,079
are parts where they use some more clean vocals I

2373
01:47:07,119 --> 01:47:09,800
suppose on this, I think maybe in comparison more so

2374
01:47:09,960 --> 01:47:13,560
to what they've done before. So dirt and Veins have

2375
01:47:13,720 --> 01:47:15,560
these sort of courses through and I guess that's them again.

2376
01:47:15,560 --> 01:47:18,239
The sign is a road runner, being like, we're taking

2377
01:47:18,279 --> 01:47:21,359
this nineties metal influence right, we want to you know,

2378
01:47:21,479 --> 01:47:23,159
carry the flag of some of that you that mid

2379
01:47:23,279 --> 01:47:26,640
nineties road runner, that big metal band type spirit into this.

2380
01:47:26,760 --> 01:47:29,760
So a natural next step when you're making that again

2381
01:47:29,840 --> 01:47:32,000
leap up to the label and everything is to inject

2382
01:47:32,000 --> 01:47:33,159
a little bit that in and there is that kind

2383
01:47:33,159 --> 01:47:37,399
of fear factory ish, you know, like slightly roboticized your

2384
01:47:37,479 --> 01:47:41,720
hardcore chorus melody in there, except not really especially good,

2385
01:47:41,960 --> 01:47:44,920
Like they're so half asked, they don't actually add anything

2386
01:47:45,000 --> 01:47:47,159
to speak of, Like there's no hook in the songs.

2387
01:47:47,239 --> 01:47:50,439
And I don't know how they decided on for your

2388
01:47:50,560 --> 01:47:53,319
big hardcore guest feature on the album, the singer from

2389
01:47:53,399 --> 01:47:56,399
Pod like you could Die better than that for your

2390
01:47:56,439 --> 01:47:59,800
big roadrunner debut good is Yeah, I know, sure what

2391
01:47:59,880 --> 01:48:00,520
the the.

2392
01:48:00,760 --> 01:48:01,439
Speaker 3: Choices there were.

2393
01:48:01,439 --> 01:48:03,920
Speaker 2: Maybe again it's just because that they like the nineties

2394
01:48:04,000 --> 01:48:04,960
or thing and they're bringing a lot of that in

2395
01:48:05,039 --> 01:48:07,279
on the album, and he was like available.

2396
01:48:07,760 --> 01:48:12,079
Speaker 3: But yeah, I mean I'm fine with clean vocals, Like

2397
01:48:15,039 --> 01:48:16,279
I prefer the clean vocals on this.

2398
01:48:16,359 --> 01:48:18,880
Speaker 2: To them being like a whiney, octane core kind of thing.

2399
01:48:18,960 --> 01:48:20,439
If they've done that on this, I would have like

2400
01:48:20,960 --> 01:48:24,119
tuned out. They're kind of like fine but not particularly

2401
01:48:24,680 --> 01:48:28,079
like attention grabbing kind of rock and nineties clean vocal

2402
01:48:28,520 --> 01:48:30,680
find whatever, it is a different flavor you can you

2403
01:48:30,720 --> 01:48:32,720
can develop that and maybe get some natural chorus out

2404
01:48:32,720 --> 01:48:35,560
of it next time. But yeah, I think, like I said,

2405
01:48:35,600 --> 01:48:39,000
this album is like always pretty good. I don't think

2406
01:48:39,039 --> 01:48:41,399
ever does anything that I think it is like outright bad,

2407
01:48:41,479 --> 01:48:45,000
but it just it feels like it hits a ceiling

2408
01:48:45,039 --> 01:48:47,159
pretty quickly and and kind of settles.

2409
01:48:46,800 --> 01:48:49,000
Speaker 3: At that point. Yeah, I.

2410
01:48:50,600 --> 01:48:52,600
Speaker 4: Going in with the context of how popular this band are.

2411
01:48:52,640 --> 01:48:54,279
This the fact we're doing this makes a lot more

2412
01:48:54,319 --> 01:48:57,159
sense because listening to this, it's the one arm this

2413
01:48:57,239 --> 01:48:59,039
month I haven't made any notes for because it would

2414
01:48:59,039 --> 01:49:00,720
have just read like Jack, It would have read like

2415
01:49:00,840 --> 01:49:04,279
fucking the book in the shining, just going machine Head,

2416
01:49:04,279 --> 01:49:06,600
hate breed, hate breed, machine Head, machine Head, machine Head,

2417
01:49:06,640 --> 01:49:11,279
hate breed, like. I mean, yeah, it's for those things.

2418
01:49:11,479 --> 01:49:14,359
It's fine, but it's not even like if you are

2419
01:49:14,439 --> 01:49:17,119
just gonna what's the world like, it's kind of appropriate

2420
01:49:17,159 --> 01:49:21,039
a sound and go, we're gonna write songs in this style. Weirdly,

2421
01:49:21,119 --> 01:49:23,880
the expectation of songcraft is almost higher because you haven't

2422
01:49:23,880 --> 01:49:25,560
got anything else to distracts away from it. So it's

2423
01:49:25,600 --> 01:49:27,680
like if you are just going to go, it's hate breeding,

2424
01:49:27,720 --> 01:49:29,640
machine Head, and we're just doing those two things for

2425
01:49:29,800 --> 01:49:33,640
the thirty minutes of this record plays for fine. I

2426
01:49:34,359 --> 01:49:37,319
everyone that's very agreeable. I'm sure everyone who's interested will

2427
01:49:37,560 --> 01:49:40,520
we'll get along fine with that. But to go over

2428
01:49:40,600 --> 01:49:42,199
the top, it's like you've got to have songs which

2429
01:49:43,439 --> 01:49:46,720
punch through that comparison where you can't just easily go Okay,

2430
01:49:46,760 --> 01:49:48,600
well I've heard, I will be heard, and I've heard

2431
01:49:48,600 --> 01:49:52,279
the video it's and this record, for all the pod

2432
01:49:52,439 --> 01:49:55,000
features in the world, it doesn't it doesn't break through

2433
01:49:55,039 --> 01:49:55,760
that glass ceiling.

2434
01:49:56,279 --> 01:49:57,000
Speaker 3: No, I agree.

2435
01:49:57,119 --> 01:50:00,760
Speaker 1: It's that any of the grace notes that give Back's character,

2436
01:50:01,159 --> 01:50:03,479
like the unpredictable turn of pace, the extra detail in

2437
01:50:03,560 --> 01:50:06,319
a riff, or even a particular atmosphere or a tone

2438
01:50:06,560 --> 01:50:08,720
in the record that makes it theirs. These are the

2439
01:50:08,800 --> 01:50:11,199
things that seem a bit beyond guilt Trip and I

2440
01:50:11,399 --> 01:50:15,079
think about right, yeah, the obvious band comparison Malevolence, how

2441
01:50:15,199 --> 01:50:18,399
much insane personality they have. That's what makes them special.

2442
01:50:18,520 --> 01:50:20,199
In a sea of medical bounds you don't even seem

2443
01:50:20,239 --> 01:50:23,000
to like metal, here come Malevolence with all of these

2444
01:50:23,319 --> 01:50:26,079
crazy fucking things going on in their rifts and this

2445
01:50:26,279 --> 01:50:30,560
like in like absolute Cone and the barbarian of a

2446
01:50:30,680 --> 01:50:34,399
singer and marrying that with you know, hardcore beatdowns, and

2447
01:50:34,520 --> 01:50:36,399
with it a sense of ambition where I remember when

2448
01:50:36,439 --> 01:50:38,640
Malicious Intent came out, which was similarly their third album,

2449
01:50:38,920 --> 01:50:40,760
and that sense of holy shit, they're playing for the

2450
01:50:40,760 --> 01:50:43,039
big leagues here, like they're shooting for the stars. Was

2451
01:50:43,159 --> 01:50:46,039
really invigorating. And I'm not saying that Guilt Trip need

2452
01:50:46,159 --> 01:50:49,079
to start like jamming these choruses into every song or something,

2453
01:50:49,319 --> 01:50:53,039
but any of that interest in basically having any originality

2454
01:50:53,079 --> 01:50:55,319
at all or willingness to push things a bit beyond

2455
01:50:55,439 --> 01:50:58,359
the bog standard doesn't seem to be there with them.

2456
01:50:58,399 --> 01:51:00,640
For a bad two of being signed posted so much

2457
01:51:00,680 --> 01:51:02,680
with this kind of it's going to happen. The thing

2458
01:51:02,800 --> 01:51:05,520
that is head turning with Guilt Trip is how unhead

2459
01:51:05,560 --> 01:51:08,199
turning it is for how big they are. It's not

2460
01:51:08,399 --> 01:51:12,680
as legitimately brutal as a you know, a Jesus piece

2461
01:51:12,760 --> 01:51:14,359
or something we review this year, like that Killing Pace

2462
01:51:14,399 --> 01:51:16,520
record for example, So it doesn't even have that pure

2463
01:51:16,720 --> 01:51:20,319
violence ampac. Instead, it's more like half paying attention at

2464
01:51:20,319 --> 01:51:22,520
a festival when hate breeder on every riff is so

2465
01:51:22,680 --> 01:51:25,000
middle of the road. Every vocal part is exactly what

2466
01:51:25,039 --> 01:51:27,880
you'd imagine your head before hearing it. There's barely any variety.

2467
01:51:27,960 --> 01:51:29,720
It's just the songs that have the limp singing parts

2468
01:51:29,760 --> 01:51:33,239
and the ones that don't. I think it's very safe

2469
01:51:33,520 --> 01:51:36,319
entry level hardcore basically, and is that a bad thing

2470
01:51:36,359 --> 01:51:40,119
to have in the scene, Not at all. Fine, but

2471
01:51:40,199 --> 01:51:41,640
if you've been around the block a couple of times,

2472
01:51:41,680 --> 01:51:44,159
there's basically nothing on this album that leaves a distinct

2473
01:51:44,199 --> 01:51:46,000
impression that would encourage me to return to it.

2474
01:51:47,079 --> 01:51:49,359
Speaker 2: I'm that's fair. I'm very happy to have this album on.

2475
01:51:49,479 --> 01:51:51,520
I'll very happily watch Guilt Trip at festival. There's you know,

2476
01:51:52,000 --> 01:51:54,279
some fun moscols where they even just shout Guilt Trip

2477
01:51:54,319 --> 01:51:55,359
as a moss call at one point.

2478
01:51:55,399 --> 01:51:58,359
Speaker 3: I'm like, cool, that's fun. But I do agree it

2479
01:51:58,520 --> 01:51:59,560
is very ancient level.

2480
01:51:59,800 --> 01:52:03,039
Speaker 2: If people who don't listen to hardcore are gonna get

2481
01:52:03,039 --> 01:52:05,439
to hardcore through Guilt Trip because Guilty again popular in

2482
01:52:05,479 --> 01:52:08,239
that scene, then I'm willing to let give Guilt Trip

2483
01:52:08,279 --> 01:52:10,079
the grace to be that band because I think that

2484
01:52:10,199 --> 01:52:13,920
I think they can from Guilt Ship get into more interesting,

2485
01:52:14,600 --> 01:52:17,199
better bands than if they were, you know, just listening

2486
01:52:17,239 --> 01:52:22,039
to I don't know, Silent Planet or whatever octane core

2487
01:52:22,520 --> 01:52:24,520
band who's on the main stage at download festival.

2488
01:52:24,880 --> 01:52:27,079
Speaker 3: Like. Put Guilty in that position, and I think that

2489
01:52:27,279 --> 01:52:30,239
is a win for at least the music I.

2490
01:52:30,520 --> 01:52:32,159
Speaker 2: Like, because it's gonna get that sort of thing in

2491
01:52:32,199 --> 01:52:35,039
front of people who could then maybe get into something

2492
01:52:35,079 --> 01:52:37,279
more interesting. But at the same time we're talking about

2493
01:52:37,319 --> 01:52:40,600
about them being the intro Harker band, not Loose are

2494
01:52:41,119 --> 01:52:43,159
right there doing being the sort of the interine of

2495
01:52:43,159 --> 01:52:46,000
a hardker band on a much bigger scale with way

2496
01:52:46,079 --> 01:52:49,640
more ambition and craft, So like, do Guilty needs to

2497
01:52:49,640 --> 01:52:50,319
be the inter of a harkerband.

2498
01:52:50,319 --> 01:52:51,479
Speaker 3: It's kind of a bit of an odd one.

2499
01:52:52,039 --> 01:52:53,640
Speaker 2: I just thought it was kind of like an interesting

2500
01:52:53,760 --> 01:52:57,600
kind of like this is happening, Like what is it

2501
01:52:57,760 --> 01:52:59,520
that is many people to go for it?

2502
01:52:59,640 --> 01:53:01,319
Speaker 3: Maybe just the meat and potatoes.

2503
01:53:01,800 --> 01:53:04,039
Speaker 2: People want a mosh kind of thing, and maybe Guilty

2504
01:53:04,079 --> 01:53:05,880
we're just kind of like serving them up at such

2505
01:53:06,199 --> 01:53:09,399
a decent rate that people are so happy to go

2506
01:53:09,439 --> 01:53:11,520
along with it. Because again you see videos they are

2507
01:53:11,600 --> 01:53:13,880
pulling crowds at these festivals, and these crowds are going

2508
01:53:13,960 --> 01:53:17,680
hard for it. So it is working, even if it

2509
01:53:17,760 --> 01:53:21,000
isn't doing anything to make someone maybe a bit more

2510
01:53:21,000 --> 01:53:22,720
of sending here get really excited.

2511
01:53:22,800 --> 01:53:24,479
Speaker 1: Yeah, it's just a bit like being told like, if

2512
01:53:24,479 --> 01:53:26,960
you heard this thing that's really popping off chips, you

2513
01:53:27,000 --> 01:53:30,079
should get in on chips really early. They're crazy, Like

2514
01:53:30,239 --> 01:53:32,399
I'm not mad about having the bat in the scene,

2515
01:53:32,399 --> 01:53:34,800
of course, I'm not but I just like, where's the quality,

2516
01:53:34,840 --> 01:53:38,319
you know, where's the magic? Anyway? Our last three albums

2517
01:53:38,600 --> 01:53:41,359
is why we move it to underground metal, and this

2518
01:53:42,119 --> 01:53:44,680
is the album of the bunch where the most disbelief

2519
01:53:45,439 --> 01:53:48,439
that is here, not a second Converge album, not the

2520
01:53:48,479 --> 01:53:50,680
first Mars that this album eight years. It's the first

2521
01:53:50,840 --> 01:53:55,399
Warning album in twenty years. Rituals of Shame the third

2522
01:53:55,600 --> 01:54:00,359
Warning album ever. The UK doom band led by songwriter

2523
01:54:00,439 --> 01:54:03,520
Patrick Walker, who in two thousand and six released their

2524
01:54:03,520 --> 01:54:06,560
album Watching from a Distance that many people would put

2525
01:54:06,600 --> 01:54:09,079
forward as the possible greatest doom metal album of all time,

2526
01:54:09,439 --> 01:54:14,479
a massive formative influence on everyone from Pallbearer to Twitching Tongues.

2527
01:54:15,000 --> 01:54:17,520
Patrick has described how that phenomenon grew like at the

2528
01:54:17,600 --> 01:54:19,840
time in two thousand and six, that album was not

2529
01:54:20,000 --> 01:54:22,399
the monolith that it is today, and even as someone

2530
01:54:22,439 --> 01:54:25,880
who got into his music in the twenty tens, even

2531
01:54:25,920 --> 01:54:27,960
I feel like I've somewhat watched it grow in real

2532
01:54:28,079 --> 01:54:30,479
time from a relatively cult thing when I first heard

2533
01:54:30,520 --> 01:54:34,560
of it into a unavoidable, immovable mountain, like one of

2534
01:54:34,600 --> 01:54:37,439
the albums that truly carries with it this aura. I

2535
01:54:37,479 --> 01:54:39,399
think in a way it has become bigger than its creators.

2536
01:54:39,680 --> 01:54:42,039
That album is one of those watching from a distance,

2537
01:54:42,159 --> 01:54:45,720
is a symbol of what it means to absolutely pull

2538
01:54:45,840 --> 01:54:48,920
your heart out for everyone to see through the medium

2539
01:54:49,119 --> 01:54:51,399
of heavy music expression. We covered all of this on

2540
01:54:51,439 --> 01:54:53,560
an album club last year ahead of them performing that

2541
01:54:53,600 --> 01:54:55,880
album at Damnation, but we did know by the time

2542
01:54:55,960 --> 01:54:59,119
of that performance that the unthinkable was coming and we'd

2543
01:54:59,119 --> 01:55:02,920
beget a new material because for years, Warning we're in

2544
01:55:03,000 --> 01:55:05,159
that category or of what you might term something like

2545
01:55:05,239 --> 01:55:07,720
exhibition bands where they play live and you could see

2546
01:55:07,720 --> 01:55:10,359
the classic material, but no one's actually thinking there's any

2547
01:55:10,359 --> 01:55:13,279
expectation of there being new material, like Emperor being the

2548
01:55:13,359 --> 01:55:16,880
Quid essential example, or even Slayer now and instead Patrick

2549
01:55:17,000 --> 01:55:20,600
was releasing albums with his project forty what Son. But

2550
01:55:21,760 --> 01:55:23,960
we're almost getting to a stage where there aren't actually

2551
01:55:24,039 --> 01:55:26,800
many bands left who could still come back and release

2552
01:55:26,920 --> 01:55:30,279
music at this stage. But of those ones, Warning was

2553
01:55:30,319 --> 01:55:31,119
one of the odder ones.

