Speaker 1: Hello everybody, and welcome back to That's No Metal, your
weekly rock, heavy metal, hardcore, punk, heavy music podcast. And
welcome back to Hyperblasts, our speedy in and out news
show where we let you know everything that's gone on
in the last seven days. Today it's more like six days,
so it's recording the day early because I'm heading off
for the Old Festival tomorrow, but we've still got a
good amount to talk about. My name is paren Hesh.
Sam Dignon is with me. Sam, You had a very
exciting little time in a brewery this week, right, yep?
Speaker 2: Yeah, off down to a brewer and the other end
of London.
Speaker 3: Pain they asked to get to nowadays because I'm like
like full on like east side London.
Speaker 2: It was the entire sense and all that. But yes, yeah,
oh god, but yeah, No.
Speaker 3: Hopped over to there to see Green Lung play what
is surely going to be the smallest.
Speaker 2: Show they play for a while, Like yeah, because it
was done as that kind of like a secret show
where they didn't announce it.
Speaker 3: You're gonna have to like some to their mailing list
and then you would get a link to like the
like something.
Speaker 2: But I managed to get I was like I would
after that last.
Speaker 3: Album being brilliant, I would like to see Green Lung
And yeah, they were fantastic. They this is one of
those was like, you know, they feel too big to
be playing in this like brewery like.
Speaker 2: But they sounded fantastic.
Speaker 3: They had a power cut at one point, like quite
right at the end of the right at the end
of a song to be fair like, so like.
Speaker 2: They didn't really mess with the set.
Speaker 3: But yeah, the songs off This heaven Land live in particular,
like when they're just dropping the Forest Church that's like
second in the set, straight into Maxine. Yeah, those older songs,
which again I particular the second album I've got quite
fond of in the sort of aftermath of This even
Land and going back to it, like they've just got
a really great catalog of just like massive heavy metal
tunes now and they've just got like the charisma to
deliver them on stage. Even again, they still bought their
big big head with them. I call it the thing
I'm talking about. Yeah, the big head there at the
back of the stage. They couldn't fit any other other
show on this like tiny little brewery stage, but they
manage to get that guy there at the back.
Speaker 2: Just overlooking you you all.
Speaker 3: But yeah, they were fantastic and it felt like a
real kind of like celebratory them having fun, like getting
back to playing like a tiny.
Speaker 2: Little no barrier show.
Speaker 3: On the eve of their biggest shows ever going on
sale again. Like I say, very Settler's very heavily focused
on this even land though no Oceans of Time was
the one sort of bummer for me. I was like, ah,
come on, I liked that, but generally just a really
really good time Maxine. When they just burst into that
like that call, that two pronged chorus is just like outstanding,
and they, like say as a live one, have just
so much presence and charisma to them that I think
they could really go places.
Speaker 2: If this is the live show. They're packing with the songs,
so you're seeing them in a couple of.
Speaker 1: Days on an outdoor stage for the first time, seeing
green lung in that environment. So I think that will
that would be interesting see kind of how that all goes.
But yeah, it seems like it's all going.
Speaker 3: I think if they can make a good showcase a bloodstol,
that will you know, boost the profile of that upcoming
of those upcoming headline shows.
Speaker 2: So yeah, exciting times for green lung.
Speaker 1: Yeah, sounds very cool. Indeed, Also, I forgot to mention
this last week. I feel like I just drop it
in now, the wedding that I was at the other
weekend when I mentioned I'd missed the Olympic ceremony thing
for that. Bizarrely, they're like a pianist just kind of,
you know, in the corner doing his little piano editions
of like famous pop songs and stuff as like muzak
for the wedding, and at one point he played mother
tongue by bringing the horizon and me and my girlfriend
just looked at it other like, hey, that's definitely what
that is in the kind of the fellow like this,
are we the only people in this room? Recouy what's
going on here? But that happened. Yeah, So let's get
into the news from the last handful of days. And
I guess we're gonna start off with what is like
genuinely enormous news. But it seems like, I don't know,
maybe the most nonchalant come and gone one of these
kind of announcements has has felt such as I don't know
the state of the internet these days, but Aerosmith are
officially no longer a band as of like right this second,
Aerosmith had been going out on some kind of farewell dates,
so we knew that, you know, they would seemingly be
going on the out, but it had there one of
those bands where it has been hard to keep track
of when farewell dates were kind of you know, meant
to be happening or whatever. But apparently, but you know,
because of that, had kind of missed these details. But
apparently they'd postponed certain pieces of that because Stephen Tyler
had damaged his voice at some point on it, and apparently,
you know, in terms of his recovery and getting his
voice back to the place where it was where they
could go out and finish the tour properly, he's just
reached an age in a state where that's not going
to be feasible he's gonna be able to get his voice
back to what it was, and so they've decided to go,
We're going to cancel those dates, and and that's that.
That's the end of Aerosmith. I know that Elliott is
not here, so he can't be here to poo poo
the existence of Aerosmith in general, But yeah, I don't
know that there is something very like for a band
as absurdly over the top and you know, unshrinking violets
as as Aerosmith, there's something just very sort of like
quiet and humble about the way that this.
Speaker 3: Is an Instagram post essentially like a little when of
those little text images.
Speaker 1: Like oh that's Aerosmith gone there.
Speaker 2: I mean, when it's healthish, I guess you can't. You
can't help it. When they can't go into longer, they
can't go longer.
Speaker 3: I guess with every kind of legendary band, you wish
they would get that big final blowoff show that like
that they cannot high, but that that kind of beened,
like it's a shame, I like to say, of the
sort of eighties hair metal bands like Aris Your Father One,
like like the sort of like seventies n eighthest classical
bands that I have pointed the biggest softbat four in
terms of their music. Yeah, I again lost track of
thinking they'd already broken up like so many times, because
like I feel like there's been several farewell tours that
just kept going. So I was like, oh, they hadn't
broke up already, But then I kind of two. I
was just like it's kind of like, yeah, it's just
a bit of a weird down away for them to go.
Speaker 1: Yeah, it's because this is all on on legacy, isn't it.
Because you know, when was the last time Aerosmith contributed
something of relevance to the kind of rock.
Speaker 3: I mean live, Like twenty fourteen they were on like
insane life Form, that's all that's the time was I
saw them?
Speaker 1: No?
Speaker 2: Yeah, then you know, outside of that creatively though.
Speaker 1: Yes, when was don't want to miss a thing like
you know with armagedon like ninety eight No, yeah, so
like a bit over twenty five years being generous. But
in terms of live shows, I mean I never saw Aerosmith,
but I feel like they played Download twenty seventeen or something,
and I seem to remember that being billed as like,
you know, it.
Speaker 3: Was twenty fourteen was one they played and they were
like builders, like they stole the weekend and that was
the weekend Lincoln Park did hyer.
Speaker 1: Yeah, but then they played again in twenty seventeen, and
I'm pretty sure I remember that being billed as like
last UK Yeah, no.
Speaker 3: Like you're actually like that's where I think I'm getting
in the head where they.
Speaker 2: They've broken up.
