Speaker 1: Hello everybody, Welcome to That's Not Metal and welcome here
to hyper Blast. We are your weekly rock and heavy
metal podcast, and we are here with our weekly news
show where we let you know as quickly as we can,
in bite sized fashion, all of the news from the
past week, all of the releases every Friday that you
are going to want to hear as well, and we
deliver it to you as efficiently, ruthlessly so as we can.
My name is Parry and Hayesh we've made joined for
this task is a little bit of a sickly boy.
Mark Sanderson alone, Maid, I've come down with field de fever. Yeah,
we were gonna record the Corn Special podcast last night
and we have slightly delayed for these reasons due to
a mustering up strength. Hopefully tomorrow at the Corn Special
will be out. We endeavor to make it so. But yeah,
how you doing, man? Are you dosing up whatever it
is you do?
Speaker 2: Yeah, I'm recovery maxing loads of liquids, loads of stimulants. Basically,
I'm hoping because basically, like I was facing down the
barrel of a four hour podcast, I was like, is
my voice gonna hold up? But more importantly, is my
brain gonna hold up where there's a good chance you'll
say to me, what do you think of your one
A single? And I'd go, what is that?
Speaker 1: Well? In terms of voice holding up, when it's a
special that involves lots of scatting and exactly, it might
be particularly challenging. I'm presuming the thing that struck you
down this way is you went to see a Hacker
Cat this week. That's where all the sick guys hang out?
Is it so.
Speaker 2: All the sick and twisted cycle paths? Yeah, that's why
my pal's Haggard Cat. I was really interested in going
to this show because the new Haggard Cat album, which
I love, excellent record, is very different for them because
obviously they're just two guys, and the previous Haggard Cat
material sounds like two guys. But this new album is
full of synth, is full of layers. There's so much
weird dynamic staff, there's so many noises deep in the mix,
and I was really curious how they'd pull that off live.
But the show was basically classic Haggard Cat as ever.
I've seen Haggrid Cat a lot over the years, and
the only difference is this time there's a small synth
at the side of the stage and like what I think,
it's like looping pedal. And those are the only two
new implements to the show. It's still Matt and Tom
going crazy like rocking out, riffing out, but occasionally Matt
will rush over to the synth and do a little
simple and look at that for a bit. It was
so much fun. They're such a fun live band. I
love seeing them live. The new songs are so good,
like the choruses on them sore. Even if it's a
low budget version of the synth, the synth parts are fun.
You know. Tom was going fucking like there's some insane
stuff he does someone insane beats he does on the record,
and he was going crazy. I always love watching him.
It was great, Like it's I get the feeling with
this new Haggardcat album that they're sort of going, well,
fuck it, let's just go for broke one last sort
of like blast to see what happens and is the
most creative and exciting thing they've ever released. And this
is the most exciting live show from them I've ever seen.
I really loved it. I thought it was great.
Speaker 1: Yeah, I think me and Elliot are going to tackle
the Haggard Cat album on the reviews bag next because
it is I say, it is different, and it is
as someone who has generally been you know, kind of
ambivalent on Haggard Cat ever since you know, obviously the
Heck disbandment and that band a period and everything, it
was the most like double take I did Haggard Cat record,
being like what's going on here? So I think we
are going to dive into that a little bit further
on the next review show. But yeah, I'm glad that
you are on your way to you know, being a functioning,
full human again. We have got today on the hyperbar
side of things for the news, a little run of
album announcements here to start us off, and the first
one that we're going to talk perhaps the most about,
is the one that we knew was coming from last week.
It feels like, you know, whatever conversation around there was this,
it's basically been gone because of the nature of us
going out on a Friday, and we knew this was
going to be Relea on last Friday. But we are
here to give give a take. Anthrax have finally, after
so so long, announced their new album is called Curse
and Perfiicio. It's going to be out on September the eighteenth,
and it is the follow up to the four or
Kings album, which is now because I think that record
came out in like January or February or something. It's
over ten years old, that record. And there is a track,
a single, first single from this that is out which
is called It's for the Kids, which is a quite
funnyttitle that we might dig into in just a moment.