2554
01:55:32,760 --> 01:55:35,680
Speaker 4: Yeah, because in that interim period you always had forty

2555
01:55:35,720 --> 01:55:39,039
what Son, who released four like they weren't super active,

2556
01:55:39,079 --> 01:55:41,880
but across that time away you had four forty what

2557
01:55:42,039 --> 01:55:48,000
Sun records, which stylistically meaningfully distinct from Warning absolutely, but it.

2558
01:55:48,600 --> 01:55:50,279
It made you more like, what is it that Patrick

2559
01:55:50,319 --> 01:55:53,479
Walker needs to purge? Where he needs to go back

2560
01:55:54,159 --> 01:55:56,159
to Warning because he has this other project where he's

2561
01:55:56,399 --> 01:55:58,760
you know, the Master of the Affairs and it's not

2562
01:55:59,319 --> 01:56:01,479
as popular as well known as one who are a

2563
01:56:01,520 --> 01:56:05,560
more popular band certainly these days. But you know, he's

2564
01:56:05,560 --> 01:56:08,560
been doing fantastic work elsewhere. What's is it that's drawn

2565
01:56:08,640 --> 01:56:11,960
him back to his initial project which ended in I

2566
01:56:12,000 --> 01:56:13,840
don't know about the personal level, but musically you can

2567
01:56:13,880 --> 01:56:17,000
just hear it on that record like such a you know,

2568
01:56:17,079 --> 01:56:21,520
you know, it's like an exorcism of pain and melancholy

2569
01:56:21,680 --> 01:56:24,439
on the album. It just like you say, it's one

2570
01:56:24,479 --> 01:56:28,039
of those which you didn't even debate it in your head.

2571
01:56:28,079 --> 01:56:30,840
It just it never seemed possible. It's it's as Mad

2572
01:56:30,880 --> 01:56:32,640
Emperor's a great example. If the Empress said were doing

2573
01:56:32,640 --> 01:56:35,960
a new album next year, you go book obviously brilliant,

2574
01:56:36,199 --> 01:56:37,079
but why.

2575
01:56:38,359 --> 01:56:41,600
Speaker 1: Yeah, I agree. I think in a way, having that

2576
01:56:41,800 --> 01:56:46,159
little obligation to do it right, because Patrick already having

2577
01:56:46,199 --> 01:56:49,520
a creative outlet on the go, I think that lack

2578
01:56:49,560 --> 01:56:52,479
of obligation to even like people expecting you to make

2579
01:56:52,479 --> 01:56:56,000
a new album kind of makes the album better, and

2580
01:56:56,119 --> 01:56:58,119
it gave me more hope for it because it's not

2581
01:56:58,319 --> 01:57:00,159
like he you know, has not been making music. We've

2582
01:57:00,159 --> 01:57:01,359
got that oh my god, can he still do it

2583
01:57:01,439 --> 01:57:04,760
up twenty years away? Instead, it feels like you just

2584
01:57:05,000 --> 01:57:06,760
described in terms of like what would bring him back

2585
01:57:06,800 --> 01:57:09,000
to this when it was announced we got Warning back,

2586
01:57:09,680 --> 01:57:13,640
I just naturally went Patrick has to have something to like,

2587
01:57:13,760 --> 01:57:16,800
something's formulating with that guy, like something he has made

2588
01:57:16,840 --> 01:57:20,520
a decision that whatever he has been you know, working

2589
01:57:20,600 --> 01:57:23,560
on and wants to express, he feels it's appropriate to

2590
01:57:23,640 --> 01:57:26,640
do that with warning rather than forty what Sun, which

2591
01:57:26,720 --> 01:57:28,720
kind of does prompt the question are you okay? But

2592
01:57:28,840 --> 01:57:32,880
it does it feels totally on their terms rather than

2593
01:57:32,960 --> 01:57:36,199
like conceding to some demand that they come back or whatever.

2594
01:57:36,359 --> 01:57:38,960
You know, And this album it got'll be thinking about

2595
01:57:38,960 --> 01:57:42,880
the phenomenon of like specifically underground metal comeback or reunion

2596
01:57:42,880 --> 01:57:45,479
albums after really long periods away following up you know,

2597
01:57:45,600 --> 01:57:49,640
seminal records or legacies, and how disproportionately many of them

2598
01:57:49,720 --> 01:57:52,479
actually do live up to expectations in this scene, like

2599
01:57:52,520 --> 01:57:55,720
we are extraordinarily lucky as a genre to have as

2600
01:57:55,800 --> 01:57:58,199
many of these stories over the last fifteen twenty years

2601
01:57:58,479 --> 01:58:01,279
as we do. But all of those, I think this

2602
01:58:01,399 --> 01:58:05,359
album is it has one of the bigger challenges in

2603
01:58:05,520 --> 01:58:09,960
terms of having one specific albatross over their head. Maybe

2604
01:58:10,000 --> 01:58:12,000
At the Gates is comparable with having to follow up

2605
01:58:12,039 --> 01:58:15,520
Slot with the Soul. But Warning, they're not just following

2606
01:58:15,600 --> 01:58:17,359
up like, oh, it's a new Warning album. They're following

2607
01:58:17,439 --> 01:58:20,239
up Watching from a Distance, like one of, like I said,

2608
01:58:20,279 --> 01:58:25,520
the most symbolic, reverential, you know, records ever made in

2609
01:58:25,640 --> 01:58:28,279
this style. And like when this album was first announced,

2610
01:58:28,279 --> 01:58:30,079
I was having a conversation with it about with a

2611
01:58:30,159 --> 01:58:33,359
friend and about those expectations and how this album could

2612
01:58:33,399 --> 01:58:36,319
possibly live up to an album that people have, you know,

2613
01:58:36,439 --> 01:58:38,960
all those years of in built emotional relationships with and

2614
01:58:39,039 --> 01:58:40,319
he was like, yeah, that's an album I've listened to

2615
01:58:40,399 --> 01:58:43,039
after every breakup I've ever had. Like, no matter how

2616
01:58:43,119 --> 01:58:45,680
good this album is, it's going to be impossible for

2617
01:58:45,760 --> 01:58:49,239
it to be what Watching is from a Distance already

2618
01:58:49,359 --> 01:58:50,560
means to people, you know what I mean, It's that

2619
01:58:50,640 --> 01:58:53,479
classic case, that classic story. So I tried to go

2620
01:58:53,640 --> 01:58:56,960
into this with as sort of blank slate a mindset

2621
01:58:57,279 --> 01:58:59,760
as I could, which is of course essentially impossible but

2622
01:59:01,119 --> 01:59:06,680
I think this album is just sublime, like just wonderful.

2623
01:59:07,000 --> 01:59:09,960
It is the gift as a Warning fan that we

2624
01:59:10,640 --> 01:59:15,119
didn't imagine even' even entertain getting, and it is phenomenal.

2625
01:59:15,159 --> 01:59:16,880
The reason I sort of like that particular context out

2626
01:59:16,960 --> 01:59:19,680
is it's phenomenal that with all of that sort of baggage,

2627
01:59:20,359 --> 01:59:25,000
how effortlessly my experience with it as a listener just

2628
01:59:25,439 --> 01:59:27,880
slipped into like, Okay, this is the new Warning album.

2629
01:59:28,279 --> 01:59:32,359
Speaker 4: You've put that absolutely spar on. It's amazing how effortless

2630
01:59:32,479 --> 01:59:35,159
this record was, because you're all the ways of expectation

2631
01:59:35,279 --> 01:59:39,680
and even the stuff which maybe your thinking brain is

2632
01:59:39,720 --> 01:59:41,359
trying to quash down and go, you know, it's been

2633
01:59:41,399 --> 01:59:43,520
twenty years and even though patrich Walker, you know he's

2634
01:59:43,520 --> 01:59:44,880
still got the juice and it's all this, that and

2635
01:59:44,920 --> 01:59:48,279
the other. That album is a time and a place.

2636
01:59:48,720 --> 01:59:51,399
It's a circumstance that the legend of it, nothing's ever

2637
01:59:51,439 --> 01:59:54,159
going to come close. So just park that and enjoy

2638
01:59:54,239 --> 01:59:57,039
this album in its own terms. That's very hard to

2639
01:59:57,079 --> 01:59:59,560
do when Warning sound as distinct as they do, even

2640
01:59:59,600 --> 02:00:01,319
from four see What's Sun Like, you know where you're

2641
02:00:01,319 --> 02:00:04,119
listening to Warning, when you're listening to Warning and when

2642
02:00:04,199 --> 02:00:07,399
the noise comes in for the first time, I was

2643
02:00:07,560 --> 02:00:12,720
just swept off my feet, just their guitar tone, Patrick

2644
02:00:12,760 --> 02:00:15,319
Walker's voice, the way their rhythm section moves, even though

2645
02:00:15,319 --> 02:00:18,680
it's not the same lineup as on that record. You're right,

2646
02:00:18,760 --> 02:00:23,239
it just it washes in and all the all my

2647
02:00:23,359 --> 02:00:27,319
critical faculties for the duration of this record, they just

2648
02:00:27,359 --> 02:00:32,000
evaporate because it's so emotionally stirring, so powerful, so distinct

2649
02:00:32,159 --> 02:00:34,439
is the thing that it is. You kind of have

2650
02:00:34,520 --> 02:00:35,319
to just surrender to it.

2651
02:00:35,880 --> 02:00:36,039
Speaker 3: Yeah.

2652
02:00:36,079 --> 02:00:38,640
Speaker 1: I mean, even just hearing them with like a you know,

2653
02:00:38,720 --> 02:00:41,840
pretty perfect modern day production job rather than the particular

2654
02:00:41,960 --> 02:00:45,520
like dinginess of watching for distance was sort of somewhat

2655
02:00:45,560 --> 02:00:47,640
surreal because you've never heard them sound like that, you know,

2656
02:00:47,840 --> 02:00:49,600
But I very very quickly just went okay, yeah, this

2657
02:00:49,680 --> 02:00:52,760
sounds natural. And I think it does help to have

2658
02:00:52,920 --> 02:00:55,039
followed forty what son as well, because you've not had

2659
02:00:55,159 --> 02:00:58,399
a you know, a twenty year you know gap in

2660
02:00:58,479 --> 02:01:00,199
the resume where you wonder where that guy was. It's

2661
02:01:00,239 --> 02:01:02,640
like you've if you followed him in real time. There

2662
02:01:02,760 --> 02:01:05,079
is that through line even across the two projects. And

2663
02:01:05,600 --> 02:01:07,760
you know, the musical basis of this is really so

2664
02:01:07,960 --> 02:01:10,920
clearly Warning in that it is like doom metal rift

2665
02:01:11,079 --> 02:01:13,760
based rather than so kind of open chord based, you know.

2666
02:01:14,359 --> 02:01:17,439
But like, we got to scent this album the day

2667
02:01:17,479 --> 02:01:19,479
that they released the first single from it, and I

2668
02:01:19,680 --> 02:01:21,640
just went straight to putting the album on rather listen

2669
02:01:21,680 --> 02:01:24,119
to that track. So the first notes I heard of

2670
02:01:24,199 --> 02:01:27,479
this were the opening title track and just like I'm

2671
02:01:27,479 --> 02:01:29,880
watching from a distance, along with basically other Patrick Walker

2672
02:01:29,920 --> 02:01:33,000
album I've ever heard. But the second his very first

2673
02:01:33,079 --> 02:01:36,199
vocal line comes in, and it's that were the shadows,

2674
02:01:36,479 --> 02:01:41,760
that high piercing through the darkness voice. It's it's that

2675
02:01:42,600 --> 02:01:44,439
sucker punch while being sublime.

2676
02:01:44,640 --> 02:01:44,800
Speaker 5: You know.

2677
02:01:44,920 --> 02:01:48,479
Speaker 1: It's like the sensation of Warning hits you so squarely

2678
02:01:48,600 --> 02:01:51,000
in the chest, but with something just so like, you know,

2679
02:01:51,439 --> 02:01:55,680
transcendent about it. There's this incredible sorrow that feels so

2680
02:01:55,880 --> 02:01:58,520
good essentially like and wraps you in it like a blanket.

2681
02:01:58,840 --> 02:02:01,760
Engineering wise, is sound is like exactly on point, because

2682
02:02:01,760 --> 02:02:04,680
Warning's music is so sparse. They're they're you know, they're

2683
02:02:04,680 --> 02:02:07,520
not a doom metal band who overwhelm me with like

2684
02:02:07,760 --> 02:02:10,079
sonic weight. Like listen to this tone, all this fuzz

2685
02:02:10,159 --> 02:02:14,000
filling every gap. It's deliberately minimalist, and there you have

2686
02:02:14,199 --> 02:02:17,279
to make every stroke on the guitar and on the

2687
02:02:17,359 --> 02:02:19,800
drums count, and it's a really beautiful sounding record. I

2688
02:02:19,840 --> 02:02:22,640
always have the sense with warning riffs that they're heavy,

2689
02:02:22,720 --> 02:02:24,239
but they often leave off of these kind of like

2690
02:02:24,399 --> 02:02:27,199
unresolved cadences, so they kind of hang in the air

2691
02:02:27,279 --> 02:02:29,560
and there's always this unresolved tension to them despite how

2692
02:02:29,600 --> 02:02:31,840
sparse they are, and then maybe a little while later

2693
02:02:31,880 --> 02:02:33,239
in the song it will be resolved. Like the first

2694
02:02:33,279 --> 02:02:35,479
riff in Richard's A Shame really hits that feeling for me,

2695
02:02:35,680 --> 02:02:37,800
and then five minutes later on the I Can't Close

2696
02:02:37,880 --> 02:02:41,359
my Eyes to It section, it brings that like counterwinging,

2697
02:02:41,760 --> 02:02:43,840
you know, sort of stability to it. And just like

2698
02:02:43,920 --> 02:02:46,199
his other albums, you know, the songs wander, they take

2699
02:02:46,279 --> 02:02:48,359
the scenic roots to their destination, and a big part

2700
02:02:48,399 --> 02:02:50,600
of the pleasure is essentially the feeling that these songs

2701
02:02:50,680 --> 02:02:54,359
are living organisms that have their own, you know, their

2702
02:02:54,399 --> 02:02:56,800
own intentions, their own way of approaching things. But when

2703
02:02:56,840 --> 02:02:59,479
they eventually decide that they're reaching the point where they're

2704
02:02:59,479 --> 02:03:03,279
gonna bring it home, no one does the bridge slash

2705
02:03:03,359 --> 02:03:05,439
outro like Patrick Walker. And to go back to that

2706
02:03:05,520 --> 02:03:07,720
title track, and it's that vocal line that seems to

2707
02:03:07,840 --> 02:03:10,800
like tumble out with him, like it's carrying over the

2708
02:03:10,920 --> 02:03:12,640
end of the line, almost just all out of him

2709
02:03:12,680 --> 02:03:15,840
in one go. That hit me for the first time

2710
02:03:15,960 --> 02:03:17,479
in the way that Warning songs can do, you know,

2711
02:03:17,560 --> 02:03:21,159
Like it's just so impactful. And when that happened, I

2712
02:03:21,279 --> 02:03:22,800
knew this album was going to be okay, you know

2713
02:03:22,800 --> 02:03:23,359
what I mean.

2714
02:03:24,479 --> 02:03:27,960
Speaker 4: Fully, And one thing that I do think maybe has

2715
02:03:28,199 --> 02:03:31,359
technically improved in the absence of Warning Records is Patrick

2716
02:03:31,399 --> 02:03:33,800
has become a better and more confident vocalist in terms

2717
02:03:33,840 --> 02:03:38,359
of his range. Like, yeah, obviously we've talked at length

2718
02:03:38,399 --> 02:03:42,399
in the ALM Club about the unbelievable emotional weight he's

2719
02:03:42,439 --> 02:03:44,720
able to communicate on that record, but that just the

2720
02:03:44,800 --> 02:03:47,920
confidence in his voice is present on this record where

2721
02:03:47,960 --> 02:03:50,119
it's not on that album, And maybe that's better suited

2722
02:03:50,159 --> 02:03:52,279
to its mood, but it means that in those moments

2723
02:03:52,279 --> 02:03:55,119
you're describing where it really lifts, which it almost every

2724
02:03:55,159 --> 02:03:57,359
track on this record, the last few minutes where it

2725
02:03:57,520 --> 02:04:00,159
really takes flying, it opens up and it's it's the

2726
02:04:00,239 --> 02:04:03,800
sun cracks through the clouds for the first time. He's

2727
02:04:03,880 --> 02:04:06,359
so much better equipped to do that now then maybe

2728
02:04:06,399 --> 02:04:09,479
he even was on You know, I think I think

2729
02:04:09,479 --> 02:04:11,079
it might be the best do metal album of all time.