Speaker 1: Yeah, because I didn't go to that. I remember, you know,
being like, okay, I'm not out download this year. I
guess I just won't see Aerosmith. And like, you know,
I'm very casual on Aerosmith. I have you know, soft
spots for certain bits of material from them, But I
can't say I'm like a huge fan and they're not
a band where me never getting to see them is
like a total huge bummer to me. But it does
feel like, you know, in those uh what like seven
years then I guess of them being in sort of
perpetual farewell mode. I don't know, it's a thing where,
like you know, maybe in terms of the history books,
it would have been nice for them to kind of
have the big blow ouh. I like, yeah, this is
like the last Aerosmith show if they'd done it back
in the late twenty tens or whatever and had the
full grand finale there. But also if they'd done that,
maybe that would have denied you know, the last like
five years worth of whatever worth of people you know
who did go out and see Aerosmith. And I don't
want to do that to people so it is just
kind of like, yeah, an acknowledgment that one of you know,
whether a huge fan or not. I think, you know,
between myself, you and Elliott, we've certainly got like three
different prongs of Aerosmith fandom that that varying from you know,
not too like decently big and then me kind of
in the middle. But you know, whether that's your feeling
or not, it is kind of acknoledgment, like, yeah, one
of the most famous, most influential, most just like iconic,
enormous in stature rock bands there will ever have have
have gone now, but they've also just kind of like
slightly evaporated out of existence in a moment of like, yeah,
I guess that's that's the end of the rodeo. It's
a moment of you know, as said, tipping the hat
and acknowledging you know, everything they kind of did over
the years, but also like, ah, that's just that's just
that then, isn't it.
Speaker 2: Yeah, Like I say, no, no, no big send.
Speaker 3: Off, no no fireworks, no riding up in sunset.
Speaker 2: Then just you know, like oh yeah, sorry, can't I
mean like.
Speaker 3: There's been if there's there's been a it feels like
this is like getting more and more common of band
just kind of going yeah, that's it, we're done. I
think that's like the Rage against Machine one from like
well they obviously came back and then yeah, yeah, yeah, sorry,
We're not doing any more shows.
Speaker 2: That's it.
Speaker 3: And it's just like uh okay, like just the unceremonious
like internet announcement is just a thing that a lot
of bands seems to just have to that's the way
they've got to go about.
Speaker 2: Their business now.
Speaker 1: Yeah, but as of right now, Aerosmith are no longer
a band on this earth. So there you go. So
Opeth last week, well, last Hyperblast, we did a huge
rundown of a million singles that had all come out
from albums that all coming out over autumn, and this
one was released about an hour after we had recorded,
which was kind of annoying but also kind of nice,
so we can give it a kind of moment here fully.
But of all the you know, tracks that came out
there that kind of I don't know, caused a bit
of discussion and turned some heads or whatever, at least
in my sort of surroundings, this is one of the
upper ones. Because Opeth revealed that they have a new
album that's coming out. It's called The Last Will and Testament.
It's gonna be out on October the eleventh, along with
many other records that we detailed last week. And I,
you know, I knew that Opeth had basically had a
record in the can it would be coming fairly soon.
It's been you know, five years since the last one,
so a longer period than usual for them. But I
guess you can account for COVID and all the usual
things as to why that would be the case. But
I was feeling like, yeah, I'm ready for some more
more Opath. But then this single came out, and again
looking to people's reactions to it, there was a lot
of essentially celebrating something that many many people thought would
never ever happen, specifically going, oh my god, the growls
are back in an Opath song. Opeth have gone death
metal again. Michael lackethelt is growling again. And it certainly
feels like, you know, every metal head of a certain
age in their late thirties whatever, who was kind of
you know, coming of age in the in the early
two thousands when Deliverance and Blackwater Park and all those
records were like some of the absolute most you know, revered, influential,
classic of the moment heavy records of any stripe to
be coming out in that moment. This is what a
lot of those people were kind of ever pining for,
and I had like stopped imagining it would happen really,
and I didn't really care because, like I, you know,
I've enjoyed basically every Opeth record, and you know, reading
Michael Lakathat's interview about this song, he said something that
I think is quite cool, where it was like, yeah,
we wanted to like drop it in once people that
actually stopped asking for it, like once it had been
so long that people just kind of, you know, it
was a given that it had never happened again. So
then you can newly surprise people by going, oh, it's
been like four albums, now here's a growl. And I
like that way of operating. But seeing that, like you know, like,
oh my god, Opeth a heavy again on the internet
was really something last Friday. Sam Opeth are kind of
like an unbroached topic with you currently. You know, we've
been doing this show together for a few years, but
we've never actually spoken in detail about uh Opeth, and
I know that you know there's there's a P word
involved with them and all sorts.
Speaker 3: I mean, I'll probably shocked you to learn that there
are a half of oth albums I think are terrible
and that's.
Speaker 1: So harsh and so wrong. But you're.
Speaker 2: Like, but this is me. But I'm also you know,
not gonna like terminos.
Speaker 3: Up at like Blackwell Park and like up to ghost Reveries. Well,
I haven't even listened to all the really early ones,
but that look like early two thousands OEF I can respect,
and I can go with that like it's it's the
twenty ten sort of stuff.
Speaker 2: In particular. I'm just like, this is like I feel like,
what is Sorceress to the album? Yeah?
Speaker 3: That Sorceress of the album? I just like mentally tune
out of it almost. And when that came out, I
was like, are we are we actually hyping this up?
Speaker 1: Now?
Speaker 2: Are we not? We are we like having to pretend
OPEF are good when this is.
Speaker 1: Hey, the title track of Sorceress has a riff that
is genuinely reminiscent of Scourge of Eye in by Cannibal
Corp in a frog rock context, and I'm all for it.
But yeah, I mean it doesn't surprise me that music
that is heavily evoking nineteen seventies Prog and Jethrow, Tull
and Camel and et cetera is not at all what
you would be interested in. And they are, like you know,
they are. They're like a special you know, T and
M bound special quality band in terms of like the
amount of incredible records they have, the reverence that they have,
the yeah, absolutely, the importance, the level of quality that
they're able to produce, and I, you know, I don't
actually for me, they never stopped being good. But like
I said, I like the attitude of like, yeah, once
people it's been so low people stop asking for it,
then will suddenly dial back the clock. And for me,
this doesn't necessarily mean that this is automatically like the
best Opees song in fifteen years or whatever, because I
don't necessarily think it is. I think there are a
number of songs from those albums that I really love.
And the last album in caldevin Inum I think it
was in my T and M you know, album of
the earlist that year. I love that record, It's really excellent.
I was souper big fan of that one. But I
also cannot deny the rush of serotonin that I got
sticking this single on and hearing first like a crunching riff. Yeah,
and then Daddy Akafelt comes in doing the demon voice,
and I was like, oh, like that is the band
that I initially fell in love with and that you know,
throughout my teenage years did mean a huge amount to me.
Speaker 3: Like I'm not crazy without song yet, but there is
a mediacy to kind of just like oh that that
like the riff, the ground or that is it's not
you know, a page is testing like progs or things.
Speaker 1: Song.
Speaker 2: Yeah, that's when.
Speaker 3: It's like like four minutes long. It's just a good
kind of I don't want to put it like a
Termson because it's the sort of like that that riff
and that thing has spanned that all these all those
lesser bands rip off and make less impressive than when
Opef do it. But there is you know, like like
crunchy riff and ground. It's just like it just immediately
sounds good. And I was like, oh, yeah, no, cool,
I do. I do remember liking.
Speaker 2: Opef once upon a time, fair enough.
Speaker 3: So I I I can't believe I'm interested in a
new opef album.
Speaker 2: But you know, yeah, and the thing.
Speaker 1: With Opeth in the sweet Spot is I can't imagine
people who sneer at Opeth in the sweet Spot. I
just like can't fathom them because it's either like, you know,
if you are someone who is like all fucking heavy, brutal,
extreme whatever, and you don't like, you know, airy they
Opeth or whatever, this should hit you in a pretty
good way because it is. It's it's a media, it's
brutal whatever. If you are like a progressive fan, it's
still clearly it's so involved. It's not like, you know,
he's done a blood bar song or anything like that.