But the thing that really interests me about this is
because I mean, I'm sure I could probably speak for
us both when we put this single on, we weren't
like speaking of doing double takes albums or whole thing
sound or whatever. There's none of that with this. Like
it is even though they've been away for over ten years.
It is what you imagine modern day Anthrax kind of
sounding like. The thing that I'm curious about of all
this is essentially that it has been so long, how
much relevance they have I suppose, because obviously they are
going to put out an album and it will you know,
it will immediately connect it will you know, the in
built audience Anthrax have through being you know, one of
the biggest legacy certainly obviously thrash metal bands, but just
metal bands of you know, the Golden ear of the
eighties or whatever. They obviously they have that like that
in built audience of you know, people have been with
them for decades and decades and will buy every new album.
But in terms of like how much you know, a
Ripple in the Waters, I suppose a new Anthrax album
is in twenty twenty six. That's the thing that feels
different to at any point in their history. And just
to you know, here's a little detail. Power Trips Nightmare
Logic album was released the year after four All Kings,
and the think of the entire journey, all the things
that have happened with that band in terms of you know,
being can and I used making a modern classic like that.
Obviously the tragedies that they've suffered along the way, and
then they're resurfacing all of that. That entire Power Trip
story from that second record has happened in the last
nine years, let alone the last ten since Anthrax. You know,
one of the daddy's obviously that kind of style of
thrash metal put out a record.
Speaker 2: Slur of Brocarp and came back precisely that.
Speaker 1: So, yeah, it's so into you know this kind of
I suppose this is the third album of the you know,
resurfaced Joey Belladonna fronted modern day Anthrax, which has been
around for so fucking long at this stage. Rights, it's
insane that if I think about, what's the album before
the last album of Anthrax, and it's worship Music, an
album that came out when I was like fourteen years old,
Like yes, like this you know version of anthraxs has
been around for fucking ever at this stage, but it's
only the third record they're putting it in that guys,
I suppose you know the twenty tens Anthrax period of
when that lineup you know, first emerged again, so worship
music and then going into four or Kings the last album.
People have, you know, some different feelings about those records,
which ones they prefer whatever, I think me and you
maybe come from a similar place on it. But how
would you describe your feelings to you know, those two
an Threats.
Speaker 2: Records Worship music. I have a lot of fondness for
I think both half because of it's a bit nostalgic
for me because like you say, I was fifteen sixteen.
It just felt so exciting to have a new album
by a legendary metal band. I like a lot of
the songs on it. I really like the vibe of
it where it sounds like it was written for John
Bush For All Kings. I think is a bit sleepy.
I don't I haven't revisited it in ages, but memory
serves from last time I listened to it is really
boring and not that good. So yeah, he had basically
no expectations for this going into it.
Speaker 1: Yeah, I am roughly similar in that worship music. I
do have a lot of fonders for Like I said,
I was totally the right age for it. I do think,
you know, maybe it is nostalgia. But if I just
go back and put on the last couple of Anthreats albums,
worship music has a lot of songs on it in
comparison that jump out with me, like songs like fight
until you Can't and the Devil you know, and like
even some of the deeper cuts like the one that
was just called Judas Priest or whatever, like, there are
fun songs on that record, even though as you say,
it does kind of sound like it's the result of
maybe some you know, a couple of different versions of
Anthrax actually piece and that record together. Ultimately, I think
that is a really like four modern day Anthrax in
this lineup, you know, that is the benchmark for me.
For All Kings has a couple tracks on it that
I remember enjoying at the time, tracks like Evil Twin
was one of the singles for it. I remember that
being a pretty fun song in the live set. The
opening song on it, You've got to Believe, had like
a decent riff. But as a record, it did kind
of feel like all the stuff that I liked in
worship music. Nothing about that was done better on For
All Kings. So I don't think Four Kings is, you know,
a bad record in the way that people tend to
like massively over egg how good or bad. Same with
Megadeth right to how bad these Tach records are. But
it was definitely the lesser of the two for sure.