2730
02:04:11,159 --> 02:04:13,479
But if there's one thing which I might even say

2731
02:04:13,520 --> 02:04:15,319
this album improves on compared to that one, it's the

2732
02:04:15,439 --> 02:04:18,279
moments like that he is on the form of his

2733
02:04:18,439 --> 02:04:20,439
life on this record, not just in the rifts, not

2734
02:04:20,520 --> 02:04:22,960
just in the compositions or anything, but pure just in

2735
02:04:23,079 --> 02:04:27,079
the voice, if nothing else, he is smashing out the

2736
02:04:27,119 --> 02:04:30,039
park and the way that he creates these natural mood

2737
02:04:30,079 --> 02:04:32,199
shifts just by opening up his voice a bit more.

2738
02:04:33,399 --> 02:04:35,600
It means that these songs, which you're right, are sparse

2739
02:04:35,920 --> 02:04:40,960
and I wouldn't necessarily difficult, but like goes slower than

2740
02:04:41,000 --> 02:04:44,359
you think they should go. They have so much depth though,

2741
02:04:44,439 --> 02:04:46,640
even when when if nothing happens for nine seconds at

2742
02:04:46,680 --> 02:04:49,399
a time, you're still recovering from the last thing that happened,

2743
02:04:49,399 --> 02:04:52,920
there's still something to pick out in the in the

2744
02:04:53,000 --> 02:04:57,039
tapestry almost it's and You're right from you get it

2745
02:04:57,079 --> 02:04:58,439
from the first song. For me, it's one of the

2746
02:04:58,520 --> 02:04:59,960
best songs of the year, the title track, and its

2747
02:05:00,159 --> 02:05:02,199
probably my favorite song of the record. I don't know

2748
02:05:02,239 --> 02:05:05,279
if that's just a sequencing thing because it's every time

2749
02:05:05,279 --> 02:05:08,800
I put this record on, it's so overwhelming. But the

2750
02:05:08,920 --> 02:05:12,880
band had just on totally spellbinding form right from the off.

2751
02:05:13,479 --> 02:05:16,039
Speaker 1: Yeah, and I agree that Patrick is putting in one

2752
02:05:16,079 --> 02:05:18,720
of his best performances. Like on its tail you get Stations,

2753
02:05:19,199 --> 02:05:22,640
which is so fucking sad, and that verse melody is

2754
02:05:22,720 --> 02:05:24,760
crushing and it just glides along on the sort of

2755
02:05:24,840 --> 02:05:27,960
river of tragedy. But exactly like you're saying, the way

2756
02:05:28,119 --> 02:05:30,319
his voice just like cuts through when he really lifts

2757
02:05:30,359 --> 02:05:32,199
on it, and halfway through you get that again, that

2758
02:05:32,279 --> 02:05:35,199
sucker punch moment with that air to night. There's nothing

2759
02:05:35,239 --> 02:05:36,640
that can reach me, you know, in the world outside

2760
02:05:36,720 --> 02:05:40,319
that part. Every moment like that, it makes every sort

2761
02:05:40,319 --> 02:05:43,000
of you know, beat you've taken along the journey absolutely

2762
02:05:43,039 --> 02:05:45,760
worth it. Sam, you are I was gonna say more

2763
02:05:45,800 --> 02:05:48,439
of a neutral participant to this, like your impression of

2764
02:05:48,439 --> 02:05:49,880
watching from a distance when we did it was like,

2765
02:05:49,920 --> 02:05:51,840
fuck me, this is bleak, but not necessarily one of

2766
02:05:51,880 --> 02:05:54,000
your favorite albums we've ever done, which is fine. And

2767
02:05:54,079 --> 02:05:56,039
you know, I'm not expecting you to become a full

2768
02:05:56,079 --> 02:05:59,720
blown comfort as much as Warning hilariously have become a

2769
02:05:59,760 --> 02:06:03,319
bad with real name recognition. In the hardcore world just

2770
02:06:03,479 --> 02:06:07,039
through being unrelentingly sad as fuck, just bite having nothing

2771
02:06:07,079 --> 02:06:08,840
to do with it. They're on hard Law this week,

2772
02:06:08,960 --> 02:06:10,840
Like I think the day this episode out as well,

2773
02:06:10,880 --> 02:06:14,439
which I can't wait to listen to. You've been evasive

2774
02:06:15,159 --> 02:06:16,119
going into this record.

2775
02:06:17,439 --> 02:06:19,479
Speaker 3: I think the distance I having that album is fantastic.

2776
02:06:20,079 --> 02:06:23,880
I have like like kept that album quietly secretly.

2777
02:06:23,920 --> 02:06:26,920
Speaker 2: When I've gone back, I think back to that here

2778
02:06:27,000 --> 02:06:29,760
I am wide open ber and and I die inside

2779
02:06:29,760 --> 02:06:32,960
because that is as perfect as music gets basically at

2780
02:06:32,960 --> 02:06:35,520
the moment in that song, and I'm like, fuck yeah,

2781
02:06:35,560 --> 02:06:36,000
if that.

2782
02:06:36,119 --> 02:06:38,199
Speaker 3: That that's what then? Then like, because that was that

2783
02:06:38,239 --> 02:06:38,760
I kept going.

2784
02:06:38,680 --> 02:06:40,079
Speaker 2: Back to when we did it anyway, I was like,

2785
02:06:40,159 --> 02:06:42,279
that is you know the bit on the album, and

2786
02:06:42,399 --> 02:06:44,119
it's what can going back to watching the Distance and

2787
02:06:44,159 --> 02:06:45,600
did you come out to be like this.

2788
02:06:45,680 --> 02:06:46,520
Speaker 3: SAP is brilliant.

2789
02:06:46,960 --> 02:06:49,319
Speaker 2: Ask me how I feel about this album Rituals of

2790
02:06:49,399 --> 02:06:52,239
Shane in a couple months time, once I've listened to

2791
02:06:52,319 --> 02:06:55,039
it staring outside a kind of like rainy.

2792
02:06:54,840 --> 02:07:00,319
Speaker 3: Autumn day window. But I do quite like this for me.

2793
02:07:00,520 --> 02:07:01,600
My problem right now is.

2794
02:07:03,359 --> 02:07:08,319
Speaker 2: As the untrained ear for Warning, it is quite similar

2795
02:07:08,359 --> 02:07:10,840
to watching the Distance, but doesn't have the moments of

2796
02:07:11,000 --> 02:07:14,840
like true magic that that album has. I think Stations

2797
02:07:15,039 --> 02:07:16,560
is the best song on the record. I think, like

2798
02:07:16,720 --> 02:07:18,760
like Watching Distance track two. I don't know what it

2799
02:07:18,840 --> 02:07:20,520
is about Warning albums and like track two for me,

2800
02:07:20,640 --> 02:07:24,439
but they they come alive, like you have this really sad,

2801
02:07:24,600 --> 02:07:26,359
drawn out opener that kind of lures in the world,

2802
02:07:26,359 --> 02:07:27,680
and then track two is where they kind of like

2803
02:07:28,359 --> 02:07:30,920
you're in now, let the magic happen. I think like

2804
02:07:31,039 --> 02:07:36,199
Stations is incredible. Holding on Cradle to the Bruised Black Skies,

2805
02:07:36,399 --> 02:07:37,560
the one was like, what.

2806
02:07:37,600 --> 02:07:40,800
Speaker 3: Does that mean? It's poetry, not a lot, but like

2807
02:07:41,000 --> 02:07:41,640
it is Proba.

2808
02:07:41,520 --> 02:07:45,319
Speaker 2: Yeah, I mean it's pro in his delivery. Like I

2809
02:07:45,359 --> 02:07:48,359
do think it's interesting that like this album sounding a

2810
02:07:48,439 --> 02:07:50,720
bit more put together than Watching with Distance makes me

2811
02:07:50,840 --> 02:07:53,039
like it a bit less, Like I mean, Watching this

2812
02:07:53,159 --> 02:07:58,239
has been so uncompromisingly raw in every facet makes that

2813
02:07:58,720 --> 02:08:01,680
that album again Aura all those things you want to

2814
02:08:01,720 --> 02:08:04,359
say that Adam has it all and right now this

2815
02:08:04,439 --> 02:08:07,920
time doesn't quite have the same impact for me. But

2816
02:08:08,039 --> 02:08:10,680
I think if you have been a Warning fan waiting

2817
02:08:11,079 --> 02:08:14,720
for someone like this, more of Warning doing their very

2818
02:08:14,880 --> 02:08:16,640
I think like again, like as a kind of.

2819
02:08:16,640 --> 02:08:18,600
Speaker 3: Again a bit more casual. I mean, Warning have a

2820
02:08:18,760 --> 02:08:21,640
very distinct sound within doom metal.

2821
02:08:21,760 --> 02:08:25,479
Speaker 2: That the kind of the sadness, the poetry, the wobbling

2822
02:08:25,600 --> 02:08:28,720
sheep like delivery, that like piren Slates for all my

2823
02:08:28,800 --> 02:08:30,960
pop punk emo bands that do it, and that Patrick

2824
02:08:30,960 --> 02:08:32,920
Walker just does it in a slightly different guys and

2825
02:08:32,960 --> 02:08:33,880
suddenly it's the best together.

2826
02:08:34,640 --> 02:08:36,640
Speaker 3: Like I am slightly joking, So I don think he

2827
02:08:36,720 --> 02:08:41,239
is a very he can sing very he is a singer. No, no,

2828
02:08:41,560 --> 02:08:43,159
I think he is a fantastic vocalist.

2829
02:08:43,159 --> 02:08:45,880
Speaker 2: I think like it's funny how like not funny, like

2830
02:08:46,000 --> 02:08:48,239
maybe one word, but he is so hysterical points in

2831
02:08:48,279 --> 02:08:51,159
this album in the kind of like drama and the

2832
02:08:51,239 --> 02:08:54,560
way his voice is shaking, and it's like, dude, it

2833
02:08:54,680 --> 02:08:57,399
can't be that bad. Can't be that bad, surely not,

2834
02:08:58,239 --> 02:09:01,359
but it's so buy it as him putting on an act.

2835
02:09:01,399 --> 02:09:05,239
I think he is clearly exercising some intense pain when

2836
02:09:05,279 --> 02:09:07,800
he is singing and Warning. There's not a lot for

2837
02:09:07,840 --> 02:09:09,920
me talking about individual songs, but outside I think Station

2838
02:09:10,079 --> 02:09:12,359
being the best track. I think Teacher is like quite

2839
02:09:12,520 --> 02:09:15,119
very really good closed as well, but as a vibe piece,

2840
02:09:15,239 --> 02:09:18,319
I do think this is pretty good so far, and

2841
02:09:18,439 --> 02:09:21,359
when I've lived a bit longer, I may come back

2842
02:09:21,399 --> 02:09:22,880
and say I realized a lot more.

2843
02:09:23,199 --> 02:09:24,399
Speaker 3: But I wanted to be.

2844
02:09:24,399 --> 02:09:26,319
Speaker 2: Evasive because I didn't want to like give away that

2845
02:09:26,399 --> 02:09:28,239
I'm like, I'm a warning convert. I wanted to have

2846
02:09:28,239 --> 02:09:29,520
you a bit worried that this is going to be

2847
02:09:29,600 --> 02:09:33,640
me cooping on your party again. But I can't do

2848
02:09:33,760 --> 02:09:36,239
it to this album. I think this album is too

2849
02:09:36,439 --> 02:09:40,039
well crafted for me to kind of be negative about it,

2850
02:09:40,039 --> 02:09:43,039
even if I'm not totally like all in and I'm

2851
02:09:43,039 --> 02:09:45,039
not going to say this is no the second best

2852
02:09:45,039 --> 02:09:46,000
album on RTE your music.

2853
02:09:46,079 --> 02:09:48,079
Speaker 3: Wherever I saw someone say it was like positioned, I

2854
02:09:48,199 --> 02:09:49,920
was like, yeah, I get why people like this.

2855
02:09:50,359 --> 02:09:52,840
Speaker 1: It's come in again pretty hard in terms of how

2856
02:09:52,920 --> 02:09:56,000
people have responded to, which I think is really affirming.

2857
02:09:56,079 --> 02:09:57,800
Like I said, for a record that had potentially so

2858
02:09:57,880 --> 02:10:00,600
much baggage around it, I agree, like, come back to

2859
02:10:00,640 --> 02:10:01,920
this in six month and you'll realize that you were

2860
02:10:01,920 --> 02:10:02,319
wrong again.

2861
02:10:02,720 --> 02:10:05,159
Speaker 3: And no, no, no no, But I'm not saying I'm

2862
02:10:05,159 --> 02:10:06,399
wrong because I do like this record.

2863
02:10:06,800 --> 02:10:10,239
Speaker 2: I just I just can't quite like it's just a

2864
02:10:10,279 --> 02:10:12,359
scorching hot summer at the moment, and each time I've

2865
02:10:12,399 --> 02:10:15,079
listened to it, even today for we recorded, and I

2866
02:10:15,199 --> 02:10:19,000
was like, I like this even more of each passing listen.

2867
02:10:19,640 --> 02:10:22,039
Speaker 3: Firstly, forty five minutes perfect length for this sort of thing.

2868
02:10:22,239 --> 02:10:22,720
Five songs.

2869
02:10:22,760 --> 02:10:24,920
Speaker 2: They're long song shore, But I don't actually think this

2870
02:10:24,960 --> 02:10:27,000
album ever drags on or gets boring because they are

2871
02:10:27,079 --> 02:10:30,119
engaging listens and it ends at the exact right moment.

2872
02:10:30,159 --> 02:10:33,640
Speaker 3: It should end like the sort of like discipline, as

2873
02:10:33,680 --> 02:10:34,520
we still mentioned there.

2874
02:10:34,560 --> 02:10:36,159
Speaker 2: I think there is discipline in this record as well,

2875
02:10:36,279 --> 02:10:40,520
even with slow, drawn out doom riffs that Cane the

2876
02:10:40,880 --> 02:10:43,159
and on that first song he says I can't open

2877
02:10:43,199 --> 02:10:46,600
my eyes whatever about one hundred times. Like there's things

2878
02:10:46,640 --> 02:10:48,840
like that, which again could be really patio sesting for me.

2879
02:10:48,960 --> 02:10:51,760
But I think the song craft is very good and

2880
02:10:51,960 --> 02:10:55,079
very well constructed that I can't be negative about it,

2881
02:10:55,840 --> 02:10:57,720
even as much as it be really fun to upset.

2882
02:10:57,479 --> 02:10:57,920
Speaker 3: The pair of you.

2883
02:10:58,039 --> 02:11:01,199
Speaker 1: Yeah, but yeah, I put a forty what sunset on

2884
02:11:01,279 --> 02:11:04,039
an outbreak on one of the smaller stages and watch

2885
02:11:04,119 --> 02:11:06,439
people come out in their tiers. I think that the

2886
02:11:06,520 --> 02:11:10,000
first two tracks on this in terms of what you're

2887
02:11:10,000 --> 02:11:12,920
saying about, you know, the world of watching for a distance.

2888
02:11:13,039 --> 02:11:15,960
But for me this really has those same you know,

2889
02:11:16,439 --> 02:11:18,920
it's hard to again gauge it against like the Bridge

2890
02:11:18,960 --> 02:11:21,159
of Footprints, which is one of the most legendary you know,

2891
02:11:21,239 --> 02:11:23,960
pieces of music do emerge in that world ever, but

2892
02:11:24,479 --> 02:11:27,960
those same moments that just knock me for six. This

2893
02:11:28,159 --> 02:11:30,920
brings those again. The title track at the start brings

2894
02:11:30,960 --> 02:11:33,640
those and again just fully like brought me into the

2895
02:11:33,640 --> 02:11:36,479
world the record immediately the second track has those. Then

2896
02:11:37,000 --> 02:11:40,560
we move into kind of darker and bleaker sonically territory

2897
02:11:40,640 --> 02:11:42,880
with with Night Comes Down, which sadly is not a

2898
02:11:43,000 --> 02:11:45,119
Judas Priest cover, and bizarrely that's one of the pre

2899
02:11:45,239 --> 02:11:47,159
songs I would actually love to hear Patrick Walker sing

2900
02:11:47,279 --> 02:11:49,479
like I'm of thinking, yeah, crush it. But anyway, that

2901
02:11:49,800 --> 02:11:53,560
is like a true true doom song, like guitar sounds

2902
02:11:54,159 --> 02:11:59,279
plunging down into icy waters, and it's those quintessential British

2903
02:11:59,359 --> 02:12:01,920
doom riffs in the lineage of My Dying Bride and

2904
02:12:02,159 --> 02:12:06,079
Airilk that feel like more land and you know, desolate

2905
02:12:06,159 --> 02:12:09,520
coastlines and decaying churches. Night Comes Down has I'm not

2906
02:12:09,560 --> 02:12:10,920
sure if it's a base lead in the same way,

2907
02:12:10,920 --> 02:12:12,560
but it almost sounds like a melody here on a

2908
02:12:12,560 --> 02:12:15,199
bell Witch record at the start, like it's really beautiful

2909
02:12:15,199 --> 02:12:15,439
to hear.