And if you are just a fan of you know,
those things coming together heavy really you know, intricate, involved,
but also atmospheric and gnarly or whatever. All the stuff
that is good about progressive metal right, Opeth at their
peak represent all of those things coming together, and this
is just so dialing into like it sounds like it
would be like yeah, like the Watershed era, the Ghost
Reveries era, just that kind of for me. There's a
really one thing I really love at Opeth is that
a real eeriness in vibe, like a real spookiness that this.
Speaker 3: Yeah, they have that kind of gothic spookiness to them.
They always had like make someone like the proggy metal
sort of stuff, and it it has it like you know, candelava,
that kind of like decrepit manners.
Speaker 2: They kind of imagery.
Speaker 1: That's a huge part of what I love but Opeth,
and it's part that I think sometimes you know, people
who do make out, they're all just kind of like
cheese eating and wine tasting contests or whatever, like they
overlook that particular element. And this has full on like
escalating up and down like horror score kind of sense
or whatever. The break in the middle when the riff
kind of drops out where there's like an accordion and
it's like a like like eerie spooky accordion ambience in
the middle for a bit before it comes back. And
then Michael as well as doing some kind of really
weird like at the end back in the song it
do was some really theatrical kind of you know, kind
of vocal delivery, which to me it.
Speaker 2: Still has that kind of like fanciful prog siding.
Speaker 1: Yeah, but you know, the last record in kind of
inner part of the reason I really liked it is. It
had this very like weird like you know, uh manner
of freaking inhabitants kind of you know, eccentricity to it,
and this totally sounds like it has that, even if
it's brought back the you know, the death metal side
of it. So yeah, like I said, it's not immediately
like I am dismissing what more than fifteen years worth
of Opeth that I that I love and are saying
that this is the you know, back to what they
should have been doing all along, But I can't help.
But also listeners and go, oh, Opeth are back.
Speaker 3: You know, if this wasn't ope F back moment for me,
I genuinely hadn't written off ever caring about an ope
F album ever. Again that's what that's what they wanted
that they got you Like yeah, but again, look there
was the big stor fan but you know they they
when I was getting into metal there on those bands
and was like, oh, you've got to listen to these
OPEF albums. And they took me a while, but you
go like, oh no, they are class cabs for a reason.
But yeah, job done, Opeth, you got me.
Speaker 1: Yeah, and because they've now got you in the door.
We can talk about the fact that on the rest
of the album it features guest appearances from Jeth, Throw
Tel main Man, Ian Anderson. We can go an album
with a lead single that Sam Dignoon right here, right
now is saying that they've enjoyed We've got Listerian Anas
and Floutist Madman coming in the pipeline. But yeah, one
of us something Opeth as well as Weekend that it's
nice to Yeah, it's nice to go to that with
a bit of kind of you know, excitement in the
air around what Opeth are doing. Even though that what
track was, as we say, pretty immediate and pretty condensed,
it's not quite as condensed as the Regional Justice Center tunes,
which have also come out. Regional Justice Center have released
a couple of songs from an upcoming album. It's their
first since twenty twenty one's Crime and Punishment, which we
reviewed on this show. And one of the things that
happened in that time is one of the members of
this band what's his name, Ian, Yeah, he kind of
blew up with another band that he's in called Military Gun,
and I kind of, oh, yeah, I kind of just
presumed that Red was just a Center, which was done yeah,
because it was like they came up with this really angry, violent,
sort of power violence adjacent record that we were like, yeah, cool, gnarly.
And then suddenly Military Guns started becoming like one of
the most popular bands in hardcore you know, adjacent music,
and like, I don't mind Military Gun, but I've not
yet really gone mad for them in any kind of
significant degree. I kind of, you know, this is the
band that's sort of more slightly tuned to my tastes,
but I was a bit like, you know, that's probably
on ice for for for a little while. So it
was a nice surprise to wake up literally this morning
and be like, oh, Regional Justice Center are back.
Speaker 3: I literally opened when you send the thing about for
the news and I saw this, it was like, oh yeah,
I was like, that's the first about with this. I
was like on my Lannes break, so I immediately put
those songs on and was like, bring with that Fred Scream.
Speaker 2: I was like, oh, hell yeah, here we fucking go.
Speaker 3: And yeah, man, these songs just go insanely hard, Like
is nice to have Regional with a Center back to
like because that and we reviewed that was one of
those like Cooler Power Vince releases from that year, so
more of that, yes, please.
Speaker 1: Yeah, And a lot of the theme kind of Regional
Just Center is about kind of the prison reform essentially
in the United States justice system. A lot of that
last record we spoke about was about Ian's brother was
kind of incarcerated. There was a lot of kind of
speaking about, you know, kind of what's going on with
him there. He has since been released from from prison
and is now in the band. And also Taylor Young
who produced who Just Needs Another and He's another one. Yeah,
but he like produced these records. But he is also
now officially a member of the band, so that's cool.
But yeah, Regial Just Center band. I did not expect
to suddenly be back, are back, and that's nice. Indeed. Okay,
here's a guy who we try not to really talk
about much these days, but I suppose this is a
story where you know, we should at least kind of
acknowledge it and touch base on it. Mannon Manson is
back out on tour at the moment. We've you know,
known for a long while that he'd been making some
kind of comeback with signing to labels and releasing music
and announcing tours with other bands and so on. He
played his first comeback show since twenty nineteen, which obviously
not only is that pre COVID, but that's you know,
before all the kind of the allegations there a thing
that you know, really kind of hit his career in
that kind of way in you know, the early twenty twenties.
But he's back out on the road as we knew
he would be. But it also means that we've had
his live band essentially unveiled, and we can see from
know the footage that has taken of his first showback.
That Marion Manson twenty twenty four live band features Reva
Mayas from Code Orange on guitars. It features a former
Rob Zombie bassist, Piggy d On on bass, Gil Sharon,
formerly of the Doingder escape Plan, but also had been
playing drums with Marion Manson prior to you know, last
time he was he was out on tour, and Tyler
Bates seems to be back on guitar as well, who
you know has worked with Marion Manton on his last
several albums. But again, you know, seeing them reappear at
this point is like, okay, right, you're still there, and
I think, you know, maybe a couple of names there
in particular, there's been a lot of disappointment expressed about
their their decision to be in with this, and yeah,
it fucking sucks.
Speaker 3: Yeah, I mean one name in particular, just seeing that
it was kind of like, oh, fuck, like that is
just it's just not what you want to say. I
don't know what to say about this at this point
because it just like, yeah, I don't want to talk
about Manson in any capacity really, And you know, seeing
the guitarist of Vocal Is, one of my favorite bands,
sort of sync up with him is really disappointing.
Speaker 1: Yeah, it's I don't like to be in the business
of kind of blacklisting by association, you know. I kind
of try to treat any person's own, you know, actions
as kind of what is on their own rap sheet necessarily,
and I do, like, you know, I want the artists
that I admire and that I appreciate to not associate
themselves with people who I do think in that kind
of ethical sense are below them, shall we say? And
it is it's a stinker when they do, and it's
it's a it's a mark against them. So let's say,
you know, again, obviously reboard Code Orange is the real like, oh,
for fox sake, what are you doing here? But even
someone like Tyler Bates, who again it's not obviously it's
not his first you know, association with Manson, but like
in the years since Manson's Beans Off the Road, Tyler
Bates been doing like a lot of film score stuff
and stuff like that, which is you know, really good
that And for example, he'd done work on some of
the ex trilogy, linking up with Chelsea Wolf, and it
becomes a thing of like, you know, Chelsea Wolf, I
you know, I haven't asked her obviously, but I can't
imagine Chelsea Wolf wanting to be anywhere near someone with
Marilyn Manson's kind of you know, atmosphere around him as
kind of things leveled against him. And it becomes this
you know, like, okay, who's working with who, who agrees
with who? It's this whole fucking thing, and I guess
from Code Orange it's kind of a shock because you
kind of assume that most bands from a kind of
hardcore background are like kind of on the level with
these things, like you know, bands that Code Orange have
been around like I can't imagine anyone from dying wish
or twitching tongues or scowl or whoever kind of you know,
being in the same position that Reaper has put herself
in here. And it is just like how for Fox
say you should know better than than this.