And in these ten years, you know, they've done other things,
you know, Charlie Bananti has been playing with Anthrax, Frank
Bello has been playing with Satiricon and Young Blood, but
all getting into you know this as it's for the kids,
which is the most ironic thing they could have said
about this, because this is not for the kids. Maybe
it's some kind of like, hey, we're trying to instill
into an audience who maybe haven't ever received an Anthrax
record or whatever, which obviously there must be some symbols
of a generation that haven't done that. But an Anthrax
record is not really for the kids, right, It's for
the dads, And there's no shame in that. If that's
your you know, your generation, and that's your fan base.
But that's that's what it is. I was similar in
that I had so, you know, not negative expectations for this.
I just thought, surely, after all this time, this will
just hit the exact ceiling that the last time Anthacks
were around and hit, right, And that's basically what it does.
Those songs I mentioned, like Evil Twin or whatever, the
ones that are like, you know, kind of vaguely fun
and memorable from four All Kings, this is probably about
that level and that's the ceiling. And that's fine. I
think the tone is good. They're like really thick Frank
Bellow basically associate with Anthrax. There's a funny kind of
like the sort of we woo kind of siren ish
riff at the start of it is you know, decent.
There's a fun, kind of stompy bridge part that is
like the most like classic board shorts Anthrax are out,
but going above and beyond the you know, sort of
decent but maybe slightly middling standard that Anthrax had around
the last time they were here ten years ago. You know,
despite the ten years of expectation, I did not have
expectation that they were going to dramatically reinvent themselves here
because ultimately, and I said as again as someone who
thinks this song is fine, you know, pretty enjoyable even,
but we're kind of in a period now in the
mid twenty twenties where we're seeing the twilight of the
Big four. Really like Slayer, as we know, have obviously
now become a like entirely a festival heritage band, Like
they don't put out new music anymore. Negadeth of obviously
just put out their final album. Even Metallica, who are obviously,
you know, still the biggest band in the world and
still you know, put on these epic shows and everything.
Their last record, while having some really fun tracks. I
think most people agree that you Metallica records are getting
less and less you know, jam packed, consistent all the
way through and more your cherry pick, your your fine moments,
and and thraxsubmerging ten years from their last record are
kind of you know, seeing the same We are seeing
the as I say, kind of the the the last
days really of like that crop of bands. And even
the way that this album is titled, was it Curse
and Perficio Apparently that translates to my journey has come
to an end, and they've said that's not necessarily meaning
it's the final anthat album. It's more about like the
ten years of you know, between the two albums. But
we are I think across the board, there aren't any
of those bands where I Am waiting for them to
like have their resurgence moment. It's more about what else
do we kind of you know, squeeze out before the end?
To put it in really bleak cynical terms.
Speaker 2: Yeah, it's funny going back to the what's Anthrax's cultural standing?
Where do they sit in twenty twenty six? If I'm
you know, a new a new music metal fan, like
someone who's emerged really getting into metal in the last
five years. Anthrax are basically they only exist to support
bigger thrash bands or occasionally parade among the living around
again for the umpteenth time, and this new track is
perfect for that. It'll sound great when they're supporting Testament
or whoever. You know, Considering it's been ten years, I
did expect it to sound creakier, but I think it's
been good. The griff is good, it sounds chunky enough,
there's a rip in solo in it. Charlie's doing some
great work. Joey is there. I think it sounds all right,
Like I yeah, it's like you say, is just sort
of keeping uh as these bands are bowing out, bowing out,
Just hoping that they don't embarrass themselves in their twilight
years is all you can hope for, really, And I
think this is, you know, is good solid Anthrax stuff.
Speaker 1: Yeah, because thrash you know, as a movement has kind
of alluding it to you there with you know, the
sort of referencing the whole story of Power Trip in
the title Last Time you Know. Anthracxeri is a record
thrash like has gone on a journey and changed in
the last ten years, and ultimately it has that world
has survived without Anthrax being a creatively active band in
those ten years, right, I don't think it's necessary for
Anthrax to be, you know, a band that we are
looking to to be pumping out records. They are obviously
an inspiration still to you know, a great deal of
particularly there's more crossover leaning type thrash bands. But like
I said, the question with this track wasn't really whether
the song would be decent or not, because it is decent.