2910
02:12:16,079 --> 02:12:17,760
Speaker 4: Yeah, I had the exact same thing when I saw

2911
02:12:17,880 --> 02:12:19,359
Night Comes Down. I did think I would not be

2912
02:12:19,479 --> 02:12:21,359
mad if after twenty years you came I did a

2913
02:12:21,439 --> 02:12:24,680
Judas Priest cover, that would be fine. Heartbreakingly it is not,

2914
02:12:24,880 --> 02:12:28,159
but even more heartbreakingly it is a warning song. And

2915
02:12:29,760 --> 02:12:33,560
after like those first two, which are you know, if

2916
02:12:33,560 --> 02:12:37,520
everything's about melancholic and heart string yanking and all of that,

2917
02:12:38,800 --> 02:12:41,640
Night Comes Down leans more into the you know, something

2918
02:12:41,720 --> 02:12:43,920
like Bridges on the last record, where it just it

2919
02:12:44,560 --> 02:12:46,760
kind of tumbles out of the speakers in a way

2920
02:12:46,800 --> 02:12:49,640
that those first two songs stride. Even if they are slow,

2921
02:12:50,119 --> 02:12:53,319
and they saw at points Night Comes Down and landing lights,

2922
02:12:53,319 --> 02:12:56,560
they're more cumbersome, They lumber about. They've got that thing

2923
02:12:56,600 --> 02:12:58,359
which I was saying early about where it feels like

2924
02:12:58,439 --> 02:13:01,920
that's the song's going a few em slower than it

2925
02:13:01,920 --> 02:13:05,399
should in your head somehow, like it's kind of impossibly dragging.

2926
02:13:05,560 --> 02:13:08,239
You know, it's a song that doesn't exist going too slowly.

2927
02:13:08,880 --> 02:13:10,399
But I think it has a really cool change of

2928
02:13:10,439 --> 02:13:15,159
pace and it really opens up the next sort of

2929
02:13:15,199 --> 02:13:16,760
acts of the record. And again talking about a thing

2930
02:13:16,800 --> 02:13:18,079
I was say knowly about the second act of these

2931
02:13:18,079 --> 02:13:21,399
songs where they really elevate that bit when his again

2932
02:13:21,439 --> 02:13:23,159
his voice opens up, is that the night comes down

2933
02:13:23,199 --> 02:13:26,760
over me fucking hell. Like for a song which is

2934
02:13:26,800 --> 02:13:30,560
a bit more awkward and less perhaps immediately emotionally resonant,

2935
02:13:31,199 --> 02:13:32,800
it still has that going for it. And then when

2936
02:13:32,840 --> 02:13:34,960
it punches through you've had a few minutes in this

2937
02:13:35,560 --> 02:13:37,479
you know, no Man's Land, and that happens again, and

2938
02:13:37,560 --> 02:13:39,079
it's it's even more powerful.

2939
02:13:39,520 --> 02:13:41,319
Speaker 2: There's kind of like a sadness and a sorrow to

2940
02:13:41,439 --> 02:13:42,960
those tracks, but Night comes down to it. It goes

2941
02:13:43,000 --> 02:13:45,520
like as a mood piece in the middle of this record.

2942
02:13:45,880 --> 02:13:47,960
I think it is really effective. And that's why where

2943
02:13:47,960 --> 02:13:50,520
I'm like, I'm engaging with these songs, trying to get

2944
02:13:50,600 --> 02:13:51,880
more into the sort of mindset these songs, and I

2945
02:13:51,920 --> 02:13:53,960
think that comes down to one way, like I can

2946
02:13:54,119 --> 02:13:56,479
kind of piece together the sort of the sadness of

2947
02:13:56,560 --> 02:13:57,479
those landscapes.

2948
02:13:57,640 --> 02:13:59,399
Speaker 3: I think it's like very evocative songwriting.

2949
02:14:00,159 --> 02:14:03,399
Speaker 1: Patrick is such an unbelievable ranger of melodies. Like what

2950
02:14:03,520 --> 02:14:05,479
he's able to do on a song like Night Comes

2951
02:14:05,520 --> 02:14:08,680
Down where the vocalize the almost take the full verse

2952
02:14:09,039 --> 02:14:11,479
to like come back and loop background on themselves and

2953
02:14:11,560 --> 02:14:14,760
resolve themselves to where they started. I mean, it's really funny.

2954
02:14:14,960 --> 02:14:18,319
If you have like Apple music on your TV, it

2955
02:14:18,359 --> 02:14:21,800
will like almost like carryo Key style shade in the

2956
02:14:21,880 --> 02:14:24,439
lyrics as they go through, and it takes so long

2957
02:14:24,560 --> 02:14:29,520
to get through each word, so it's like.

2958
02:14:29,720 --> 02:14:31,760
Speaker 3: Love it's great.

2959
02:14:33,000 --> 02:14:35,359
Speaker 1: But from you know, forty what Son into Warning, he's

2960
02:14:35,439 --> 02:14:37,319
really naturally able to shift what he does because forty

2961
02:14:37,319 --> 02:14:39,479
What's on his vocal approach is often quite sort of

2962
02:14:39,560 --> 02:14:43,199
delicate and rested, whereas here Warning he's able to read

2963
02:14:43,279 --> 02:14:45,239
like throw himself out there and any sense of kind

2964
02:14:45,239 --> 02:14:47,520
of barrier is gone. You know, it's just like crying

2965
02:14:47,560 --> 02:14:50,119
out into the darkness. And in talking about the darkness

2966
02:14:50,159 --> 02:14:52,520
of the record, the final words of the title track

2967
02:14:52,800 --> 02:14:55,800
with an ever living, self defeating horror that follows me

2968
02:14:55,880 --> 02:14:59,680
wherever I fall, like, it's just it's so intensely vulnerable

2969
02:14:59,760 --> 02:15:02,000
and open in the way that you know, you know

2970
02:15:02,159 --> 02:15:04,119
previous Warning material to be. He's just he's one of

2971
02:15:04,119 --> 02:15:08,199
the best things we've ever produced, Like an absolute emotional magnet.

2972
02:15:08,319 --> 02:15:11,439
Landing Lights is full of that kind of longing that

2973
02:15:11,600 --> 02:15:14,119
is like a you know, a maturated through line from

2974
02:15:14,199 --> 02:15:16,920
like a watching from a distance. This really wonderful chorus,

2975
02:15:17,000 --> 02:15:20,039
it's just like concentrated yearning. But then what really knocks

2976
02:15:20,079 --> 02:15:22,840
me on my ass is as sad you're throwing forward

2977
02:15:22,880 --> 02:15:24,960
to teacher at the very end of the record, which

2978
02:15:25,000 --> 02:15:27,960
is already beautiful and full of melody, but man, when

2979
02:15:28,000 --> 02:15:30,119
it decides it's got into where it wants to be

2980
02:15:30,800 --> 02:15:34,840
and he belt on that, Oh what to learn? And

2981
02:15:34,960 --> 02:15:37,199
it's like the revelation at the end of the record,

2982
02:15:37,319 --> 02:15:40,399
like and so much light is flooded into those dark

2983
02:15:40,439 --> 02:15:43,479
confines of this record. There's something about that that just

2984
02:15:43,840 --> 02:15:47,439
it unlocks that like almost innate communal desire you have

2985
02:15:47,520 --> 02:15:49,960
as humans to like join in choirs of song. You know,

2986
02:15:50,000 --> 02:15:54,520
we're just like how much warmth that fucking tsunami through

2987
02:15:55,079 --> 02:15:56,840
into the last couple of minutes of the record, Like

2988
02:15:57,560 --> 02:15:59,039
that's gonna have people in floods of tears, that the

2989
02:15:59,079 --> 02:16:00,760
show is like footprints all over again. You know, you

2990
02:16:00,840 --> 02:16:02,840
just kind of have to exhale at the end of

2991
02:16:02,880 --> 02:16:03,239
the album.

2992
02:16:03,359 --> 02:16:06,680
Speaker 4: Just like after that, I don't know if we're going

2993
02:16:06,720 --> 02:16:08,159
to get None of us know if we're gonna get

2994
02:16:08,159 --> 02:16:09,720
another Warning album after this, or if this is a

2995
02:16:09,760 --> 02:16:13,000
one off, then they'll go back to business usual. But

2996
02:16:13,359 --> 02:16:17,239
if it is, what a swan song like you know,

2997
02:16:17,880 --> 02:16:21,399
watching from a Distance ending on Echoes, which is a

2998
02:16:21,439 --> 02:16:23,560
perfect closer for that record. But we sort of said

2999
02:16:23,560 --> 02:16:25,159
in the Alm Club it's like that they helped the

3000
02:16:25,239 --> 02:16:28,560
band and defeated before that song even begins, and it's

3001
02:16:28,760 --> 02:16:34,159
like the last wheeze before they completely fall apart. This

3002
02:16:34,440 --> 02:16:36,840
it's not it's not full we are the champions, but

3003
02:16:36,920 --> 02:16:40,399
there is something about it which does feel like, you know,

3004
02:16:40,719 --> 02:16:43,079
the sun coming up, like there's some hope there, like

3005
02:16:43,920 --> 02:16:46,600
the storm has passed. And as a closing statement for

3006
02:16:46,760 --> 02:16:51,559
especially for a band like this where them is unremissent misery,

3007
02:16:52,360 --> 02:16:54,680
that's that's an immensely powerful way to bow out. And

3008
02:16:54,719 --> 02:16:58,159
I think it makes this record, even if you're not

3009
02:16:58,440 --> 02:17:00,280
totally attuned to this style of music, with not a

3010
02:17:00,319 --> 02:17:03,360
big Warning fan in the last few moments, makes it

3011
02:17:03,719 --> 02:17:06,840
so inarguably dynamic that it ends up being a really

3012
02:17:07,479 --> 02:17:10,639
rewarding and satisfying listen rather than just I'll go to

3013
02:17:10,760 --> 02:17:14,040
that when I've been done, Okay, It suddenly becomes a

3014
02:17:14,079 --> 02:17:16,520
record which you could put on basically as and When,

3015
02:17:16,719 --> 02:17:19,399
which I don't think that Warning album existed before this one,

3016
02:17:19,600 --> 02:17:23,159
so for that alone, it serves an invaluable purpose. Yeah,

3017
02:17:23,280 --> 02:17:23,680
I agree.

3018
02:17:23,680 --> 02:17:25,920
Speaker 1: I think Watching with Distance is obviously a record that

3019
02:17:25,959 --> 02:17:29,840
you recommend with this incredible hush tone in your voice,

3020
02:17:30,040 --> 02:17:32,040
but it is quite an ordeal to get through to

3021
02:17:32,079 --> 02:17:34,319
the very end of it, whereas this ending the way

3022
02:17:34,360 --> 02:17:36,959
it does, I think, you know, kind of conversely, it

3023
02:17:37,159 --> 02:17:41,239
makes it a more inviting record maybe than Watching the

3024
02:17:41,239 --> 02:17:42,920
Distances and you kind of like you reach the end

3025
02:17:42,959 --> 02:17:44,879
of it and you're like, fuck, man, I want to

3026
02:17:44,920 --> 02:17:46,879
spin it back to the beginning, which I've been doing

3027
02:17:46,879 --> 02:17:48,879
about a fucking Warning album, you know what I mean.

3028
02:17:49,040 --> 02:17:51,719
And I think the first Warning album, the Strengths the Dream,

3029
02:17:52,200 --> 02:17:53,920
is like a really cool, kind of underrated record if

3030
02:17:53,959 --> 02:17:57,159
you're interested in the UK doom scene of the nineties

3031
02:17:57,200 --> 02:17:59,639
that produced bands like Cathedral and Electric Wizard and so on.

3032
02:17:59,799 --> 02:18:01,479
But it's not really what people think of today when

3033
02:18:01,520 --> 02:18:04,200
we say classic Warning. So in that style, when people,

3034
02:18:04,280 --> 02:18:06,719
you know, say Warning, they've pretty much been talking about

3035
02:18:06,719 --> 02:18:09,680
one record for twenty years, and now suddenly we have

3036
02:18:09,760 --> 02:18:12,479
a second one in that lane. And so every morsel

3037
02:18:12,520 --> 02:18:16,079
of that is precious, and it's not so much picking

3038
02:18:16,120 --> 02:18:17,799
up right where they're left off as it is again

3039
02:18:18,040 --> 02:18:21,479
very organically come into the conclusion, I think I have

3040
02:18:21,559 --> 02:18:23,959
something I want to express with heavy music in this

3041
02:18:24,079 --> 02:18:27,159
band again. So it comes with all the same genuine

3042
02:18:27,200 --> 02:18:29,040
depth of humanity that their previous record does.

3043
02:18:29,120 --> 02:18:30,479
Speaker 3: And I think, on one.

3044
02:18:30,399 --> 02:18:33,399
Speaker 1: Hand, this is the twenty years in the making follow

3045
02:18:33,479 --> 02:18:35,040
up to one of the greatest albums of all time

3046
02:18:35,319 --> 02:18:38,760
that manages to not fall down under that weight. And

3047
02:18:38,879 --> 02:18:40,360
on the other, if you bring you know, forty what

3048
02:18:40,440 --> 02:18:42,840
sign into the equation and you know, Patrick's wider kind

3049
02:18:42,840 --> 02:18:45,559
of career, it is part of what has been a

3050
02:18:45,639 --> 02:18:49,440
continuous songwriting lineage that has been consistently fantastic over you know,

3051
02:18:49,879 --> 02:18:53,520
for twenty years. I think this is both one of

3052
02:18:53,559 --> 02:18:55,600
those great comebacks that I was alluding to with all

3053
02:18:55,600 --> 02:18:57,159
those you know undergrand metal bands too have come back

3054
02:18:57,200 --> 02:19:00,079
and delivered something special after all the years. And at

3055
02:19:00,079 --> 02:19:03,760
the same time it's a very genuine, almost unassuming next

3056
02:19:03,799 --> 02:19:07,040
step from one of our greatest living songwriters. I think

3057
02:19:07,079 --> 02:19:09,719
this is a breathtaking beautiful record.

3058
02:19:10,520 --> 02:19:14,319
Speaker 4: Yeah, considering it was an impossible task, it's a total

3059
02:19:14,360 --> 02:19:16,319
home run. Twenty twenty six has already given us some

3060
02:19:16,399 --> 02:19:20,319
really special comeback records or even if not strictly comeback albums,

3061
02:19:20,360 --> 02:19:24,200
like otherwise triumphant albums in the underground and extreme music sphere.

3062
02:19:25,120 --> 02:19:27,959
This is one of the absolute best. This is walked

3063
02:19:28,200 --> 02:19:30,159
into my top five of the year so far. I

3064
02:19:30,520 --> 02:19:32,799
adored it from first listen, and every time I listen

3065
02:19:32,879 --> 02:19:36,239
to it I like it more, if that's even possible,

3066
02:19:36,280 --> 02:19:38,360
I think for the thing that it is, which, like

3067
02:19:38,440 --> 02:19:41,479
I say, there's no living up to the album that

3068
02:19:41,520 --> 02:19:45,600
precedes it, and yet they have. It's like, literally what

3069
02:19:45,719 --> 02:19:46,399
more could you ask for?