Speaker 2: I mean that's its like.
Speaker 3: In particular, I think hard core scene is not gonna
begive or forget on this one. I think they will
hold like coins to like they will hold this against them.
And it's just like, I mean, is it worth sure?
Speaker 2: You know?
Speaker 3: And I know Codine is way years back sighted Manton
as an influence.
Speaker 1: Like yeah, it's not.
Speaker 3: Surprise, but I'm like, surely you'd be aware of the
optics of you linking up and kind of taking part
in this part of his rehabilitation or like image rehabilitation
rather than like not we were trying to like get
him back in the public eye with everything. You'd be
aware of how that's going to make you and by association,
your main band look.
Speaker 2: And it's just just just not good.
Speaker 1: And like you know, to some degree, it's like, yeah,
we all know that something like this is a payday
right and making it as musician if you get the
chance to you know, be involved on the road with
someone who will whether they should you know, in twenty
twenty four is a different question, but someone who will
bring in a lot of you know, ticket revenue or
whatever that that could be hard to you know decline
those those those links and so on and those kind
of you know, injury connections being made. But you know,
and to some degree there is you know, Madson has
not been found guilty in a court of law on
on on these things, and he's not been you know,
given a prison sentence or anything like that, and so
you know, how would any one person views that kind
of innocent ntil proven guilty, whatever kind of mantra is.
You know, that's there. You have to ask them about that.
But yeah, it's it's shitty, it's annoying. I I wish
that they wouldn't be involved in, as you put it,
to their kind of his image rehabilitation right now, because
I don't believe these other things are are worth it
in that regard for that, As I say, I don't
like to be involved in kind of blacklisting by a
socialist association, is the way I would kind of put
it in terms of, you know, obviously anyone any of
the names we've just listed who are involved with Manson
here or anyone who is like in you know, other
projects with them. Therefore, you know, other members of Code Orange, whatever,
anyone who plays with Gil Sharon whatever, anything like that.
I don't want to kind of, you know, fire too
much at them unless you know anything further was you know,
to develop out of it. But it is just as
it's a mark against their record, even if it's as
I said, not a not a blacklist. And certainly with
some of these members who we would kind of you know,
have been so admiring of, it's it's a shitty thing
to have appear on that particular rap sheet. And like
I said, I don't want to spend too much time
on that particular thing, but I felt it was worth
I don't know, acknowledging, just so you know, we're not
kind of turning a blind eye to this kind of stuff.
And then just to kind of further put a particular
you know, just a pin in that element. Ramstein also
put up a social media thing this week. They had
been you know, touring for you know, pretty much most
of the last couple of years or whatever, even through
all of the allegations and stuff that was surrounding them
un till Linderman is going to be going out on
a solo tour. Ramstein's tour ended, and as a kind
of a cap off post, they put up a you know,
Instagram thing where they were like, you know, hey, thanks
to everyone who came out and supported us on this tour.
They did include a little detail there where they said,
we have been actively dealing with the allegations made against
the band since last summer. We take this debate seriously,
even if much of it is baseless and grossly exaggerated.
Is an internal process that will accompany us for a
long time. Each of us does it in our own
way and deals with it differently. What that actually means
to what you know, what your own decision on or
what's the word interpretation of that might be. Again, that's
that's down to you. I just felt we should report
it essentially and say that it was there. Many Eyes then,
as our last little new story here, there is something
going on here. Many Eyes, you may remember, is the
band that was fronted by former every Time I Die
front man Keith Buckley, who obviously a lot of the
post every Time I Die fall out Most Eyes, funny
enough have been on Better Lovers because they've been so active.
But Keith Buckley also appeared with a new band who
put out a track not too long ago I seem
to remember, but Many Eyes, which is he formed with
the Bellmore Twins, have announced that a they're gonna go
out on some live shows be there should be an
album coming at some point soon. But one of the
Bellmore Twins, Charlie Belmore, who's a founding member of this band,
is already out of the band. And there was a
Many Eye statement saying, hey, we've parted with Charlie Belmore,
and then Charlie Bellmore himself put up a status saying
some time ago Keith called me and informed me I
was no longer involved with Many Eyes. Does it suck? Yes,
it absolutely does. In reality, what can you do? Keep
moving forward? With all bands? You're supposed to be a team,
and if you have a person that's for some reason
affecting the team, that person has to go unfortunately. And
then he goes on to say that, you know, I
really loved writing this album with them, and I'm really
heartbroken that I'm not gonna be able to play the song's
life just another kind of weird, like what's going on? Yeah,
why are you already having lineup trouble when we've heard
one song?
Speaker 2: Yeah, it was this is a weird when I was like, oh.
Speaker 3: I like I'm still sort of like sort of hold
off judgment of many eyes until we have more to
go off. But yeah, just a bit of a worrying
kind of like wobble this early on feels a bit odd.
Speaker 2: Maybe it'll work out better.
Speaker 3: Maybe like the keeper's not with the direction i'm's taken
and he's going like, well, we're gonna get in there quickly,
but who knows, Like, yeah, just not one Yeah.
Speaker 1: Just something something weird going on over there, and hopefully
it works itself out, all right. Questions are returning to
this edition of Hyperblasts as usual on the majority of
them come from the That's Not All Facebook group if
you want to go and join over there. We had
quite a lot of questions come through this time, so
obviously I've only included a handful of them, but if
you asked one, there is a good chance that I'll
try and you know, come round to it and include
it again. You know, next time we we do one
of these things, so thanks to everybody who submitted them.
But we're gonna start now. First up, Paul Morton says,
if you are going to see an album anniversary tour show,
would you expect to hear a short show featuring exclusively
just tracks from the album or would you expect the
show to be padded out with B side Slash Rarity
Slash Greatest Hits to a standard lead at showtime. Also
in this situation, do you think the pricing of the
ticket should reflect how long a set the artists is
planning to play? Now, I can't speak to you know
what Paul will thinking in terms of submitting this question,
but I couldn't help but think of the night before
we have recorded this, Slipknot of played their first show
of their like twenty fifth anniversary first album tour that
they're going to be taken, you know, everywhere, And so
today I've been seeing a lot of videos of like
Slipnot playing you know this song for the first time
and however long whatever, and the surprise there they on
that tour have literally, at least on the first show
of the tour literally did play no song after nineteen
ninety nine, which is kind of interesting because they did
play that like little Tiny Sea Quit show, didn't they
where they eline the band and that was part of
their celebrations. But they did play songs from kind of
you know, across the catalog at that particular show. But
it looks like for this tour at least for the
beginning here and they've gone, no, we're literally just playing
the first album. So that might be what was you know,
kind of going around to encourage this question, I guess
you know, I'll use that as a specific example, but
as an overview, what would your kind of thoughts be.
Speaker 3: I mean, generally it depends on length of the album. Well,
that would be a factor. Like, but usually when I
go to an album show, I expect I'm going to
go in, I'm going to see the band play the
album and then as an encore for however long they
do it, two, three, four, other songs tax on the end. Like,
that's generally my expectation from an album in full show.
Speaker 2: It's what kids and glass houses them do it.
Speaker 3: That's the most recent, that's the most recent example that
I've seen that jump in my head. I've sure I've
seen other album in full shows recently that aren't springing
to mind. Frist doing the Artists and the Ambulance was
a similar thing where they did they did the arsen Amazon,
they did sort of like one song off of each
other album and that's what I've seen. Go Inside, they've
done something, go what you give, and then they did
one song off all the other albums afterwards.