It's not great, but it's certainly not bad. It is like,
as you're saying, it's keeping that flame lit, like reliably so,
and that's basically exactly what I respected. The question would
only be like, does anyone outside of the old heads
care about new Anthrax in twenty twenty six, because despite
the title, I don't think the kids do, you know
what I mean? But that's a lot of thoughts about
a song that is essentially ultimately kind of unremarkably pretty good.
But there you go. The you know, more questions I
suppose about you know, the relevance of contemporary Anthrax will
be answered on September the eighteenth, when the new record
Curse and Peficio comes out. Elsewhere, a much fresher to
the you know press's album announcement that we have also
for September. September is President have got their debut album.
Of course, you know, the all of the hype that
we had last year came off the back of an EP,
the actual debut album. I am dread dreading the moment
that that conversation becomes inescapable, I suppose. But the album
is called Blood of Your Empire, and there is a
track out and if you want to listen to a
masked singer looking like he's melting while trying to be sexy,
the song is basically like the Summit by Spirit Box,
without a human focal point and instead refracted through a
chat bob. So that's what it is. Apparently there's a
big concept going on with organized religion and sort of
a conflict between you know, faith and the value of
religion versus the damage it causes. Did we ever get
to the bottom of why he's a president? Like the
whole political gimmick, it seems to be incredibly disconnected from
what any of you know, even the stated content of
the albums. It is supposed to be, like what they
say the albums are about. I suppose you know that
maybe there is some kind of attempt, a thin attempt
to draw connections between you know, religion and as we say,
a kind of perhaps a Trumpian you know, political messiah
sort of figure. But I don't think we've ever really
understood why he's a president.
Speaker 2: There's no point even trying to justify in your mind
why anything about President is the way it is. There's
no conceptual depth. It's literally, ah, bands with masks are
big and then you watch point break. Yeah, there you
get surface level is so yeah. Yeah.
Speaker 1: September though obviously a significant you know, for positive or
negative reasons, where it may be a significant debut album
release coming late this year September, the new one from President.
We then also have also in August twenty eighth, the
announcement of bear Tooths album Pure Ecstasy. I will be
the judge of that, mister Showman coming in August bear
Tooth right. Another new single that we talk about a
little bit is Burner, who are a UK metal bander.
I don't think we've like formally reviewed them on the
show before, but they have, you know, over the last
sort of like three four years something like that, they've
become a quite consistent presence, I suppose, you know, in
the semi underground you know, UK metal scene. They have
put out a track that's a lead single from their
record which is coming September twenty fifth, No One Is
Coming to Save Us, and the track called Sunrise Parabellum
makes them the latest band in the you know, long
stream of them to get the Matt Hafe feature, you know,
treatment the most featured man in metal. And I don't
say that with any sort of cynicism or anything, because
it's nice when he is appearing on essentially small upcoming
bands like Berner, where there is, you know, no tangible
reason for Matt Hafe to be on a Burner track
other than he likes them and thinks they're cool. And
Berner get a little, you know, as we're talking about
the right here, a little bit of a sort of
boost out of it. So good for them, Burner are
I haven't like really gone with them so far. They
kind of exist in that like sort of nondescript lane
of just metal, right like like bads like Harriet and
stuff like that, and he Harriet, you have maybe a
little bit more of a explicit sort of industrial metalcore
sort of slant. Burner are like a metal band, Like
there's a bit of hardcore, a bit of metalcore, slightly
more extreme sort of death metal, sludgy elements. It's just
kind of like big bruising metal, you know, like that
Cage Fight band just put out a recorded this month
as well, and that's just like, oh, this is just
it's just metal for metal people, you know. And if
you haven't got a load of extra like you know,
spice on top of that, assarily or like a real
like a world standard kind of talent, it's hard to
make that stand out. But I think Berner are to
date fine. I think this song with Matt hayfeon, even
before we get to Matt's part in it, it's pretty decent.