3070
02:19:47,000 --> 02:19:50,319
Speaker 1: Yeah, unbelievably done. No one's ever said this about Warning before,

3071
02:19:50,360 --> 02:19:55,959
but rejoice everyone, they did it. Our black metal stop

3072
02:19:56,000 --> 02:19:59,719
off this month comes from storm Keep and the Nocturns

3073
02:19:59,760 --> 02:20:03,159
of is Willim Wherever or whoever that is. This is

3074
02:20:03,159 --> 02:20:06,239
also the first album ever released on Vespirian, which is

3075
02:20:06,280 --> 02:20:08,200
a new label that started up by I believe some

3076
02:20:08,239 --> 02:20:10,600
people who involved with Century Media. Maybe we'll see more

3077
02:20:10,639 --> 02:20:12,559
coming from them in the future. It's one of the

3078
02:20:12,639 --> 02:20:15,920
records from this scene with the highest amount of expectation

3079
02:20:16,000 --> 02:20:17,559
around it, I would say, as it is the follow

3080
02:20:17,639 --> 02:20:21,280
up to the incredibly popular debut story album Tales of

3081
02:20:21,319 --> 02:20:24,760
Other Time. This is one of the Colorado blood Incantation

3082
02:20:24,959 --> 02:20:28,639
family of bands that collectively includes some of the most

3083
02:20:28,680 --> 02:20:31,600
vital bands in the extreme metal scene right now. Isaac Folk,

3084
02:20:31,879 --> 02:20:35,239
who is the drummer in both Blooding Cantation and Wayfarer,

3085
02:20:35,680 --> 02:20:39,000
is the primary creative behind storm Keep. There are other

3086
02:20:39,079 --> 02:20:40,840
members of Wayfarer that play in this band as well,

3087
02:20:40,920 --> 02:20:43,719
but Isaac is handling the drums, the vocals, much of

3088
02:20:43,799 --> 02:20:46,520
the guitars and keys. This is his baby, really under

3089
02:20:46,559 --> 02:20:51,120
the name Offane Verma thaks in this band, getting his

3090
02:20:51,280 --> 02:20:54,120
name there from the eighties fantasy film Dragon Slayer, I

3091
02:20:54,200 --> 02:20:58,239
must imagine, but immediately that obviously positions this in relation

3092
02:20:58,319 --> 02:20:59,719
to some of the very best bands of the entire

3093
02:20:59,760 --> 02:21:02,319
world right now. The debut Don't Keep album, Tales of

3094
02:21:02,399 --> 02:21:05,600
Other Time, was released in late twenty twenty one, and

3095
02:21:05,719 --> 02:21:08,639
it really put forward Isaac's kind of initial vision for

3096
02:21:08,719 --> 02:21:10,840
this project, which is, if you've ever watched a drum

3097
02:21:10,920 --> 02:21:13,120
cam of Isaac playing with Blooding Cantation, you may have

3098
02:21:13,200 --> 02:21:16,760
noticed the massive Emperor tattoo on his arm, and compared

3099
02:21:16,799 --> 02:21:19,319
to say Wayfarer, who have that like Western black metal

3100
02:21:19,399 --> 02:21:24,120
thing going on. This is fantastical, bombastic, kind of symphonic

3101
02:21:24,239 --> 02:21:27,479
leaning black metal in line with you know, the Swedish

3102
02:21:27,520 --> 02:21:32,479
and Norwegian greats of that style and Tales of Other Time.

3103
02:21:33,319 --> 02:21:35,639
I can attest five years on from that record. It

3104
02:21:35,760 --> 02:21:37,319
is one of the black metal albums of this decade

3105
02:21:37,360 --> 02:21:40,440
that people within that you know, dedicated niche have most

3106
02:21:40,639 --> 02:21:42,440
firmly taken into their hearts. Like if you were to

3107
02:21:42,440 --> 02:21:45,360
go around Fortress Festal for example, and poll what are

3108
02:21:45,360 --> 02:21:47,440
the best albums of the twenty twenties, I reckon Tales

3109
02:21:47,479 --> 02:21:49,639
of Other Time would pretty easily crack that top ten

3110
02:21:50,479 --> 02:21:53,280
for that kind of audience there. It's a really beloved

3111
02:21:53,399 --> 02:21:57,360
album for its ability to tap into that like epic,

3112
02:21:57,920 --> 02:22:01,040
grandiose black metal that people you know again associate with

3113
02:22:01,120 --> 02:22:03,719
bands like Emperor or you know, Dissection, etc. It's got

3114
02:22:03,840 --> 02:22:06,799
bright blue cover art of a fortress in the snow

3115
02:22:07,479 --> 02:22:10,319
and the fact that literally the opening lyric of the

3116
02:22:10,399 --> 02:22:13,959
first track on that album is quite quickly became iconic

3117
02:22:14,200 --> 02:22:19,520
for simply being a wizard. Elliott's as one of the

3118
02:22:19,680 --> 02:22:22,159
decades more popular black metal records. Did you get into

3119
02:22:22,239 --> 02:22:23,000
that's Donkey plbum?

3120
02:22:23,879 --> 02:22:26,600
Speaker 4: I'm looking at it now and I'm getting flashbacks because

3121
02:22:26,680 --> 02:22:29,399
this must have come out, not maybe not during COVID,

3122
02:22:29,440 --> 02:22:31,840
but around then. And there are so many albums that

3123
02:22:31,840 --> 02:22:35,120
I heard around that time, which many of which I loved,

3124
02:22:35,440 --> 02:22:39,040
but then forgot they exist, and years later I'm rediscovering them,

3125
02:22:39,079 --> 02:22:40,639
and I'm looking at that album coming out. I have

3126
02:22:40,760 --> 02:22:45,120
definitely heard it, and you're saying that a wizard that

3127
02:22:45,280 --> 02:22:48,440
definitely rings about. I was planned to go back to

3128
02:22:48,520 --> 02:22:52,120
it again before this to recontexturize because just a slightly

3129
02:22:52,440 --> 02:22:55,920
further head. This album is very, very good, but I

3130
02:22:56,040 --> 02:22:59,360
definitely recognize I've certainly seen it around since. So everything

3131
02:22:59,399 --> 02:23:01,399
you're saying rings true.

3132
02:23:02,319 --> 02:23:04,399
Speaker 1: Yeah, people love the album, I'm telling you, and so

3133
02:23:04,479 --> 02:23:06,559
I think naturally the follow up was quite anticipated. But

3134
02:23:06,600 --> 02:23:09,479
there are a few places where this album and its

3135
02:23:09,600 --> 02:23:12,159
rollout has sort of a you know, zigged where that

3136
02:23:12,239 --> 02:23:16,120
album z act, because the overall genre of you know, grandiose,

3137
02:23:16,159 --> 02:23:18,760
fantastical European style black metal has remained in place. But

3138
02:23:19,239 --> 02:23:20,600
I think I can only draw you to the cover

3139
02:23:20,760 --> 02:23:22,920
arts of the two albums. The former, as I say,

3140
02:23:23,040 --> 02:23:26,479
is bright blue, magical, whimsical in a way. It reminds

3141
02:23:26,520 --> 02:23:28,719
me of records like in the nightside of clips, you know,

3142
02:23:28,760 --> 02:23:31,719
the day of a Winter Sun Minnis Morgl maybe where

3143
02:23:31,760 --> 02:23:34,799
a certain kind of like ethereal winter magic that comes

3144
02:23:34,840 --> 02:23:38,399
out in those records. This one massive titted goth sorceress

3145
02:23:39,719 --> 02:23:43,600
writing an evil black dragon in a dark cavern environment

3146
02:23:43,680 --> 02:23:46,559
of some kind. It's moved more into like the late nineties,

3147
02:23:46,799 --> 02:23:50,200
early naughties kind of style of you know, Cradler Felth

3148
02:23:50,280 --> 02:23:52,719
and Demu and satiric con as well, where they were

3149
02:23:52,760 --> 02:23:56,120
trading and that like more lustful van piric sort of esthetic,

3150
02:23:56,239 --> 02:23:58,680
you know. And the music, while still recognizable as storm Keep,

3151
02:23:58,719 --> 02:24:01,760
has subtly of old in that direction as well. That's

3152
02:24:01,799 --> 02:24:04,760
the musical context of where storm Keep were coming from.

3153
02:24:04,840 --> 02:24:06,639
And I think what is relevant in the change going

3154
02:24:06,680 --> 02:24:08,079
to the second Holur. I think if you do you

3155
02:24:08,120 --> 02:24:11,639
know A and B these albums, they are quite interesting

3156
02:24:11,719 --> 02:24:15,479
in their contrast to each other. Elliott, you said that

3157
02:24:15,559 --> 02:24:17,639
you like the record, Sam. It's a style of black

3158
02:24:17,719 --> 02:24:19,239
metal that I know that we can have some fun

3159
02:24:19,319 --> 02:24:21,399
with from time to time. So overall, do you guys

3160
02:24:21,479 --> 02:24:22,040
like this record?

3161
02:24:22,840 --> 02:24:24,559
Speaker 3: This is my favorite black male record of the year

3162
02:24:24,600 --> 02:24:25,920
I've heard. I fucking love this.

3163
02:24:26,360 --> 02:24:30,440
Speaker 2: I have just been having so much fun with this

3164
02:24:30,600 --> 02:24:33,799
because this just gives me the exact thrill I want

3165
02:24:33,879 --> 02:24:38,280
to go to black metal for it is evil, over

3166
02:24:38,360 --> 02:24:42,559
the top, bombasket, bombastic, a little bit camp, but just

3167
02:24:42,799 --> 02:24:46,600
so so much fun. The thing is, it's really varied.

3168
02:24:46,760 --> 02:24:50,399
It's it sounds huge while sounding shit at times, like

3169
02:24:50,600 --> 02:24:54,200
it's mailed on the kind of like Timmy symphonic shit,

3170
02:24:54,280 --> 02:24:56,079
but make me it sound as big as possible.

3171
02:24:56,920 --> 02:25:00,479
Speaker 3: The riffs on this fucking go. There is one songs

3172
02:25:00,639 --> 02:25:03,120
has a fucking two step riff in there, like there's

3173
02:25:03,200 --> 02:25:05,319
so much like fun shit on there.

3174
02:25:05,600 --> 02:25:08,079
Speaker 2: Like so obviously here's the drummer from Blowing Condess see

3175
02:25:08,120 --> 02:25:10,319
drumming on this as well, or yeah, because he is

3176
02:25:10,399 --> 02:25:12,920
fucking putting in a shift behind like the drums on this,

3177
02:25:13,120 --> 02:25:15,959
like doing some insane shit. I think this is so

3178
02:25:16,440 --> 02:25:20,319
relentlessly enjoyable. I like I'm grinning the entire time.

3179
02:25:20,280 --> 02:25:22,680
Speaker 3: This album is on. All the song titles are hard,

3180
02:25:23,120 --> 02:25:23,280
you know.

3181
02:25:23,559 --> 02:25:26,840
Speaker 2: Taste Mortal Blood has this like big bombastic intro and

3182
02:25:26,920 --> 02:25:28,680
then it sounds evil and then you get the shit

3183
02:25:28,760 --> 02:25:30,600
symphonic stuff that sounds fucking awesome.

3184
02:25:31,399 --> 02:25:33,479
Speaker 3: Like I can't say enough good things about this record.

3185
02:25:33,600 --> 02:25:34,200
I think this is.

3186
02:25:34,639 --> 02:25:36,200
Speaker 2: Fucking brilliant, and I haven't even listened to the last

3187
02:25:36,239 --> 02:25:38,680
Tomcup record, so I've got into this complete fresh as

3188
02:25:38,719 --> 02:25:40,120
I heard the single Office, where I was gonna like

3189
02:25:40,120 --> 02:25:42,520
I can hear the empering with a bit more dimu,

3190
02:25:42,799 --> 02:25:44,920
but then there's like, this goes so hard on the

3191
02:25:44,959 --> 02:25:47,319
demmy ball and stuff, and I love that shit, so

3192
02:25:47,399 --> 02:25:49,000
I'm I'm so in on this.

3193
02:25:49,799 --> 02:25:55,680
Speaker 4: There's something special about really talented, smart musicians willfully being stupid,

3194
02:25:56,200 --> 02:26:01,799
and when that's done right, it is joy beyond joy.

3195
02:26:01,879 --> 02:26:04,879
And the amount of talent in this band is absolutely ridiculous.

3196
02:26:04,920 --> 02:26:09,920
Every single component you can hear is played expertly, but

3197
02:26:10,000 --> 02:26:13,280
they're using powers. They're using their powers for silliness because

3198
02:26:14,440 --> 02:26:17,079
this record they are not shy about showing their influences

3199
02:26:17,520 --> 02:26:19,879
or randomly doing like you say, two step parts or

3200
02:26:20,719 --> 02:26:23,000
The thing about the symphonic blackmail edge to this record

3201
02:26:23,360 --> 02:26:25,639
is I'm really glad we're doing this not long after

3202
02:26:25,719 --> 02:26:28,520
doing the ninety ninety seven special, where going back to

3203
02:26:28,559 --> 02:26:31,239
those records, you're reminded I remember when I don't remember,

3204
02:26:31,479 --> 02:26:33,559
but there was a time when this style of music

3205
02:26:33,719 --> 02:26:37,280
was for genuine mad men in the frozen tundra and

3206
02:26:37,399 --> 02:26:39,840
not for you know, the Berlin Orchestra to play on

3207
02:26:39,959 --> 02:26:43,680
and it's that spirit that's captured on this record, and

3208
02:26:43,760 --> 02:26:46,200
it means all the records that I'm thinking as reference

3209
02:26:46,239 --> 02:26:48,440
points to this, you're going there's a bit of anthems

3210
02:26:48,440 --> 02:26:50,479
to the Welk and at Dusk the Cradle record that

3211
02:26:50,600 --> 02:26:52,959
kept coming to mind for me was Midian because this

3212
02:26:53,040 --> 02:26:56,200
thing is halt up and muscular and cruis at points

3213
02:26:56,200 --> 02:26:59,520
of the way that the albums before it don't really

3214
02:26:59,559 --> 02:27:01,680
are the ones after it. They're doing other stuff as well,

3215
02:27:02,120 --> 02:27:05,000
but just as a way of like the best of

3216
02:27:05,079 --> 02:27:07,959
both worlds where it's kind of naughty and difficult and

3217
02:27:08,079 --> 02:27:13,120
esoteric but also loads and loads of fun. It's a

3218
02:27:13,159 --> 02:27:15,120
high it's a high wirebout that's really hard to nail

3219
02:27:15,239 --> 02:27:17,399
and they've absolutely smashed it.

3220
02:27:17,840 --> 02:27:20,399
Speaker 1: Yeah, and that's sort of shift into again the more

3221
02:27:20,920 --> 02:27:24,200
ott kind of seductive, vampiric black metal. You might have

3222
02:27:24,319 --> 02:27:26,120
noticed that's kind of back in vogue again like the

3223
02:27:26,200 --> 02:27:28,680
last couple of years, and with you know, Worm's Necropalace

3224
02:27:29,079 --> 02:27:30,200
that came out at the start of this year that

3225
02:27:30,239 --> 02:27:34,200
we reviewed and their shift into like ridiculous Castlevania, some

3226
02:27:34,319 --> 02:27:36,840
Vonnit black metal, Worm and storm Keep, both some of

3227
02:27:36,879 --> 02:27:38,639
the more hyped bands in the underground of the past

3228
02:27:38,680 --> 02:27:40,760
couple of years, and then shifting gears into this style.

3229
02:27:41,399 --> 02:27:43,920
The popularity of that kind of esthetic in the merch

3230
02:27:44,000 --> 02:27:45,639
and the promo pics and stuff, which if you like

3231
02:27:45,840 --> 02:27:47,319
the vibe of this record, I encourage you to go

3232
02:27:47,399 --> 02:27:49,200
and look at, you know, everything surrounding it in the

3233
02:27:49,239 --> 02:27:51,360
world they built for it as well. It's a flavor

3234
02:27:51,399 --> 02:27:52,879
that's coming back into fashion a little bit with that

3235
02:27:53,000 --> 02:27:55,920
again kind of campiness. I think in storm Keeps case,

3236
02:27:56,000 --> 02:27:59,280
it's absolutely so sincere, but a real loving embrace of

3237
02:27:59,440 --> 02:28:03,280
like the cheesier elements that some people reject in Black Bettle.

3238
02:28:03,319 --> 02:28:05,040
And I do know that there are people who really

3239
02:28:05,159 --> 02:28:07,399
like the first storm Keep record who are not down

3240
02:28:07,559 --> 02:28:09,959
with them going this far in this direction. On this one,

3241
02:28:10,280 --> 02:28:13,120
I have always liked those things, and I think it

3242
02:28:13,159 --> 02:28:15,319
does make an interest comparison with that Worm record, because

3243
02:28:15,719 --> 02:28:18,719
that might be one of the most maximously silly and

3244
02:28:18,799 --> 02:28:21,600
loving it albums in this style ever made. Storm Keep,

3245
02:28:21,920 --> 02:28:25,399
I think, is more tightly focused on the songwriting in

3246
02:28:25,479 --> 02:28:27,719
the details. And that's not to say that that the

3247
02:28:27,799 --> 02:28:29,719
Worm Records doesn't have great songs. It does. It's my

3248
02:28:29,760 --> 02:28:32,200
favorite thing of that band have made. But when you

3249
02:28:32,280 --> 02:28:34,440
think about that record, the image that is conjured is

3250
02:28:34,799 --> 02:28:37,360
twelve minute songs of all guitar solos, right, and it's

3251
02:28:37,440 --> 02:28:40,879
just so ragingly ott. This storm Keeper is in a

3252
02:28:40,959 --> 02:28:43,159
similar playground, but it's I think it is a bit

3253
02:28:43,319 --> 02:28:47,680
more tasteful in you know, the nailing the variety between

3254
02:28:47,799 --> 02:28:49,719
the songs, that kind of thing. It's a little more,

3255
02:28:50,079 --> 02:28:53,639
a little more finely crafted than quite as exuberantly in

3256
02:28:53,719 --> 02:28:55,479
the end. I think both of these albums we're describing

3257
02:28:55,479 --> 02:28:57,520
here at the sort the vanguard of this trend are

3258
02:28:57,559 --> 02:29:00,559
both really strong in some different areas. This one, I've

3259
02:29:00,600 --> 02:29:03,239
been getting a lot of pleasure from getting into. This

3260
02:29:03,360 --> 02:29:08,319
record offers seven distinctly interesting songs. The first trap that

3261
02:29:08,319 --> 02:29:11,520
tastes with Mortal Blood is the like inspiring Galloper where

3262
02:29:11,559 --> 02:29:15,360
it starts all fucking like, you know, vampiric and dark lord,

3263
02:29:15,399 --> 02:29:18,200
but also I swear he Trojan horses a straight up

3264
02:29:18,200 --> 02:29:19,799
blooding cantation riff in it. There's this bit of a

3265
02:29:20,040 --> 02:29:23,040
bell well well, when I know about two and a

3266
02:29:23,040 --> 02:29:25,680
half minutes in and it's it's it's blood cantation tech death.