Speaker 2: Like something like that.
Speaker 3: Like that that would mean to me be the ideal
or or like even like b sides and rarities from
that era would be a cool kind of like added touch.
If it is you noticed a half an hour album,
I would feel a little bit short changed if I
went to see that, unless it's a hardcore band, because
you know that's what they'll play.
Speaker 2: But if I was going to see a big band
in the big show they.
Speaker 3: Played half an hour, they were half an hour album,
but they make just stretch it over to an hour
because of taking breaks and pissing.
Speaker 2: About, I would feel a little bit short changed.
Speaker 3: As for the whole like pricing thing, this is where
you get into like because again, like should tours be
kind of like priced on how long the band played
for and all this sort of stuff is it's a
weird one.
Speaker 2: So I'm just like I mean, ideally a band should.
Speaker 3: Still seek to do that regular angth set with the
album in full show, and however they choose to pad
it out, whether it's just the album being long enough
to do it, or whether they add in the songs,
that's what should be the situation in this.
Speaker 1: Yeah, obviously we can focus on sort of headline shows
here rather than like festivals where bands will often tell
them and play here, here we are, heres an hour,
here's yeah, even then the album, yeah, even there, you
might do, Okay, this album is like forty five minutes long,
so we'll fit in you know, two other songs at
the end or whatever. But let's talk about you know, obviously,
because in terms of the pricing thing, you're talking about
your bait. You're buying a ticket for one kind of
headline band in particular, I would, you know, essentially, I
think I would echo everything you've just said. You know,
if it's a huge long album, then I can see it,
you know, lasting most of the set. But if it is,
I think like most bands release albums that are in
like what like the forty minute range or something. Yeah,
so in those kind of kit and you know, a
lot of time in terms of live that say, there's
you know, instrument changeovers, whatever, the natural sort of breaks
between songs that might bump up to you know, fifty whatever,
maybe even up to an hour, And at that stage
I would be like, yeah, okay, I would expect a
few songs as an encore from other things. This slept
not one. So looking at the show they've just done
where they've played the entirety of the first album but
nothing else. Really first leg my album is a fairly
lengthy album. It's got what, like, I know, there's different
versions of it with like you know, here's purity on
it and here is not whatever. But there's a good
like fifty odd tracks there to kind of choose from,
and obviously they're doing the lot of those and looking
at you know, this kind of particular Slipknot show, it
looks like that Davy Arm performance was lasting around kind
of seven minutes long. Now, if I was going to
this tour, would I like a you know, sort of
sixty seven minute main set of that and then some
other songs from later albums as an encore to take
it up to like the ninety minute range. Yeah, that
would be my preference for sure, and if they're not
doing that, it's a it's a bit of a shame,
particularly for like a expensive arena show. The arena thing,
the price thing. Even as you mentioned, if you start
judging like on a you know, pay by minute basis
of like, it gets so messy.
Speaker 3: It's an argument's been used for so many things now,
and it's like, length isn't the factor that to dictate
the price. I agree, some bands don't play long enough,
and you can feel really short changed if you've paid
X amount and got forty minutes.
Speaker 1: But yeah, yeah, and it's obviously naturally geared against things
like hardcore bands or grindcore bands or whatever who naturally
like you see people sometimes who are only used the
big rock shows, and then there's Erka a grind bat.
Speaker 3: Everyone outbreak winging about twenty minute sets, and I was like, no,
keep the twenty minutes outreak.
Speaker 1: Some hardcore bands play headline shows of like forty minutes
or whatever as a rule, because it's like it's short form, intense,
it's you're.
Speaker 2: In a basement's power for those songs and be done.
Speaker 1: Yeah, And Slipnot is an interesting argument because Slipknot is
particularly if they're doing, let's say the first album, which
is like all fucking crazy, right, physically intensive music, isn't it.
And I know that slip Not an interesting position because
they're almost like halfway between being like enormous, you know,
radio band, which obviously in terms of the status I
know obviously they are, but also in terms of the
kind of music they're playing. Some of the kind of
part of the appeal of Slipknot is you are seeing
something that's like not a million miles away from like
a hardcore show or even like a noise show or
something with certain parts of it done on this kind
of massive scale, and looking at this like Slipknot, you
know ports they've just done, They've done like get this
into Eel and like that's just all fucking violence for
a while. And you know, they're a band who have
been talking about, you know, we're not going to last
a tremendous amount more years because of how physically taxing
it is kind of on our body to be playing it.
So and the particular aura I think obviously when you're
saying you don't want to price things by like minute
or whatever, part of it is almost by occasion, right,
it's like, this is a huge, enormous show with a
kind of aura around it, and that's kind of what
you're paying for rather than like your set ninety minutes
or whatever, or you know, two hours where whatever you
think it may be. And I, as I said, I
would like slip Knot on this to be playing let's say,
you know, seventy minutes of the first album set, and
then I'd like them to add another twenty twenty five
minutes or whatever, even if.
Speaker 3: It's just fifteen minutes to just a freeze along or
of like people it called shit psychosocial and yeah, I
forget and just tack those films, and I would like.
Speaker 1: Them to add those hits onto the end. And I
do think that would be the kind of bang for
the buck in that situation. But also if I was
to see slipt not playing the entirety of the first album,
and I'd see get this into e or and I'd
see them playing you know, closing on Scissors, which is
they just play for the first time. It's the year
two thousand and the sheer maniacal violence and darkness that
is involved in a set of that kind of you know, theming.
If they did not come back out and play psychosocial.
Would I be leaving that feeling like annoyed about my evening?
I don't think I would be.
Speaker 3: I mean, forgod, as I've just looked at, like a
other recis similar cellist where they're do them for this
they did sixteen songs, which is more than what you're getting,
yeah show, so so it does it maybe comes in
like Slimilar aren't a band who play over ninety minutes really,
because again it is so so intense. So I I
think you look, you're getting fourteen songs plus like a
couple of interludes.
Speaker 2: I think this one it skirts the line.
Speaker 3: But I think for what you're getting, I would still
say this is like an acceptable you know, the debut
Slim the album, it's accepted.
Speaker 1: It is an acceptable evening. Yeah, I mean it is.
It's I'd imagine this is a shorter set than they
normally play, and in that sense it's like, oh, you know,
you've bumped it down a bit. But part of that
is as they say in particular, like the are of
like oh my god, I went to a Slipnot show
and they only played songs from nineteen ninety nine, and
how fucking crazy was that? And how you know some
of the songs haven't played in however long, So yeah,
you know, generally I agree that I would like to
see an album with like, if it's of this kind
of length or shorter, certainly come out and play more
songs at the end by all means. But again, occasion
by occasion, sort of a basis.
Speaker 2: Paul T.
Speaker 1: Marry asks, best ever surprise appearance at a festival You've
seen I've got a couple of just sort of festival
questions here, obviously were in the heat of the summer.
This is the first one, best ever surprise appearance at
a festival.
Speaker 3: I mean, this is like going back to like twelve
years ago when I could actually say nice things about
this band Green Day. What do they do when the
surprise set of Reading Festival twenty twelve where they played
they opened the Enemy tent oh, right on Saturday morning.
Speaker 1: I took this as like like a guest appearance.
Speaker 2: Oh, I was like surprise festival like band turning up.
Speaker 1: Okay, maybe that maybe that's what the question was. I
didn't think of it in that way. I don't think
I've ever seen wait, I've seen one. Actually, I saw
the machine Head secret set at Bloodstock. I think it
was two years ago now, but yeah, I took it
as like watching a band at the festival and they
bring out, here's a guy.
Speaker 2: Gonna if it was gonna be that, I would say
as well.