It's got a pretty sick, squeally kind of panic riff
in the middle. It is again not necessarily like the
brand of metal that is going to like most wallet
me like, onto my ass if it hasn't got like
some extra feature or draw about it. But it's a
pretty decent track. And then Matt comes in and you
go like, ah, here he is again on another like
pretty small up coming band for them, so.
Speaker 2: Small that I'd never even heard of Burner this.
Speaker 1: Yeah, they're going around for like Fight three. I think
it's like a second record.
Speaker 2: Okay, yeah, I like this. It's great. It's snappy, it's
heavy in the way you want it to be. Like
you say, it's pretty. You know, it's metal, which means
when Matt Hafey does come in, it's perfect, Like it's
just the perfect scream for that part. I really like
the vocalist of this band. He's got this sort of
like really barkie like high roar, and it brings me
back to like British bands from ten years ago that
I was listening to her. I really like that, and
it's just mad that Matt Haffey is almost that's on
church World Records, like good, good for him, good for them,
everything about it's just heartwarming. Really.
Speaker 1: Yeah, it's a pretty good song. And so the new
Burner records coming out in a September on Church Road.
As you say, yeah, I'm sure a lot of people
looking forward to that good stuff. There's also a new
album announcement from Holder Holder, the black metal band who
I think two years ago put out a record that
was featured in my End of Year list, My favorite
albums of that year I love. I'm really a big
fan of just Holder in general, but that last record
I did think was excellent. This is the follow up
to that comes out August the seventh. It's called Verbolgan.
It's out on a season of mist I believe outside
of North America twenty bucks spin in North America. And
I haven't heard anything from this record at this exact moment,
but I'm obviously looking forward to the new Holder record
because their last one was so excellent. So if that's
you know, exciting for the black metal people on the horizon,
there's an ab announcement for you. Interestingly, I don't really
know what this means. Behemoth have got an album coming out.
It's called I Sculpta that's of course Sculptor with a V.
It's out on a pretty small label. They've a teamed
up with a label called Massacre Records for this one.
So this is not like part of the main, you know,
like huge fucking extreme metal Overlord's Behemoth commercial record deal.
This is described as essentially a release of eight unreleased songs,
but I don't have any more information than that. I
don't know how old these songs are I don't know
if they are songs from like, you know, the last
album cycle that didn't make it. I don't know if
they're brand new. I don't know if they're from the
fucking like spentetherth era. Like, I don't know if these
songs are thirty years old. I've got no idea. The
way that this has just sort of being like very
casually announced out there on this small label makes me
feel like this is not like the proper follow up
to you know, the Shit of God right, Like, this
doesn't seem like a full on Behemoth album campaign. But
some extras maybe. But I'm down with extras because they're
i mean Behemoth. When they have put out sort of
in between album you know, EPs or stuff like that,
I usually really enjoyed them, Like the one where they
did the a Forest cover by the Cure with Nicolas
from Shirling on it was was great. Had they a
couple of extra songs on it, that was cool. Like
like I said, I don't know how old or fresh
or whatever these songs are. But on September the fourth,
the same day as the President record, there is a
nice little bonus treat of unreleased Behemoth songs.
Speaker 3: Cool Yeah, this is like the forth of God, the
back draft of God for the after burns rush back
of God. Yes, the splash Back of God is September
the fourth on Massacre Records.
Speaker 1: Fucking love bit. Very excited and just another little sort
of update on something that we're I don't know, like
waiting to see when it falls into our laps. You
may remember that Slip Knot's long sort of mythical look
Outside Your Window record was released for Record Store Day,
which was like other like a month ago. At this stage,
it was a while ago, wasn't it. It's been gone.
I still haven't heard the fucking thing because it hasn't,
you know, appeared. I didn't go out and buy it.
It hasn't seemed to have appeared anywhere. I presume that
there are a fair number of people out there who
did buy that special record and have now heard it.