3267
02:29:25,799 --> 02:29:27,239
It's like he can't help himself. You know that you

3268
02:29:27,280 --> 02:29:29,159
can just tell that it's the same hand that has

3269
02:29:29,200 --> 02:29:32,040
written several riffs throughout their catalog. But then it also

3270
02:29:32,159 --> 02:29:36,639
has this like really catchy, like euro folky black metal

3271
02:29:36,840 --> 02:29:39,239
chorus refrain, And I can't believe.

3272
02:29:39,040 --> 02:29:42,239
Speaker 2: How much I like that chorus, the folks of that chorus.

3273
02:29:42,760 --> 02:29:44,840
It's super catchy. I couldn't believe. I was like, God,

3274
02:29:44,920 --> 02:29:46,280
damn it, get me into this shit.

3275
02:29:46,639 --> 02:29:48,639
Speaker 1: That's the fucking earworm of the month. I swear like,

3276
02:29:48,719 --> 02:29:51,440
that's the catchiest vocal line of all these records. I've

3277
02:29:51,440 --> 02:29:54,079
been huddling that to myself over the last couple of weeks.

3278
02:29:54,280 --> 02:29:56,399
It's such an earworm, which you don't always get in

3279
02:29:56,440 --> 02:29:57,879
this kind of black metal, you know. And then they

3280
02:29:57,920 --> 02:29:59,639
even key change it as well, and it's like at

3281
02:29:59,639 --> 02:30:02,319
that point you're listening to like dark power metal, it's

3282
02:30:02,360 --> 02:30:03,799
like power metal, but make it golf.

3283
02:30:04,479 --> 02:30:07,239
Speaker 3: That's such great, great thing. Yeah, that's that.

3284
02:30:07,360 --> 02:30:09,639
Speaker 2: Key changes when I was like, I fucking love this chorus,

3285
02:30:09,760 --> 02:30:12,159
God damn you pern, but it's so catchy.

3286
02:30:12,239 --> 02:30:14,600
Speaker 3: But I agree because it's kind of got this like dour,

3287
02:30:14,799 --> 02:30:16,000
kind of like clean vocal is.

3288
02:30:16,360 --> 02:30:18,559
Speaker 2: It is GoF I mean that's what makes it more

3289
02:30:18,639 --> 02:30:20,239
palalerable for me and especially I think so is it

3290
02:30:20,440 --> 02:30:22,559
imperious Sanguine? Is that the one where it goes like

3291
02:30:22,680 --> 02:30:26,680
fully into the into the gothing and that that's one

3292
02:30:26,680 --> 02:30:30,200
of my favorite tracks because that is just so seductive

3293
02:30:30,360 --> 02:30:34,120
goth moody vibes, but again just has a slight wink

3294
02:30:34,280 --> 02:30:37,159
and kind of like glimmering it side of the Madman

3295
02:30:37,239 --> 02:30:40,440
at Work. This is no album like I've now decided

3296
02:30:40,600 --> 02:30:44,319
give me this kind of symphonic sound over what Lorna

3297
02:30:44,399 --> 02:30:45,440
Shaw and Ilk are doing.

3298
02:30:45,559 --> 02:30:48,959
Speaker 3: Give me. I'm with you guys now. Stuff needs to

3299
02:30:49,040 --> 02:30:51,520
sound a bit shit, it turns out because at least

3300
02:30:51,520 --> 02:30:52,479
then it sounds.

3301
02:30:52,239 --> 02:30:54,680
Speaker 2: Like someone has kind of been like, how do we

3302
02:30:54,719 --> 02:30:56,440
actually arrange in the way that that's good, or someone

3303
02:30:56,479 --> 02:30:58,920
looks going dial everything up and make it sound as

3304
02:30:59,000 --> 02:31:01,079
big as possible. It's like, No, there's some actually like

3305
02:31:01,239 --> 02:31:04,719
really cool symphonic melodies weird into these songs and they're

3306
02:31:04,760 --> 02:31:07,200
done with limitations. That means the melodies actually have to

3307
02:31:07,879 --> 02:31:10,399
stand out more. Yeah, that's the sort of magic trick

3308
02:31:10,440 --> 02:31:10,920
of this record.

3309
02:31:11,000 --> 02:31:11,159
Speaker 5: Yeah.

3310
02:31:11,200 --> 02:31:15,040
Speaker 1: I actually think this record production wise is perfect, and

3311
02:31:15,120 --> 02:31:17,840
I don't think it's as you know, it has an

3312
02:31:17,879 --> 02:31:19,319
element of it for sure, but I don't think it's

3313
02:31:19,360 --> 02:31:20,079
as like proper.

3314
02:31:20,520 --> 02:31:23,280
Speaker 3: I'm exaggerating it a bit, I agree, but it's still

3315
02:31:23,639 --> 02:31:24,680
flavor to the album. Sure.

3316
02:31:24,719 --> 02:31:26,559
Speaker 1: But sometimes me and Elliot will rave that albums and

3317
02:31:26,559 --> 02:31:29,280
they're just like proper, like you know, biscuits in cassio

3318
02:31:29,799 --> 02:31:32,479
and that's great, whereas this it has tons. It is

3319
02:31:32,559 --> 02:31:36,520
more like again Turn of the Millennium Cradle and Dimu

3320
02:31:36,600 --> 02:31:39,760
and stuff like that. Like the intro of the Black

3321
02:31:39,840 --> 02:31:42,600
Dragons of This Woman has this descending strings line which

3322
02:31:42,600 --> 02:31:44,680
is really it sounds and it's a range like death

3323
02:31:44,680 --> 02:31:45,959
cut on the gedd and Ship. You know, it's just

3324
02:31:46,040 --> 02:31:49,239
in this more sort of tech tight contained world. It's

3325
02:31:49,440 --> 02:31:51,799
it's particularly I think when you start hearing the pianos

3326
02:31:51,840 --> 02:31:53,360
and stuff and they are allowed to really echo out

3327
02:31:53,399 --> 02:31:55,799
in the mix. I actually think it's really masterfully mixed,

3328
02:31:55,879 --> 02:31:59,440
Like it's not a cheap, low fire record. It just

3329
02:31:59,559 --> 02:32:03,760
toes the line really precisely. There's that bit in really

3330
02:32:04,040 --> 02:32:06,959
echoes in the vast of sequestration, which has this really

3331
02:32:07,079 --> 02:32:10,959
like eccentric mid period Emperor or demo demo kind of

3332
02:32:11,280 --> 02:32:15,319
submerged castle kind of bubbling around synth, and that that

3333
02:32:15,440 --> 02:32:17,920
track is really then channeling like the Loss and Curse

3334
02:32:17,959 --> 02:32:20,319
of Reverence, like that kind of rampaging black battle, but

3335
02:32:20,399 --> 02:32:26,079
with strings mischievously running rampant all over it sacarine subjugation,

3336
02:32:26,399 --> 02:32:28,440
which incidentally is what it feels like to review modern

3337
02:32:28,440 --> 02:32:33,000
metalcore albums. Super fast and obviously you have the dramma

3338
02:32:33,040 --> 02:32:35,840
of blooding cantations, so the blasts are going fucking crazy,

3339
02:32:35,959 --> 02:32:39,479
and this is really heavily riff based, like for all

3340
02:32:39,520 --> 02:32:41,680
the flowery stuff and the synth and everything, this is

3341
02:32:41,799 --> 02:32:44,360
not skimping on the heaviness. Like it's a really powerful,

3342
02:32:45,559 --> 02:32:46,520
monstrous record.

3343
02:32:47,200 --> 02:32:49,879
Speaker 4: We have those bits like on a you mentioned echoes

3344
02:32:49,879 --> 02:32:54,319
in the Vast of Sequestration. Sequestration, there's a bit in

3345
02:32:54,399 --> 02:32:57,799
that where it feels like the guitars and bass was

3346
02:32:57,840 --> 02:33:00,840
all give way and you're left with this warbling dungeon synth,

3347
02:33:01,079 --> 02:33:04,680
but the drums don't stop blasting, which is an insanely

3348
02:33:04,799 --> 02:33:06,959
challenging thing to mix properly. I don't know how you

3349
02:33:07,000 --> 02:33:08,799
did it. It's not a challenge, John, Like what we said,

3350
02:33:08,879 --> 02:33:11,200
We've reviewed the Mantle Wag a log and it was like,

3351
02:33:11,239 --> 02:33:13,520
how have you made acoustic guitars that sound that loud

3352
02:33:13,680 --> 02:33:16,680
and yet still feel like acoustic guitars. That there's a

3353
02:33:16,719 --> 02:33:20,760
similar feat of production there where it manages to sound

3354
02:33:21,159 --> 02:33:23,760
quiet and subtlet and you have to lean in to

3355
02:33:23,840 --> 02:33:26,639
hear it, and yet it's Isaac Fox on the Isaac

3356
02:33:26,760 --> 02:33:28,559
how do you say that name? Isaac Folk on the drums,

3357
02:33:28,639 --> 02:33:29,360
who is just.

3358
02:33:31,040 --> 02:33:31,760
Speaker 3: He's tearing it up.

3359
02:33:31,879 --> 02:33:33,159
Speaker 4: And that's the only thing about this record, which I

3360
02:33:33,200 --> 02:33:35,000
think if we're contrasting you with the Worm record for

3361
02:33:35,079 --> 02:33:39,479
Earliar this year, which is very playful and colorful and expressive,

3362
02:33:40,079 --> 02:33:42,559
this thing is also just hard as nails when it

3363
02:33:42,639 --> 02:33:45,639
needs to be. When when that slam comes on, imperious

3364
02:33:45,639 --> 02:33:52,360
sanguine eroticism with a oh succubus slide, it's so fucking evil,

3365
02:33:52,440 --> 02:33:56,079
and it's it's just it's a it's a gut punch, which, again,

3366
02:33:56,319 --> 02:33:59,760
records of this style they can be a bit lightweight

3367
02:33:59,799 --> 02:34:02,079
in a frothy and they could be brilliant for that,

3368
02:34:02,680 --> 02:34:06,159
but it does create a cool dynamic interchange when he's

3369
02:34:06,200 --> 02:34:07,639
able to swap down and you go, oh, yeah, this

3370
02:34:07,719 --> 02:34:09,959
is a guy who plays in the best current death

3371
02:34:10,000 --> 02:34:10,399
metal band.

3372
02:34:10,479 --> 02:34:13,440
Speaker 1: Yeah, like Carnal Tapestries of nail torn flesh is you know,

3373
02:34:13,639 --> 02:34:15,040
it's better be brutal or that. And I think you

3374
02:34:15,079 --> 02:34:17,760
know that this record is it kind of in comparison

3375
02:34:17,760 --> 02:34:19,680
to the first storm Keep record, I think it helps

3376
02:34:19,760 --> 02:34:24,360
counterbalance that. It is maybe more embracing those slightly campier elements,

3377
02:34:24,680 --> 02:34:27,000
but with it it's also heavier than the previous one

3378
02:34:27,040 --> 02:34:29,239
because it's gone in this darker direction and that just

3379
02:34:29,319 --> 02:34:33,000
really sells it. And yeah, like Imperial Sanguine Euroticism is

3380
02:34:33,360 --> 02:34:35,000
one of my favorite tracks as well, because it's it's

3381
02:34:35,120 --> 02:34:39,159
really reminiscent of like mid period like going into like

3382
02:34:39,239 --> 02:34:42,600
equilibrium era Emperor when they would starts singing clean a

3383
02:34:42,680 --> 02:34:45,040
lot more frequently, or even since when Gals sings it's

3384
02:34:45,040 --> 02:34:46,639
got a little bit of that as well. And iSER

3385
02:34:46,719 --> 02:34:48,559
like he's not, you know, a knockout singer, but he's

3386
02:34:48,600 --> 02:34:51,399
got this real depth of character in his like cleaner tone,

3387
02:34:51,479 --> 02:34:53,600
this sort of baritone that he has, and that melody

3388
02:34:53,639 --> 02:34:55,079
in the beginning of that song. It's this real sort

3389
02:34:55,079 --> 02:34:57,719
of like beautiful Sombernus, like he is this like dark

3390
02:34:57,879 --> 02:35:00,799
ruler sat atop is throwne, you know, looking outing, having

3391
02:35:00,920 --> 02:35:03,319
conquered everything, and that trade off into the sucky bus

3392
02:35:03,399 --> 02:35:06,239
growl hook is just so fucking rad. It Also it

3393
02:35:06,319 --> 02:35:08,000
has these like you know, tracks like that alongside the

3394
02:35:08,079 --> 02:35:11,680
rages where it lets the dark majesty of these songs

3395
02:35:11,719 --> 02:35:14,680
get really slowly teased out, and you particularly have that

3396
02:35:14,760 --> 02:35:17,040
in the closing track, Ballad of a Fallen Star, which

3397
02:35:17,120 --> 02:35:18,719
is like nine and a half minutes long. There's this

3398
02:35:18,799 --> 02:35:22,280
fucking phenomenal bit where the backing vocal choir chimes in

3399
02:35:22,399 --> 02:35:24,879
with what I imagine has to be an intentional callback

3400
02:35:25,239 --> 02:35:27,600
to how that first album starts, because the backing vocal

3401
02:35:27,680 --> 02:35:33,520
goes a wizard but it's done with so much gravity

3402
02:35:33,799 --> 02:35:35,280
and conviction. I love it, and as well as the

3403
02:35:35,319 --> 02:35:37,479
obvious again blackmuton names or Emperor's Demus and that I

3404
02:35:37,520 --> 02:35:40,319
think there's a definite like undercurrent of Winter Sun Love

3405
02:35:40,719 --> 02:35:42,799
in Storm Keep. It was definitely there with the first record,

3406
02:35:42,840 --> 02:35:45,239
and then here that like wonder and grace in the

3407
02:35:45,280 --> 02:35:48,120
melodies that like playing to the back of the theater

3408
02:35:48,319 --> 02:35:51,040
kind of overwrought vocal deliveries that we've spoken about Yai

3409
02:35:51,159 --> 02:35:53,760
doing right, they come they come through here. But then

3410
02:35:53,760 --> 02:35:57,239
there's also a full on like Classic two thousand and

3411
02:35:57,319 --> 02:36:01,879
four interfereum folk metal riff after the incredible lead section

3412
02:36:02,120 --> 02:36:05,959
of that song, and it's so so welcome hearing someone

3413
02:36:06,120 --> 02:36:09,319
evoke that kind of thing with seriousness instead of it

3414
02:36:09,440 --> 02:36:12,799
being like this bloodstock second stage novelty gibberish, Like yes,

3415
02:36:12,920 --> 02:36:16,040
I never get anything like that that's done with this

3416
02:36:16,120 --> 02:36:18,879
sort of like artisanal hand anymore. That's this good anymore.

3417
02:36:19,600 --> 02:36:22,159
Speaker 2: I mean, that's why I can stomach that stuff on

3418
02:36:22,239 --> 02:36:24,559
this record, because it does feel like again what it

3419
02:36:24,719 --> 02:36:26,319
is a playful want to say, there's a bit of

3420
02:36:26,319 --> 02:36:26,680
a wink to it.

3421
02:36:26,799 --> 02:36:29,520
Speaker 3: It is as are as craft and the songs.

3422
02:36:29,559 --> 02:36:31,520
Speaker 2: It's taken seriously to fit it in with the songs,

3423
02:36:31,520 --> 02:36:35,879
and you're right, this doesn't feel like bloodstock second stage

3424
02:36:35,920 --> 02:36:38,479
shlock that I would find really irolling and annoying. So

3425
02:36:38,840 --> 02:36:40,680
when it is playing with folkmo and stuff like that

3426
02:36:41,120 --> 02:36:43,680
and alongsid all the symphonics of the black metal, it

3427
02:36:43,840 --> 02:36:46,600
sits naturally as just feeling part of like the world

3428
02:36:46,680 --> 02:36:48,399
and the tatty of these songs. And I think it's

3429
02:36:48,440 --> 02:36:50,559
a really vice element to the album.

3430
02:36:51,200 --> 02:36:53,920
Speaker 4: Well, dare I say Ballad of a Fallen Star, when

3431
02:36:53,920 --> 02:36:57,079
those clans come in towards the end, it's a bit Arcturus,

3432
02:36:57,639 --> 02:37:00,520
which we have argued to the hills on this show

3433
02:37:00,559 --> 02:37:03,040
and now we're all gonna hold hands. They say, are

3434
02:37:03,079 --> 02:37:05,879
a brilliant band, always have been well maneuvered.