Speaker 3: Of that one, probably when Michael mc c romans brought
out Brian May and I thought it was Ray Toro
in a wig.
Speaker 1: Easy mistake to make.
Speaker 2: I genuinely just saw the big bushy head.
Speaker 3: But they come and they started playing we were Rocky,
and I was like, oh, they come, we were rocking
and raised just as.
Speaker 2: Brandman, and I was like, that is Brian Way.
Speaker 3: And then he stuck around and played Black Parade with
them and it was fucking awesome. So like if we
go over that, we'll go to that. And otherwise Green
Day when they did that surprise set of Reading Festival,
that everyone knew what was happening because they've been teasing
it heavily.
Speaker 2: Yeah, also still it counts a surprise those those two.
Speaker 1: Didn't you see Gajierra once and they brought up Randy
blythe yes.
Speaker 2: I did no other way around, Yeah, no, no, yes, no.
Speaker 1: It was because Randy Bye features on a Gadeeria song.
Speaker 2: Yeah, but it.
Speaker 3: Wasn't a song he featured on. He did Backbone. He
came up to the backbone with them. It was fucking
sick to be fair and made friend of ours James
Housta cry.
Speaker 1: Yeah, but should have a naration for anyway. That's one
that popped into my head, even though I did not
in person see that one. Like I said, I was
thinking about this all in the guest kind of sense.
It was on the machine head front. It was nice
seeing Rob Flynn appear during like Violence is Set. That
same year, I think Malevolence when they headlined the tenth
I think it was that same year they brought out
like Will Rammels from Lorna Shore to you know stuff
with them. That was cool. He always like to bring
out a guest spot like yeah, not not a festival,
this is just a show. They were touring together. But
I think I will always, you know, particularly now, I'll
always have a soft spot for the memory of seeing
Cannibal Corpse with the Black Dahley Murder and Trevors Drnard
coming out with them to do stript and strangled as
like a death metal duet was always, you know, again,
very very fond memory at a festival, though there's one
that I'm pretty sure we saw together that come to mind,
which was Gallows at Slam Dunk twenty nineteen.
Speaker 2: The last bring lim Out. Yeah what they last?
Speaker 1: They brought Liam call meer Out. But also like, I
feel like I don't know if I've remembered this correctly
because I was, I was getting quite rowdy during that set,
but didn't. At the very end, during the end of
Orchestra of Wolves, like when it all just fucking collapses,
Wade like jumped in the crowd. It was just sort
of like wrestling around and fucking Darryl Palumbo appeared because
the Glass were playing on the stage and like was
singing the rest of the song from essentially Wade spot
on stage while Wade was like fighting people in the crowd.
Speaker 3: Yeah no, yeah, no, that fuck oh that was it?
Oh Mann's come back.
Speaker 1: That would be good. Yeah, But that combination of Leam
Cormier and Daryl pal Lumber period at different points that
Gallow set, I think is the festival answer that I have.
And then Matt Bailey asked, what's the most disgusting, slash
strangest thing you've seen at the Festival.
Speaker 3: I drew a blank on this because I'm just like
I've been too so many festivals over the years that
you know, I mean, I've had to.
Speaker 2: Say the most.
Speaker 3: It's not something I've seen, but we just have to
like mention outbreak last year. Disgusting thing you smelled the
most discussion is Word Festival Outbreak twenty twenty three and
that Sunday just flashbacks that.
Speaker 1: Were you at the Bloodstock where there was where the
Black Darley Murder played and I know about that, like, yeah,
there was there was copulation in the pit during the
Fat Time Murder. This the only thing I can think
of disgusting is this might be a Tami situation with
certain people. But Download twenty nineteen, which infamously was one
of the rainier, more hellish years, My tent was on
essentially like a slope and it was like next to
essentially the walkway where people were trying to walk up
this hill to get towards like the kind of village
area and stuff like that. But the rain had turned
it all into yeah, and then people being people that
they obviously turned it to a bit of fun and
people just mud sliding down this you know hill for
the entire rest of the weekend, get essentially going right
path whizzing by my ear as I was in my
tents like mulee going down and you know, by the
end you appear at the bottom and you'd just be
like a total you know, brown coated person. But some
person who I was in the you know, camping vicinity
with I won't name any names, but someone who was
in again the area of where I was camping, had
had a little bit of a dicky tunny at one
point and you know, got got ill from eating something
or earlier, and it emerged during the night that essentially
inside his tent there was a violent shitting episode on
the next morning, and uh, the inside of this guy's
tent was as brown as the bottom of that hill
where people were.
Speaker 3: Just wake up and running just get outside again, just
to clive right here.
Speaker 1: I was not in a tent with this person. I
was like a couple of tents over.
Speaker 3: Yeah, no, no, no, Like the stomach likes not wake them up.
Speaker 2: And then.
Speaker 1: We are in this morning, We're like, you were right,
and he just was like looked like he was a ghost.
He was just like, I'm not all right, but it
will straw you sort of way the muddiness of the
general scenario. It kind of meant he blended in. He
kept like a camouflage going on, but that man was
was was not well and there was quite the clean
up operation going on. So that is what springs to
mind for me. And then goose Particle asks, does artwork
ever cross a line for you? I think carcass using
dead bodies is at least sourced from medical books and
they have created something from that, whereas the origins of
the pisk grave covers are a bit hard to defend
and don't quite sit right with me, even if that
is the intention. Yeah, So this is maybe a bit
of a content warning here for the next kind of
like five ten minutes or so or whatever, we are
going to be talking about death and gore in a
slightly more intense way than, you know, in serious way
than his usual which is normally just banter in it.
This is a question that you know at various times,
being a fan of some of the bands you know
in question, I've thought about, you know, a fair bit,
and not in a way where I've come to a,
you know, a concrete answer, but I think it's a
subject that kind of makes for debate. You know, so
just as a general overview, what's your sort of feelings
and stuff like that.
Speaker 2: I mean, there will there will be our more ousit.
Speaker 3: I do think coss line as you that the one
is going to brow up here the gore and violence
and death and morbid stuff like even again, if it
is real horrid like imagery, like yes, it does cross line,
but it does necessarily bother me too much. I can't
think went into that's being to mind or to mead,
but like it would more be you know, the albums
that have potentially like taboo subjects or like discriminatory things
like that. Those and again there are some extit that
none just been to mine, but like that would you
could say is problematic that they're not just gory? Would
be the stuff that would be more crossing the line
for me, I'd say.
Speaker 1: Yeah, And I think so stuff that is essentially what
we're talking about. To hear the usage of like real
gore and real you know, death and violence on like
album artwork, And as like a general view, does that
cross a moral line? I think unavoidably somewhere probably yeah,
But I think, as you know, consumers of art who
you're line for the kind of things that you will
allow into your brain space that will vary from person
to personally. And you know, a lot of art does
somewhere along lung some line, cross something or do something
that is problematic or whatever, and it's up to you
how you kind of engage with that. And I think
that's particularly true in something like you know, extreme uncompromising
heavy music or whatever, because death metal, for me is
to some degree it's music that is meant to be.
I know, obviously a lot of death metal is just
like fun and great, sure I can, I can take
it in that way, and I love that, But as
someone who also you know, values the serious artistic kind
of output of a genre like death metal to some degree,
to me, it's about kind of the concept of death
right and the point of you know, pisgrave for example,
who use very just like violent like you know, a
person being basically obliterated kind of images as their you know,
focal point. The point of something like that is to
kind of create this shocking, you know, like unflinching nothing
is censored or sanitized. This is what you know, a
violent death kind of looks like kind of approach and
particularly with them, the the you know, the the humans
in question have been so kind of again use the
word obliterated.
Speaker 2: I mean some of them there they are soup literally.