But weirdly, considering how like, I don't know again, we
were hearing about that shit for like fifteen years. Now
it's out in to the world. I haven't heard a
fucking peep about it and what actually sounds like or
anything like that, And I guess that we are waiting
to see if it actually gets any like wide release,
specifically in my mind, like a streaming release right where
you can hear it without having had to, you know,
go and purchase this special record for it. There is
news that on June the twelfth it is getting a
wider release than just the record store day release. So
it's going on like physical formats that presumably will be
stocked in like your normal ass shops, right like maybe
you'll be able to go into HMV and buy the
Look Outside a Window release whatever. What I still don't
know because it doesn't say anywhere, is if that means
it's actually get like a proper formal you know, like
wide wide, like you can go on your streaming service
and hear it right there and then release. But if
that is what happens, that's obviously when the majority of
people will hear it. June the twelfth is the next
update window that we have essentially for Look Outside Your Window.
But maybe in a couple of weeks we will have
all heard this long awaited thing. And finally on the
new music front, this just appeared in my YouTube sub
box and it made me smile because I've mentioned these
on the show before. I love these. The YouTube series
two Minutes to Late Night, which is spearheaded by Jordan
Olds other than Guarcinio Hall. Since the last time these
were really around, you may remember that he actually launched
his own like proper band, Blood Vulture, and put out
a really well we reviewed. It was really good. I
mean it did really well in the audience part of
that year, like I really fucking well liked kind of
gothy vampire like Alison chensy Doom record. Essentially because the
guy who does these covers is like a really like
legit player and musician. And obviously the fact that the
cover series on YouTube went on hiatus for a couple
of years presumably well he focused on like his actual
real band, is completely understandable. But the last time, like
I said, one of these uploads appeared was like two
years ago at this stage. So when I just logged
on one day and another one had appeared, it was like, ah,
they're back, because I love these. They are the most fun, Like,
you know, in a world where these sort of like
on the Remixy covers, you know, we used to have
like like concentrated areas for these. Obviously, the only thing
I'm thinking of to mind right now is the fucking
punk Go series. I'm obviously not comparing it in quality
or vibe to those, but ye like, no, it's not
that good. But you know, being able to log on
and be like, oh, a bunch of musicians who I
like have knocked out a ripping version of what in
or pretty much all these cases the series do is
like a really awesome pick either of like a cool
metal song to do or like a cool left field
kind of choice. But it returned this week anyway, long
story short with a cover of iron Age, the crossover
thrash hardcore band from the late noughties, and their song
Burden of Empire. Iron A. We've done an album club
on them about like, you know, two three years ago
something like that, speaking about how they were essentially a
part of the like really foundational to the kind of
Texas hardcore and thrash scenes and everything that would then
go on later to produce you know, all these bands
like it features future members of Power Trip, features a
future Eternal Champion vocalist Jason Tarpi on vocals, like future
members of all sorts of great bands who have come
from that scene. And so it makes a lot of
sense that the all star lineup for this cover features
basically a lot of people from that Texas metal scene.
We've got Chris from Frozen Soul on guitars. We've got
Lincoln from a Fugitive who are that? Gain of that
kind of like power Trip sort of splinter off band
that appeared. He's on the drums. We have Adrin from
Creeping Death on bass and Jake from the you know,
Texas kind of crossover hardcore band Judiciary on vocals covering
the Iron Age. Like not a big song, right, this
is not when they do fucking Turbo Lover or something,
but this is like a real cult classic And that
made me smile. And the cover fucking rips because it
is all wicked song and I'm just happy that this
is back in such cool form.
Speaker 2: Yeah, it made me so happy. I have such warm
memories feelings for two minutes to late night of just
like it being deep pandemic.
Speaker 1: Yeah, and everyone was a real lockdown thing.
Speaker 2: Yeah, every once in a while getting notification, Oh here's
Clutch covering riff Raft by ACDC or whatever it was.
And I love all of them, and especially it's coming
back as making its grand return, I assume, and it's
such a cool underground left and Field pick that's awesome
and there's a great song anyway, and the cover is great,
Like this is so exciting.