3435
02:37:07,760 --> 02:37:09,920
Speaker 2: Maybe like do you know what, maybe this is like

3436
02:37:10,600 --> 02:37:14,840
storm Keeping, static Dress, like bringing black metal and Naughty's

3437
02:37:14,879 --> 02:37:18,959
post hard Poe emo together, Like they have similar things

3438
02:37:18,959 --> 02:37:20,799
in that they're doing that kind of like juke box

3439
02:37:20,879 --> 02:37:22,959
throwback sort of thing, which is the main in songwriting.

3440
02:37:23,040 --> 02:37:26,479
Speaker 3: So who knew that though those bands would make strange bedfellows.

3441
02:37:26,879 --> 02:37:29,040
Speaker 1: Yeah, and then the last like twenty seconds of that

3442
02:37:29,159 --> 02:37:33,079
song end almost exactly like Inoa Satana. It's great. I

3443
02:37:33,120 --> 02:37:35,280
think if you put this band, you know, next to

3444
02:37:35,319 --> 02:37:38,559
the other bands in the sort of membership family like Blood, Incantation, Wayfairer,

3445
02:37:38,559 --> 02:37:41,840
et cetera. Storm Keep obviously isn't, as you know, innovative.

3446
02:37:42,159 --> 02:37:44,319
It's the one that is the most like it's operating

3447
02:37:44,520 --> 02:37:47,239
in a pre existing artistic sphere and is a real

3448
02:37:47,360 --> 02:37:49,799
love letter to those things. But when you've got someone

3449
02:37:49,840 --> 02:37:53,879
as unbelievably talented as Isaac writing this stuff and letting

3450
02:37:53,920 --> 02:37:55,440
all of his passion for this kind of music out,

3451
02:37:55,799 --> 02:37:57,360
and he has pushed himself here to not just do

3452
02:37:57,440 --> 02:37:58,719
the same thing again that as he did in the

3453
02:37:58,760 --> 02:38:01,760
first one. I I certainly like this as much the

3454
02:38:01,799 --> 02:38:03,719
first storm Keep album my hot take, as I actually

3455
02:38:03,760 --> 02:38:05,639
think this is quite a bit better, like I love

3456
02:38:05,719 --> 02:38:09,319
them going darker and more gothic. We're at the halfway

3457
02:38:09,399 --> 02:38:11,959
point and it's been a really good good year for

3458
02:38:12,079 --> 02:38:14,200
black metal up to this point. And this is not

3459
02:38:14,280 --> 02:38:16,319
quite my top top pick, but it's definitely in. You know,

3460
02:38:16,559 --> 02:38:18,520
it's worthy of being in that conversation and it's a

3461
02:38:18,680 --> 02:38:21,079
must if you enjoy this style of black metal. So

3462
02:38:21,200 --> 02:38:25,120
storm Keep and the Nocturns of iswallin the final extreme record.

3463
02:38:25,239 --> 02:38:28,159
We've got very good, well rounded, you know, representation here

3464
02:38:28,200 --> 02:38:31,000
with doom, black and death metal. And this is another

3465
02:38:31,040 --> 02:38:33,760
one finally cleaning up from the last week of May.

3466
02:38:33,879 --> 02:38:35,639
But when it came to death metal, I didn't hear

3467
02:38:35,680 --> 02:38:39,200
anything else. I wanted to shout about more Funabram and

3468
02:38:39,600 --> 02:38:43,479
beckoning the Void of Eternal Silence. This is another long

3469
02:38:43,600 --> 02:38:46,120
in the making record, as they are a smaller name

3470
02:38:46,319 --> 02:38:47,840
and they haven't had a record in ten years. I

3471
02:38:47,879 --> 02:38:49,920
imagine this is the first time that many people will

3472
02:38:49,959 --> 02:38:52,719
be hearing about Funabreum, but they've actually been around for

3473
02:38:52,760 --> 02:38:56,040
Bloody Ages. They formed in nineteen ninety nine, but it's

3474
02:38:56,079 --> 02:38:58,520
definitely not been a case of quantity. This is their

3475
02:38:58,639 --> 02:39:01,360
third full length album. The others came out in two

3476
02:39:01,360 --> 02:39:04,840
thousand and one and two thousand and nine. In twenty sixteen,

3477
02:39:04,920 --> 02:39:07,440
they put an EP called Exhumation of the Ancient, and

3478
02:39:07,520 --> 02:39:09,000
that's the first thing that I heard. So I've been

3479
02:39:09,040 --> 02:39:11,079
a fan for ten years and they haven't done anything

3480
02:39:11,280 --> 02:39:14,479
at that time. But it's quite great that Finebrem despite

3481
02:39:14,520 --> 02:39:16,479
being what you could easily on those terms you know,

3482
02:39:16,600 --> 02:39:19,479
call a veteran band, can come out of activity and

3483
02:39:19,639 --> 02:39:23,559
just very smoothly slip into the current continue of underground

3484
02:39:23,559 --> 02:39:24,879
death metal. And if I told you this was a

3485
02:39:24,920 --> 02:39:28,159
brand new band, you'd probably believe me, because basically, if

3486
02:39:28,239 --> 02:39:30,239
you like anything in that realm that's come out in

3487
02:39:30,239 --> 02:39:33,280
the last ten years, I'm gonna assume I speak for

3488
02:39:33,319 --> 02:39:35,239
everyone here. I'll be shocked if I don't, and feel

3489
02:39:35,239 --> 02:39:37,559
free to shock me. But I think we could pretty

3490
02:39:37,600 --> 02:39:39,959
easily recommend you this Suniborum record.

3491
02:39:40,879 --> 02:39:41,079
Speaker 3: Yeah.

3492
02:39:41,440 --> 02:39:43,280
Speaker 2: I like again as the sort of the least kind

3493
02:39:43,280 --> 02:39:44,680
of like in on the Deaf mel thing. I think

3494
02:39:44,719 --> 02:39:47,520
the sound taps into a lot of like divin AERA's

3495
02:39:47,520 --> 02:39:49,799
deafel that make it very easy to recommend. It's it's

3496
02:39:49,920 --> 02:39:53,000
it's got the Cavaners kind of like crypt death mel thing,

3497
02:39:53,079 --> 02:39:55,680
but it's got you know, slamming.

3498
02:39:55,399 --> 02:39:57,760
Speaker 3: Hard rifts and like technical bits.

3499
02:39:57,760 --> 02:39:59,719
Speaker 2: I think I think this ABMs really cool and again

3500
02:39:59,719 --> 02:40:01,399
I will wasn't you was gonna like it as much

3501
02:40:01,440 --> 02:40:03,680
as you'd hope I would, But I think this is

3502
02:40:04,040 --> 02:40:04,440
very good.

3503
02:40:05,280 --> 02:40:08,159
Speaker 4: Yeah, it's a record which is certainly quirky and has

3504
02:40:08,280 --> 02:40:13,239
some production and songwriting oddities to it, which maybe on

3505
02:40:13,319 --> 02:40:15,280
first lesson for some people they might find odd. But

3506
02:40:15,319 --> 02:40:19,000
if you like death met this the thing we've said,

3507
02:40:20,479 --> 02:40:23,840
well maybe a depressing absence of times more recently, but

3508
02:40:23,920 --> 02:40:27,360
the death mol which really feels like death This has

3509
02:40:27,440 --> 02:40:30,440
that quality where the album feels like it's rotting as

3510
02:40:30,520 --> 02:40:32,319
you listen to it. And if you like that, which

3511
02:40:32,319 --> 02:40:34,520
you should, I feel like death metal. This has that

3512
02:40:34,600 --> 02:40:35,040
in spades.

3513
02:40:35,799 --> 02:40:39,520
Speaker 1: What you've just described described is exactly the sensation that

3514
02:40:39,959 --> 02:40:41,680
maybe a fan of you and a bra and it's

3515
02:40:41,719 --> 02:40:43,719
what this record has delivered to me in spades. This

3516
02:40:43,840 --> 02:40:48,479
record is so juicy, like if you like groovy, nasty

3517
02:40:48,600 --> 02:40:53,000
death metal, this is a stinky beautiful steak of the

3518
02:40:53,079 --> 02:40:55,719
good stuff that even though this isn't even though this

3519
02:40:55,719 --> 02:40:57,559
is an underground death metal record, I think this is

3520
02:40:57,600 --> 02:41:00,319
maybe one of the more universally appealing of those amongst,

3521
02:41:00,399 --> 02:41:01,879
you know, people with a taste for the style, because

3522
02:41:01,920 --> 02:41:05,959
this thing is so primordially satisfying that I just struggle

3523
02:41:06,000 --> 02:41:07,959
to imagine anyone who likes death metal not getting a

3524
02:41:08,040 --> 02:41:10,079
kick out of it. My favorite funebre in fact, and

3525
02:41:10,120 --> 02:41:13,440
you'll appreciate this, Sam, He's probably tired of getting wheel

3526
02:41:13,440 --> 02:41:14,920
out reviews at this point. But Daryl, who is the

3527
02:41:14,959 --> 02:41:17,239
front man's bands It's nineteen ninety nine, is one of

3528
02:41:17,280 --> 02:41:20,319
the punks in Jason Takes Manhattan who Jason scares away

3529
02:41:21,079 --> 02:41:23,440
by taking his mask off in Times Square honestly true story,

3530
02:41:23,920 --> 02:41:27,360
but otherwise are a more recent claim to fame is

3531
02:41:27,719 --> 02:41:30,399
they have added since the last time they recorded anything,

3532
02:41:30,719 --> 02:41:33,399
They've added to their lineup. Phil Tugas, who is the

3533
02:41:33,760 --> 02:41:37,079
ultra prolific guitar whiz who is in As it Happens

3534
02:41:37,200 --> 02:41:39,840
Worm as well as his own universe of bands such

3535
02:41:39,840 --> 02:41:43,959
as Catiarist and Psycaradius and Exul and so on. He's

3536
02:41:43,959 --> 02:41:45,239
been in the band for ages now, but they just

3537
02:41:45,280 --> 02:41:47,319
haven't put anything out before this. I think I've heard

3538
02:41:47,399 --> 02:41:49,559
somewhere during the gestation of all this that they might

3539
02:41:49,600 --> 02:41:52,520
have recorded this album in like twenty nineteen or something

3540
02:41:52,600 --> 02:41:53,520
like that and then.

3541
02:41:53,479 --> 02:41:54,360
Speaker 4: Just sat on it.

3542
02:41:54,600 --> 02:41:57,120
Speaker 1: I don't know why underground bands behave this way sometimes,

3543
02:41:57,200 --> 02:41:59,000
or if that's correct, but anyway, the great thing about

3544
02:41:59,000 --> 02:42:01,360
this branch of death metal is there's no effect from

3545
02:42:01,399 --> 02:42:03,319
that in the record coming out, because it comes out

3546
02:42:03,959 --> 02:42:07,680
and it sounds primal and guttural and belching. It's an

3547
02:42:07,799 --> 02:42:10,079
unchained style of music. And that's not saying this album

3548
02:42:10,079 --> 02:42:12,040
doesn't have quirks, because I'm glad you're pointing those out, Elliott.

3549
02:42:12,040 --> 02:42:15,559
It really does. But the core of it is bloody

3550
02:42:15,799 --> 02:42:20,639
hunks of meaty death metal. That basically the best record

3551
02:42:20,639 --> 02:42:23,239
of the year so far for that particular thing in

3552
02:42:23,399 --> 02:42:27,399
my opinion, Like it's just so fucking honkin I love it.

3553
02:42:28,399 --> 02:42:32,399
Speaker 4: All the adjectives were deploying here are so like unique

3554
02:42:32,639 --> 02:42:35,920
for metal record, and it calls upon that because the

3555
02:42:35,959 --> 02:42:38,200
way this record sounds, even though in many ways it's

3556
02:42:38,440 --> 02:42:42,920
classic and vintage and use word primordial, it's it's also

3557
02:42:43,079 --> 02:42:46,360
just strange and there's things on here which are like

3558
02:42:46,399 --> 02:42:48,200
I say, sort of rarity, and like the guitar tone

3559
02:42:48,280 --> 02:42:51,040
on this album. It's not heavy in the way that,

3560
02:42:51,319 --> 02:42:53,159
oh it sounds like a chainsaw. Well, that's a nice

3561
02:42:53,399 --> 02:42:56,639
HM two pedal. It's heavy in a way that's kind

3562
02:42:56,639 --> 02:42:59,719
of hard to quantify with words. It feels heavy the

3563
02:42:59,760 --> 02:43:01,639
way when you're at the bottom of a pool of water,

3564
02:43:02,079 --> 02:43:04,600
the way the water on top of you feels. It's

3565
02:43:05,239 --> 02:43:08,319
like it's it feels like the act of playing it

3566
02:43:09,079 --> 02:43:13,239
would be actively exhausting. Or so when this band lean

3567
02:43:13,319 --> 02:43:17,079
into a real death doom riff, it's it's like chewing

3568
02:43:17,159 --> 02:43:20,680
through overcooked meat. I mean, I'm making it sound I'm

3569
02:43:20,680 --> 02:43:23,440
making it sound much more unpleasant than it is. But

3570
02:43:24,239 --> 02:43:26,520
it's a sensation which is hard to come by in music.

3571
02:43:26,559 --> 02:43:27,879
And I saw I listened to it, and I don't

3572
02:43:27,879 --> 02:43:29,159
know how you've managed. I don't know if it's in

3573
02:43:29,159 --> 02:43:31,479
the way the rifts are written or just it's purely

3574
02:43:31,559 --> 02:43:34,319
in the tone of it. But there's something kind of

3575
02:43:35,440 --> 02:43:39,799
like physically challenging about this. The way this record sounds.

3576
02:43:39,920 --> 02:43:42,760
I mean that in the as the highest possible compliment.

3577
02:43:43,319 --> 02:43:45,799
Speaker 1: Yeah, the riffing is in that kind of incantation realm

3578
02:43:45,879 --> 02:43:51,120
that like gurgly intestine squeezing, you know, squishy kind of sound,

3579
02:43:51,280 --> 02:43:53,360
and some of that like finished death doom feel the

3580
02:43:53,440 --> 02:43:55,200
next it's presence felt as well. But it's not just

3581
02:43:55,280 --> 02:43:57,440
a slow death out of record, because the drummer, by

3582
02:43:57,440 --> 02:44:00,440
the way, is so fucking propulsive on the blast, like

3583
02:44:00,479 --> 02:44:02,959
some prime pete zandervial shit going on on a good

3584
02:44:02,959 --> 02:44:07,079
amount of this. It's it is a really physical listening experience,

3585
02:44:07,319 --> 02:44:09,639
the way it slips inside the same track from like

3586
02:44:09,879 --> 02:44:12,840
utterly doomed and frigid to then just like lightning off

3587
02:44:12,879 --> 02:44:14,360
the mark. And part of the reason I wanted to

3588
02:44:14,360 --> 02:44:15,440
bring it on is I feel like it's the kind

3589
02:44:15,479 --> 02:44:18,319
of record that could unite the tribes of the more

3590
02:44:18,440 --> 02:44:21,040
underground you know, death metal heads who like things to

3591
02:44:21,079 --> 02:44:23,360
be more evil, and then the people who are coming

3592
02:44:23,399 --> 02:44:25,559
in through you know, your Frozen Souls and Sagway super

3593
02:44:25,559 --> 02:44:27,319
Bowls and those kind of bands who have that more

3594
02:44:27,360 --> 02:44:29,520
sort of caveman feel. Because I think this excels at

3595
02:44:29,559 --> 02:44:31,840
both like it does exist on the more underground side

3596
02:44:31,879 --> 02:44:33,680
of it, and I'm going to bring up some of

3597
02:44:33,719 --> 02:44:35,879
the stuff that this does in regards to atmosphere, but

3598
02:44:36,239 --> 02:44:38,399
I think this is also amongst the most accessible records

3599
02:44:38,600 --> 02:44:40,239
of that kind of camp because it is just as

3600
02:44:40,280 --> 02:44:43,559
fucking ass beating as those other bands who are talking about.

3601
02:44:43,760 --> 02:44:45,440
Speaker 2: That is why I really like this record. It coind

3602
02:44:45,440 --> 02:44:49,200
reminds me of I want to say, Spectral Voice. Is

3603
02:44:49,280 --> 02:44:51,959
that the one that's like really cavinous and evil and

3604
02:44:52,000 --> 02:44:53,719
decaying I've read on their albums before.

3605
02:44:53,879 --> 02:44:56,159
Speaker 3: Yeah, it's got that kind of feeling to it. But

3606
02:44:56,280 --> 02:44:57,200
then a song like.

3607
02:44:58,680 --> 02:45:01,719
Speaker 2: Through the barren Halls of even Imptness, they drop the

3608
02:45:01,920 --> 02:45:07,200
most fugged out riff like like like swaggering I say,

3609
02:45:07,319 --> 02:45:11,559
ass beating like that definite hardks the thing in there.