Speaker 1: Yeah, like but and there's something very you know, I
can think of, you know, their way of thinking. That
is that they are presenting images where people have been
essentially been reduced to meat. Right, It's like they are
there's no person left there anymore, it is just organic matter.
And again, the concept there is about the fragility of
human life and the fragility of the human body. And
we might think of ourselves as these kind of you know,
grand superior beings or whatever. But if you get hit
by a fucking car in the wrong kind of way,
then you know, you might end up looking like that,
or if you are to rock for a certain amount
of time, you will look like that. And there is
something there's very something very depersonalizing about that. Where As
I said, it's like the person in question has had
all kind of identity or whatever stripped from them and
they are just you know, obliterated flesh at that point.
And that depersonalizing is something that I think you could
either take moral umbrage with because it is so depersonalizing,
or it is like the kind of identity of the
person is no longer part of the piece of art
for them to be kind of involved with it. And
that's say, you know what I mean, because and I
think that that as a concept. Obviously that's a very
extreme form of it, but you can take that and
kind of apply it to all sorts of stuff, where like,
how many people here have seen like a human skull? Right,
Like I'd wager I know it sounds like a weird question,
but a lot of people have probably seen one, because
it's like in a museum, right, you know, you can
go and see thousands of year old mummies that are well,
once a person, but of now like so thoroughly being
kind of you know, consumed by time to some kind
of degree, and you know, you can use human bones
as like props in fucking theater or whatever. And it's like,
at what person does At what point does that person's
skull stop being kind of tied to their identity and
just become like a body part?
Speaker 2: Yeah?
Speaker 3: No, no, no, like you've gone way even the size wedding,
but like you're no, you're you're correct, Well.
Speaker 1: I think this is this, I think where you kind
of think about in terms of engaging with this. And
I mean even like, you know, we had a story
a couple of weeks ago before we went home for
surgery that Queens of Stone Age we're going to be
playing in likes in Paris, Yeah, yeah, And it's like
that's a place that it is just hundreds and thousands
of like human bodies and human bones, but no one
recognizes them as individuals anymore because they are just piles
of like hundreds of year old loose bones. And is
going and playing a frivolous rock concert in a such
a setting in any way disrespectful for these like hundreds
of year old dead people. I don't know, you know,
it's it's the kind of subject and I think, you know,
even you know, there's there's movies like you know, you
know I'm talking about like the necromantic movies and stuff
like that, which are like sort of necrophiliac rom coms
or something or whatever you want to call them. But
you know, there's usage of like you know, real human
skulls and stuff like that in kind of that. And
it's like the interest of a dead person's consent in
these things is a very interesting subject in terms of
like trying to navigate these kind of lines and like,
have you ever been like the Hunterian Museum.
Speaker 2: No, I haven't. I know everybody I've never like checked
out with that.
Speaker 1: Yeah, it's a hunter Museum. Is it's a medical kind
of specimen museum in London. And I've been there and
it is it's just like shells and shells and rows
and rows of like exactly as I've said, like surgical
specimens and stuff mostly from kind of the eighteen hundreds or whatever,
and these like pickle things in jars and leave them there.
But you can go into this museum and you can
walk up a down the lines and you can you know,
I've seen you know, like uh, dead babies essentially, like
kind of you know, babies that weren't born the right
way and were kind of you know, weren't going to
survive beyond birth or whatever. You can just see like
people's faces that have just been like removed and they
are just there on display. You can see all kinds
of like any body part you like, from someone who
has some kind of sickness to do with it, and
it's there preserved in a jar. And you can just
walk in this museum and walk up and down that.
And I know that you were talking there about in
the question about the carcass thing and about kind of
using medical journals and stuff, and it's like, yeah, okay,
that's in that kind of line, But what is the
boundary between that and then say, you know, a pisk
Gray thing or something like that. Like you know, pisk
Grave aren't the first band to trade on using like
real they are. Yeah, I mean example, the Kid to
My thea preherior, the kind of Mexican you know, kind
of grindcore band, and they use a lot of imagery
of like you know, death and violence to come out
of like Mexican drug wars and stuff like that, and
that became quite an iconic part of that, you know,
nineties like grindcore or whatever stuff. And so you know,
what is the morally permissible part of that?
Speaker 3: No, like it's just a wider thing. You have to
discuss it again, it's just to what these things can represent.
I guess, like I again, I can't really like provide
a glimpse into what would be except on this.
Speaker 2: Yeah, it's interesting.
Speaker 1: Because and you know whenever pists Grave, they haven't been
around for you know, have the recent album in five
years now. But with if pist Graves were to announce
a new album and it had a an artwork that's
in line with their other ones, I'm sure there would
be you know, I would go on Twitter and I
would see a lot of people, you know, being offended
by it. And that's because that's kind of inevitable with
with with what they're doing a reason more you know,
kind of again similar kind of timeframe. Comparatively recent example
that does bring to mine was Griman. That band New Menorian. Yes,
they were like a black gays band who weirdly then
like like on their later albums, became like really quite popular.
But they released I think it was their first album,
but they released an album that had essentially a like
a kind of morg shot of like of a dead child,
and that a lot of people were like, this is
fucking horrible, you shouldn't do this, and that one I
do kind of. I look, I find that more difficult
and more like crossing a line than the pisk Grave ones.
And maybe it's because obviously that is a child, but
also it was recognizable, Yeah, it was, it was recognizably
a child. Like that was a child's face right there
where where in a pisk Grave scenario, like all of
those markers of an individual identity are kind of long
gone with it. Yeah, and so yeah, like I said,
I don't think there is a concrete It's completely down
to you whether you are okay with these things or not.
I think that someone like piss Grave, even a very
you know, brutish, straightforward, unnuanced kind of way, they are
creating a kind of you know, they're creating a conversation
here in a debate about kind of human mortality and
the quickness of how it can be kind of snuffed out,
which is a huge concept of that strand of death
metal in general. And uh, you know, the the interesting
kind of lines between again what is permissible and what isn't.
And I think in general you can talk about I mean,
it's a subject'm quite interested in general. But like the
Western world, we have a history of kind of trying
to hide away death in kind of our culture compared
to there are some cultures where when a family member dies,
the body will then be kind of you know, like
taken in by the family members, and we kind of
treated and cared for of a series of you know,
days or whatever before however, they decide to you know,
kind of bury or you know, kind of dispose of
their family member's body. And that would never happen in
you know, England or the United States of America or
anywhere like that. And so I think to a degree,
there's something like this. Part of the appeal of something
like metal in general is it is pushing a back
against that kind of repression of a inevitable subject like
death in our culture and in some you know, morally
infringing way or another. Something like this is kind of
part of that narrative.
Speaker 2: Yeah, you've way deep on this now.
Speaker 1: I think it's an intense question. No, it is.
Speaker 3: God there is giving me things I'd not thought about
in the build up system, Like oh man, there's there's
a lot to post on this now.
Speaker 1: Like yeah, that that's my thought process in terms of
engaging with stuff like that, And a lot of it's
very philosophical, and a lot of it is to do with,
again the concept of depictions of death in our in
general and how that relates to our own relations with death.
So something like pist Grave again, I take it. I
can't say whether it is right or wrong, but I
take it in that kind of way, and that's what
it makes me think about the stuff I actually find
more morally like questionable. Shall we say, this feels like
it shouldn't be true because what I'm about to describe
our essentially like paintings and drawings where it's opposed to
like real photographs of someone being killed, but like the
just like the super misogynist brutal death metal.
Speaker 3: Like yeah, like that's the stuff that is like genery
like really nasty messages and stuff or like, yes, like
questionable depictions of things, and that that's a viving that does.