Speaker 1: Yeah, And obviously in a week where we were speaking
about with Anthrax one of like the daddy bands of
sort of this world of thrash metal, it's nice to
get like, oh yeah, the best thing this week is
iron Age cover, you know what I mean? Like that rips,
So yeah, you encourage you to go check that out
on YouTube because it's just a lot of fun. And
if you've never heard iron Age and you like this
kind of thrash metal, then maybe this is the perfect
way to get into that. And then you can go
and find our album club that we did on the
record that this song Burner Empire comes from Wicked Stuff
Tail Gunner, the UK kind of trad you know, classic
eighty style heavy metal kind of revival band who they
have been building up quite a bit of steam in
the last couple of years. Haven't spoken them too heavily
on this show. I did see them at blood Stock
a couple of years ago. They opened them. They played
on the Sophie Lancaster stage on the Thursday. One of
the years that I went, and it was they did
have like a kind of swell around them. They have
built up a fair bit of steam. They put out
a record earlier this year that again for people who
are like very much plugged into like again essentially you know,
eighty style old school Britain newaver for British heavy metal
style revival stuff in the vein of Iron Maid and
Judas Priests, et cetera. Tail Gunner got quite a bit
of buzz around the record that came out a couple
of months ago. They seem to be pretty much splintering
right now because they're bassist Thomas hu has taken a
step back from the band due to currently unspecified but
allegations have been you know leveled in our swhirling and
so he has taken a step back from that band.
And following that, their guitarist Raya Thompson has quit the
band and fully you know, distance herself from it. Obviously
some major fucking roadblots to say the least about that. Obviously,
due to the uncertain nature of the allegations, you can't
make any kind of comment beyond that. But yeah, it
does not seem that things are going well over there
in that camp at all. But there you go. That's
the tailgun in News Live News. First up, the big
tour of the Bumps. It's been announced this week is
Barry Tomorrow have announced what ard I believe I'm right
in saying, their biggest ever UK headline shows in twenty
twenty seven. They are playing three shows the Glasgow s
WG three Galvanisers. So mouthful of a venue name, isn't
it Nottingham's Rock City and London's Bricks Academy, which I
haven't been keeping track, but I guess this is probably
the first time then that Berry Tomorrow have headlined on
their own back Brixton Academy, and I know that we
have in the last you know, the last couple of
album cycles for them been fairly lukewarm to negative basically
about Berry Tomorrow. But I'm not, you know, mad to
see them doing well essentially and you know, playing some
as someone who does have a lot of fond thats
for this band from way back when it's you know,
would you have asked me ten years ago if I'd
like to him the word where Berry Tomorrow headliney Bricks
and Academy on their own Yeah?
Speaker 2: I would, Yeah, it's seeing this news brought me back
to a very specific memory, which is in twenty on
Union of Crowns twenty twelve, I remember, I think it
was Danny, one of them, being interviewed by Murrell on
the Old Metal Hammer podcast and Mrrell was like, oh,
are you ever going to play your Living Walker cover live?
And was like, maybe if we ever headline Bricks in
an academy obviously, you know, like that's never gonna happen
sort of way, And I remember listening to that and thinking, oh, yeah,
maybe never. And now you know how I feel about
the last couple of Burning Up Tomorrow Records doesn't really
I don't know, I don't like them, but the fact
that those guys now get to headline Bricks in the academy,
where clearly it's a thing they every band in the
UK dreams about and it's just something they've even joked
about not being able to do it really warmed my
heart and I'm really hit chopped for them, and yeah,
good for them. It's just so lovely that they've managed
to do it, even if it is off the back
of music that I don't enjoy anymore.
Speaker 1: So what you're saying is we need to start the
campaign to remind them that they have to play the
Living Local CA Yeah, Brick Academy, because that is a
quote that I mean, I don't remember that quote. I
didn't remember the to be But if that is a
quote from fifteen years back, there's no way that you
know Danny or whoever which mevement it was a band
that made that quite will remember it. But if we
start it here, we spread the word out. You know,
some people who listen to this who might be going
to these shows, need to remind them. Basically, the Ripple
Effects starts here Berry tomorrow. They said they would fifteen
years ago. They have to play brings An Academy. That's
not where I saw this particular story going. But I'm
glad that that's the movement that we can start here.