3610
02:45:11,799 --> 02:45:14,520
So when you've got that alongside the real kind of evil,

3611
02:45:14,840 --> 02:45:19,399
atmospheric like dank reeks of death kind of thing, it

3612
02:45:19,559 --> 02:45:21,799
does kind of just like Unit the tray rapping, like

3613
02:45:22,120 --> 02:45:24,440
it can make me find that sort of stuff that

3614
02:45:24,479 --> 02:45:26,200
can be a bit be obbrotused to be hard to

3615
02:45:26,239 --> 02:45:28,079
get into. It makes it easier because at the same

3616
02:45:28,120 --> 02:45:29,959
time that you're doing that, I know at any moment

3617
02:45:30,000 --> 02:45:31,680
they're gonna start dropping in like a million and one

3618
02:45:31,760 --> 02:45:35,280
dive bombs and start shredding out loads of crazy solos

3619
02:45:35,319 --> 02:45:38,479
and blasting every hard and doing kind of swaggering grooves

3620
02:45:38,840 --> 02:45:40,360
whilst always kind of lett out that kind of like

3621
02:45:40,639 --> 02:45:43,440
evil grunt vocal, it kind of just hits on all

3622
02:45:43,479 --> 02:45:45,120
these things on these songs, and it sounds like that

3623
02:45:45,200 --> 02:45:49,399
could be messy, but they kind of tied together weirdly cohesively.

3624
02:45:50,680 --> 02:45:53,479
Speaker 1: Yeah, that track that you mentioned is maybe my favorite

3625
02:45:53,520 --> 02:45:56,440
because that that riff is all muscle. It's got that

3626
02:45:56,639 --> 02:45:59,440
rolling tank feel that we always talk about with Bolt Thrower,

3627
02:46:00,079 --> 02:46:02,799
but with like the extra sliminess on the riff of

3628
02:46:02,920 --> 02:46:05,440
like an incantation, you know, and the overall sonic weight

3629
02:46:05,520 --> 02:46:09,159
of that is fantastic. The grooves that the drummer does,

3630
02:46:09,239 --> 02:46:13,600
like that thick, cracking snare. They're cave man without being stupid,

3631
02:46:13,719 --> 02:46:16,280
you know, because he would just switch fill switch feel

3632
02:46:16,360 --> 02:46:19,479
on a fucking dying like so mightily. And then you

3633
02:46:19,600 --> 02:46:22,440
have like in the Dark Domains, which the intro riff

3634
02:46:22,840 --> 02:46:25,280
the low end how it is that like, oh my

3635
02:46:25,399 --> 02:46:27,440
intestines have fallen out of my ass onto the floor

3636
02:46:27,440 --> 02:46:31,399
With those lowest notes, it's morticition esque, just stinking and rotting.

3637
02:46:32,120 --> 02:46:33,680
But then halfway through it like slips into like a

3638
02:46:33,719 --> 02:46:35,559
punk beat, and you're halfway into the record at that

3639
02:46:35,600 --> 02:46:37,680
stage with that song, and you haven't had that particular

3640
02:46:37,760 --> 02:46:42,159
groove yet. Like it's pretty versatile for a seemingly straightforward record.

3641
02:46:42,920 --> 02:46:45,239
Speaker 4: And the other thing that I think really balances those

3642
02:46:45,280 --> 02:46:48,159
two worlds that we're talking about is in the vocal interplay,

3643
02:46:48,520 --> 02:46:51,399
where the thing that really reminded me of is Symphonies

3644
02:46:51,440 --> 02:46:54,319
of Sickness, where you have these low growls which are

3645
02:46:54,440 --> 02:46:58,559
so just burpy and gross, and they primordial is the

3646
02:46:58,559 --> 02:47:00,399
word there, because it's like they come from time where

3647
02:47:00,440 --> 02:47:03,200
death metal vocalists hadn't exactly worked out where the death

3648
02:47:03,239 --> 02:47:05,360
metal gral was going to be. And the tone that

3649
02:47:05,520 --> 02:47:07,920
the tone that Bill Steering nails on that record, which

3650
02:47:08,360 --> 02:47:11,319
I've never really heard anyone else nail quite the extent

3651
02:47:11,360 --> 02:47:13,959
that he does there. This record has that, and the

3652
02:47:14,079 --> 02:47:17,639
absolute perfect thing to juxtapose that with is the Jeff

3653
02:47:17,680 --> 02:47:20,879
Walker retch, which this also has. It's this high, fairal

3654
02:47:20,959 --> 02:47:23,319
shriek that really cuts through the mix, and I think

3655
02:47:23,360 --> 02:47:26,120
that could appeal to both sides because it's much more

3656
02:47:26,239 --> 02:47:29,079
legible than the more than the really extreme death metal

3657
02:47:29,159 --> 02:47:32,360
vocals where it is just you know, the toilet noises

3658
02:47:32,399 --> 02:47:36,920
well familiar with, but it still sounds alien and strange

3659
02:47:37,040 --> 02:47:40,639
and dangerous in a way that you know, like the

3660
02:47:40,680 --> 02:47:43,239
Frozen Soul, Like Frozen All are a great band, I

3661
02:47:43,280 --> 02:47:45,319
don't get a lot of danger from that band, and

3662
02:47:45,520 --> 02:47:48,200
like the vocals are. I mean, the fact that Rob

3663
02:47:48,239 --> 02:47:50,840
Flynn could be on that record at all kind of

3664
02:47:51,040 --> 02:47:53,000
tells you everything was he would have nowhere to go.

3665
02:47:54,760 --> 02:47:57,959
This just does not sound really It's legible and yet

3666
02:47:58,000 --> 02:48:00,200
doesn't sound like a person, which is like the two

3667
02:48:00,360 --> 02:48:02,440
things which are the hardest things to do with death metal,

3668
02:48:03,000 --> 02:48:04,120
and they nail it.

3669
02:48:04,280 --> 02:48:06,280
Speaker 1: Yeah, I don't want to go back to just criticizing

3670
02:48:06,280 --> 02:48:08,000
the Frozen Soul that we did last month, that Elliott

3671
02:48:08,000 --> 02:48:09,559
you and I had had some problems with, but that

3672
02:48:09,719 --> 02:48:11,959
this record came out like three weeks after and it

3673
02:48:12,040 --> 02:48:14,559
has a similar kind of cold atmosphere that.

3674
02:48:14,600 --> 02:48:15,040
Speaker 6: They go for.

3675
02:48:15,360 --> 02:48:17,360
Speaker 1: But as much as I enjoy parts of the Frozen

3676
02:48:17,399 --> 02:48:19,440
Soul record, this record just really gave me like the

3677
02:48:19,520 --> 02:48:22,079
complete experience that I was looking for and kind of

3678
02:48:22,120 --> 02:48:24,040
showed how it should be done because the production, the

3679
02:48:24,159 --> 02:48:27,920
recording of this, the guitar tone, the grooves, it's so

3680
02:48:28,239 --> 02:48:31,559
thick and mountainous, but also then like three dimensional because

3681
02:48:31,799 --> 02:48:33,959
this record also for some reason they've decided to go

3682
02:48:34,079 --> 02:48:37,520
really hard on adding this like snow capped icy packaging

3683
02:48:37,639 --> 02:48:39,280
to it in a way that you would more so

3684
02:48:39,440 --> 02:48:41,680
expect from the black metal that we've just spoken about

3685
02:48:41,680 --> 02:48:43,879
with storm Keep, and it's quite here like unique hearing

3686
02:48:43,879 --> 02:48:45,520
it apply to a death metal record, where it has

3687
02:48:45,559 --> 02:48:48,399
a full on fucking symphonic intro track like you would

3688
02:48:48,440 --> 02:48:51,360
hear on a symphonic black record, and then beyond it

3689
02:48:51,520 --> 02:48:53,239
just being like here's an intro and then an interlude

3690
02:48:53,280 --> 02:48:57,399
as well. It's kind of quite closely integrated into some

3691
02:48:57,520 --> 02:49:00,879
of the death metal tracks, Like the third track has

3692
02:49:00,959 --> 02:49:03,680
these full I'm not sure what exactly language that that

3693
02:49:03,760 --> 02:49:06,040
title is in, but it goes really hard on like

3694
02:49:06,120 --> 02:49:10,559
that looming, droney ambience that works really well with the

3695
02:49:10,639 --> 02:49:12,840
death metal, like you are entering some kind of like

3696
02:49:12,879 --> 02:49:15,959
ancient musty crypt or something with all the you know,

3697
02:49:16,120 --> 02:49:18,079
decrepit old art effects hung off the walls. And then

3698
02:49:18,120 --> 02:49:22,760
the final track, the Whisping Whispering Cathedral Brackets epilogue. Very

3699
02:49:22,840 --> 02:49:25,040
bold to label that your epilogue, because it's really the

3700
02:49:25,200 --> 02:49:27,159
eight and a half minute closer, you know, but it

3701
02:49:27,239 --> 02:49:31,840
has this like crepuscular texture with the organs and everything,

3702
02:49:31,879 --> 02:49:33,559
and it does IgA and it adds this like third

3703
02:49:33,639 --> 02:49:36,079
dimension to what is you know in the meathead crews

3704
02:49:36,079 --> 02:49:39,000
of the record that really like it seals the deal.

3705
02:49:39,120 --> 02:49:39,840
It brings it all together.

3706
02:49:39,920 --> 02:49:41,319
Speaker 3: I think on this, I think that was one for me.

3707
02:49:41,360 --> 02:49:43,360
Speaker 2: Where again I was like, by the end of it,

3708
02:49:43,360 --> 02:49:45,520
I was like, ah, do I really eight minute close

3709
02:49:45,600 --> 02:49:47,000
of this sort of thing? Because I do really like

3710
02:49:47,079 --> 02:49:48,840
this record, but I was like I was going to

3711
02:49:48,879 --> 02:49:51,000
feel like I'd had my fill of it, and then

3712
02:49:51,040 --> 02:49:54,159
that close of frozen some like gothic doom bits and

3713
02:49:54,559 --> 02:49:56,639
like all the spooky keys and all that sort of stuff,

3714
02:49:56,639 --> 02:49:58,600
and I was like, oh cool, they're still finding ways

3715
02:49:58,680 --> 02:50:03,360
to keep this sound alive and different and get some

3716
02:50:03,520 --> 02:50:06,479
curls in that I wasn't necessarily expecting. Where like Sam,

3717
02:50:06,520 --> 02:50:08,760
where it does kind of deliver on like either big

3718
02:50:08,920 --> 02:50:11,520
rus crasos or like evils ort of things that are

3719
02:50:11,600 --> 02:50:13,920
like the like I say, the cavenous crypt sort of stuff.

3720
02:50:14,440 --> 02:50:18,399
They keep finding some little pockets and songs to throw

3721
02:50:18,520 --> 02:50:20,719
something a more interesting sound in there.

3722
02:50:20,799 --> 02:50:22,520
Speaker 3: That that was sort of catch my ear and go like,

3723
02:50:22,559 --> 02:50:27,879
oh cool, I can go for more of this. Yeah.

3724
02:50:27,920 --> 02:50:30,879
Speaker 4: I think that the songs themselves, they don't really write bangers,

3725
02:50:31,079 --> 02:50:33,959
not that you're going to expecting it. But it's not

3726
02:50:34,000 --> 02:50:36,760
like you could say it songs like this or the

3727
02:50:36,840 --> 02:50:38,200
songs on this record, you couldn't pull them out of

3728
02:50:38,239 --> 02:50:40,239
context and shown to someone who's new to death Mount

3729
02:50:40,239 --> 02:50:41,840
and say, hey, check that out. But if you sit

3730
02:50:41,920 --> 02:50:43,920
down and listen to the record and you allow it

3731
02:50:44,000 --> 02:50:47,440
to invite you into its world, they like you said something.

3732
02:50:47,479 --> 02:50:50,600
They throw those moments out frequently enough where if you

3733
02:50:50,639 --> 02:50:52,399
ever Filly starts to get a bit lost in the noise,

3734
02:50:53,079 --> 02:50:56,120
there's these life rafts to grab onto it along the

3735
02:50:56,120 --> 02:50:58,559
way where it's like, Okay, that's a hulking, big riff,

3736
02:50:58,840 --> 02:51:01,840
that's a fact groove, that's a bomb. And as far

3737
02:51:01,879 --> 02:51:05,159
as a best of both words or like a crossing

3738
02:51:05,239 --> 02:51:07,799
the barrier between those two things, I think it's a

3739
02:51:07,879 --> 02:51:10,840
really cool and it's got an appeal beyond just that.

3740
02:51:10,920 --> 02:51:14,280
It's not like a just a compromise, it's an all

3741
02:51:14,319 --> 02:51:16,319
and that's got so much character of its own that

3742
02:51:16,840 --> 02:51:18,799
I think can appeal to pretty much anyone's interest in

3743
02:51:18,840 --> 02:51:19,239
death metal.

3744
02:51:19,440 --> 02:51:21,399
Speaker 1: Yeah, and then there is also the final element on

3745
02:51:21,479 --> 02:51:24,319
top that Phil tugas. My favorite thing that he's ever

3746
02:51:24,399 --> 02:51:27,120
made is his death metal band Catialist who also haven't

3747
02:51:27,120 --> 02:51:29,399
released an album in ten years, or even his funeral

3748
02:51:29,479 --> 02:51:31,360
doom and band Atrementous who haven't had a record in

3749
02:51:31,440 --> 02:51:34,520
six years. Here's like distinct le guitar feel in the

3750
02:51:34,639 --> 02:51:37,760
realm of like uzzy Pussy death metal has kind of

3751
02:51:37,799 --> 02:51:39,200
given me a double fix where it's given me a

3752
02:51:39,239 --> 02:51:41,600
little taste of that as well as like Funebreum coming back,

3753
02:51:42,120 --> 02:51:45,719
It's got again these like real funeralistic components that are

3754
02:51:45,799 --> 02:51:48,040
so dark and imposing, but then you know it's not

3755
02:51:48,120 --> 02:51:50,000
as solo mad as like the World album for example,

3756
02:51:50,040 --> 02:51:52,559
but you'll be enjoying some really hard, awesome death metal

3757
02:51:52,600 --> 02:51:56,120
groove and then one of his unmistakable crazy tappy leads

3758
02:51:56,360 --> 02:51:57,719
will just take off and it is just like a

3759
02:51:57,760 --> 02:52:01,399
beautiful cherry on top, and it adds this real proficiency

3760
02:52:01,479 --> 02:52:04,639
and musical flare to where other bands can be more

3761
02:52:04,680 --> 02:52:08,200
brain dead. It's absolutely killer death metal in many ways

3762
02:52:08,239 --> 02:52:09,840
compared to what I just said about twenty twenty six

3763
02:52:09,920 --> 02:52:11,680
for black metal, I think the death metal has been

3764
02:52:11,719 --> 02:52:14,639
a little slower with any reviewed like three four records

3765
02:52:14,760 --> 02:52:17,239
so far, but this is one of the big highlights

3766
02:52:17,440 --> 02:52:21,959
for sure. So Funebreum with Beckoning the Void of Eternal Silence.

3767
02:52:22,079 --> 02:52:25,360
That is the record we have got for you this time.

3768
02:52:25,479 --> 02:52:28,879
Thank you very much for joining us and bearing with

3769
02:52:29,040 --> 02:52:31,520
us through the heat and some of our tech difficulties

3770
02:52:31,559 --> 02:52:33,920
and whatnot that we've got going on. But let us

3771
02:52:34,040 --> 02:52:39,559
know what you make of the returns of Marmazettes and warning,

3772
02:52:40,079 --> 02:52:42,479
whether you've got new discoveries in the likes of storm

3773
02:52:42,559 --> 02:52:46,520
Keep and Funebreum, the second Converge album of twenty twenty six.

3774
02:52:46,600 --> 02:52:48,879
There's a lot there to be sinking your teeth into

3775
02:52:48,959 --> 02:52:51,360
from all across the musical spectrum. Do get into it

3776
02:52:51,559 --> 02:52:54,479
and give us your thoughts. Next week we'll be back

3777
02:52:54,719 --> 02:52:58,360
with Outbreak Festival, because that's where we are headed this

3778
02:52:58,719 --> 02:53:00,399
very weekend and going to watch the like of elect

3779
02:53:00,479 --> 02:53:04,799
Us on Fire and Hate Breed and Convert and Suicide Tendency,

3780
02:53:05,559 --> 02:53:07,280
all sorts going on there. So we'll be back with

3781
02:53:07,319 --> 02:53:11,719
a report from that if we survive these these sweltering rays,

3782
02:53:11,840 --> 02:53:13,559
but if we don't, we hope to see you back

3783
02:53:13,639 --> 02:53:14,079
once again.

3784
02:53:14,120 --> 02:53:15,479
Speaker 3: See here's everybody for being with us.

3785
02:53:15,559 --> 02:53:15,719
Speaker 2: By