Speaker 1: Yeah, And I think you know, if you have spent
any time listening to like Slam or going through like
proper brutal death metal labels or whatever, you will see
countless covers that fit a very certain house style where
they're basically interchangeable, and they'll be just like you know, again,
like paintings of just like the most like uh like
gross fucked up, but also I think cliched and kind
of hackneyed depictions of like you know, sexual violence or whatever.
And I look at that and I go, unless there's
some kind of subversion or something being done, with it.
To me, there's no question or kind of thought being
proposed there in the way that like the pis Grave
ones are, for example.
Speaker 2: It's just like for shot value of no substance, it's just.
Speaker 1: Like blindly kind of propagatting a cliche that I think collectively,
as a as a genre and a community, we kind
of should decide to kind of move past. So that's
the stuff that I look at and would be like
reluctant to actually put on the show as opposed to.
Speaker 2: That.
Speaker 1: And I understand that that might be like I feel
like a bit of a I don't know, a strange
way of looking at it. But that's I mean, even
like raginggainst the Machine, right, the first Raising Machine album
is like one of the most widely available. You can
buy it in any fucking shop like pieces of rock
artwork ever. And it is a photograph of a guy
taking his own life. And I was saying, no that
there it's a it's a political.
Speaker 2: It's a very proto historic photo.
Speaker 1: But I just all of these things they kind of
they fall under a similar umbrella of like what are
the different nuances that make one kind of different to another?
But I hope that is a you know, at least
an overview that kind of might go some way to
answer your question or coloring a little bit how we
might think about such things. So there you go. As
I said, if we do not get your question this time,
it may well pop up in a future segment of this.
Moving on to what we've done over and that's my
Patreon this week. The most recent thing we've done is
you and I Sam. We did another little Tienda's Horror.
We've been on a bit of rock with those, because
sometimes we go a couple months where like, oh my god,
there's nothing else.
Speaker 3: Nothing like start of this year compared to like the summer,
just like the drought. As now we are well fed.
Speaker 1: Yeah, but we did an episode where we doubled up
two more like really big horror movies have come out,
one in particular as like absolutely taking the fucking world
by storm. We're talking about Maxine, the conclusion of the
X trilogy, which was nice to kind of cap off
because we'd done the first two movies, but also Long Legs,
and we had a big old discussion about you know,
why that has kind of taken off so much and
what it actually means if anything like you know what
kind of story thematic stuff can we take out of that.
Very interesting fun chats as always to have.
Speaker 3: I mean, I love doing these right chats because this
is just us kind of going like, hey, we love
these things.
Speaker 2: Le's like none out of them.
Speaker 3: But again, like weird amounts of discourse around these two
movies in different ways, so it's kind of like good
to get into that and kind of assess the movies
on their own merits outside of the online discourse, but
also just kind of examined how for Long Legs in particular,
how it has blown up in the way it has
and that kind of like world ride.
Speaker 1: Yeah, and there'll be more stuff coming to the Patreon
as always in the coming week, So thank you very
much if you choose to support us. There is that
and only that really that allows this podcast to continue
on in the shape that it does. So want to
be involved with that and help us do what we do.
It's patroon dot com slash that's not metal. So let's
finish off this hyper last week. The releases for this week,
the second release week of August, We're going to start
off with one I think a couple of a couple
of you guys, I've been like quite looking forward to
the Twin Atlantic album is out, which is called Meltdown
because ear the last time we talked about Tin Atlantic,
we were basically taking the piss out of them. You
were quite keen on some of the singles that were
coming out of this.
Speaker 3: This is the singles they've done for this are the
best stuff this band has put out in ten years,
probably like twenty fourteen in the last albu where they
were this good. So I am cautiously excited over the
prospect of a new Twin Atlantic album, which I'd kind
of written off so fingers crossed.
Speaker 1: Yeah, very nice. I suppose that the bigger releases in
general this week are coming from that kind of melodic
rock side whatever you know, sunny Tunes in the in August,
because we've also got the new four year strong album
called Analysis Paralysis, the same as an Apalm death song
I hope lives up to to that, but another pretty
heavily antipated record.
Speaker 2: Well every time I die in it, so you know, oh.
Speaker 1: Yeah, that's that's right. So that is out. We also
have Ozzie pub rockers June Rats back with if It Sucks,
Turn It Up, King Gizzard and the Lizard Wizard have
released their nine and forty eighth album.
Speaker 2: Let's say that time of year again, is it?
Speaker 1: Yeah? It's called Flight B seven four one. Because they
change style too much, I'm not really sure what this
does in particularly compare to other ones. I don't think
it's another of their metal ones, which is they're the
ones that I like tune into. But there is new
King Gizzard that is out. And we also have a
band who were featured on the show a long time
ago in that kind of emo power poppy type realm
Ohso with Life Till Bones going further more into punk stuff,
there's Fucked Up. I've got an album called Another Day.
Destroy Boys have got Funeral Soundtrack number four. The genuinely
the biggest metal release I think in terms of at
least size this week is mushroom Head with an album
called Call the Devil, and the album artwork for this
is so funny. It's like a devil figure looking down
at his smartphone because he's calling up the Devil. The
new mushroom Heads out now. If you are more of
a European persuasion, fammer Fall have got their new album
Power Metal Staples Avenge the Fallen. Moving into the underground
stuff first up with kind of post rock realms and
So I Watch You from Afar have released a record
called Mega Fauna UK sludge stuff Kurukuma with of amber
and sand. This is a record that I think came
abut a couple of weeks ago, but I've been kind
of made aware of it more recently. UK. If you
like like intense mathy madness stuff from kind of that,
you know, homegrown UK scene Tendrills released an album called
Long Dead. Moving outside of the UK, experimental underground band
Mammaalik have released Vida Blue, and then we go into
death metal stuff we have The Italian brutal death metal
band Faultcy have released a record called duck Face Killings,
which on the surface is a nonsense title, but considering
the Faultchy collection and also the album are for this,
I'm gonna assume that that's a New York ripper.
Speaker 2: That's why I just saw. I was like, yeah, that's
new referring it.
Speaker 1: Going on there and speaking of one for you, Sam.
The Kaiju themed band Oxygen Destroyer have released their record
called Guardian of the Universe.
Speaker 3: Was like, I'm not aware of this band, but if
the you know, the band name being a Godzilla reference
and then the album title being a reference to the
other Big lad that I am a big fan.
Speaker 1: Yeah, the album mark for this does believe I have
have Gamera on it, So if you listen, if you're
in too Kaiju metal, there you go and a long
kind of you know, I think defunct Brittle Death of
Bat band from the two thousands of Maladorus have released
a comeback record called The Carrion Recoil. And then also
from Japan, there's a band called Viscera Infest who received
certain online infamy because of their like I don't know
what they call them, like cock croach pits or something
where people like lie on their back and they release
a record it's called Terror Toma and in sort of
black metal they type stuff maybe slightly proggy. In Athelian
have released Reaper Dawn. And then we have a live
album from High Lung called Leifer eyutun Guard Live at
the Red Rocks Amphitheater, and I know the live show
is a huge basically the only thing that people talk
about with with High Lung, so that is out there
in recorded form, So there you go. Thank you very
much for being here with us in this episode. Next
week I will be back with the report from Bloodstock
Festival where I am. I am about to pack my
bags and head off to so that will be coming
for you next week. But we will then have you know,
review show and other stuff coming on the horizon. I
have been listening to some big records this week, some
long awaited big records that are coming out at the
end of august 's actually a couple of those, isn't there,
But I've been listening to them, so we're gonna talk
about those. So thank you. Everybody. Say hello at Bloodstock
and if you see me, I'm always down to say
hi to people. And if you don't see me and
you're just there, I just hope you have a great weekend.
So yeah, I'll do that with that, Cheers everybody, Bye bye,