The support out of this bill as well is Stick
to Your Guns are playing along with wind Waker and
Elwood Stray. I believe that Stick to Your Guns have
also just been added to the No Play Festival as
the headliner, which is the Liverpool based hardcore fest kind
of happens on my doorstep, happens in September. But yes,
they are going to be headlining that this year, so
there you go, But live tour announcement wise, if you're
in the UK at least, the people who are living
large the most this week are the doom Heads, because
for some reason, all big Doom tours this week. First up,
to follow up from our discussion of the new Green
Lung album announcement from last week. In between now and then,
they have performed their headlining stint at Desert Fest in
the Roundhouse, which looked fucking great pat audience there for them.
It's nice to see I know, obviously festival, but awesome
to see Green Lung essentially headline the Roundhouse this, you know,
at this days in their career, that's fucking wicked. Off
the back of that performance, they have announced a you know,
proper UK headline support tour for this new record, the
Dance to the Grave Tour, happening in December and in
the UK. It's going across of ever verious places in
Europe as well, but in the UK they are playing
the Roundhouse, Bristol's Bristol Electric, Manchester Academy, One, Dublin's Academy
and that same venue that Barysmora play in Glasgow. The Galvanizers,
and the support bill for this is High on Fire
and Noma like a quite I don't know. They seem
to have a audience right now in that sort of stone
of doom world. That's all the bloodstot like last year,
and there's a whole you know, strange, gnome hatted sort
of gimmick thing going on. But they're you know, they're
a fine stone a band High on Fire main support
for a Green Lung tour. Holy shit, that's one of
the sickest bands of all time. That's an insane number
of riffs put together. And yeah, just obviously the fact
that Green Lung taken on venues like the Roundhouse and
you know, Academy one in their own name headline the
same venue as Bery Tomorrow in Glasgow. Off the back
of this record for a you know what was just
a couple of years ago, really an underground doom band.
Speaker 2: Fucking sweep big is so I love when up and
coming bands take a legacy act out onto It is
so cool. Whatever that happens. Hi on Fire, that is big.
That's big bollic stuff, right Ah.
Speaker 1: The guitar is from Sleep basically is supporting Green Lung.
Speaker 2: Here, Yeah, Oh my god. Yeah, I'm sure the brand
House Academy one. We've seen machine Head there. That's mad
good for them.
Speaker 1: This is so good, really exciting taught announcement. We also
have continuing the big doom riff VIBESU Kennis have announced
what I think is their first actual proper UK tour.
Have never appeared in the UK. It's just been limited
festivals that they've played, a desert fest. I saw them
when they played a Damnation. But they have for you know,
a band who have been fairly popular in that underground
scene for the last like ten years or so, they
have been you know, reticent to tour the UK for
whatever reason, but they are coming around, also going through Europe.
So let's your sanctuary supporting them an eternal UK support actor.
Bizarre fit for them as a death metal band, but sure,
go off. Why not? And in the UK they are
playing Birmingham The Flapper, Manchester's The Breadshed, London's Underworld and
Portsmouth's Cola. So one of the you know, kind of
coolest doom heavy metal bands of the last ten years
or so finally doing a proper UK talt. That is
great news. And if you are more into the kind
of ethereal side of the doom world. Kingwoman are coming back.
I believe it's been quite a number of years since
Kingwomen had done a run like this over here. They
are also in the UK playing London, Manchester and Glasgow,
so good stuff. They're for the doom heads. E. Then Sevenfold,
this is a story that caught my eye. Then Sevenfold
have purchased back, they say, the master recording rights for
their album The Stage, which of course was released in
twenty sixteen, and they say with this announcement they are
now a fully independent band, no ties to you know,
larger major labels or anything like that, just a fully
independent band right now. Then Sevenfold, which for a band
of their size, I suppose it's its own sort of
nice story to see them and they reach that stage
perhaps where they can you know, sort of self you know,
carry themselves like that. But also with the buying back
of the Stage, they you know, with this kind of
announcement out there, they did say, you know, we are
aware that the ten year anniversary of this record is
coming up, and they reference that it's an album that
tackled ai political and social critique, simulation theory and existentialism,
all things that seem to be even more significant this
day and age. And this just sort of caught my
eye in a ten years since the Stage kind of way,
which feels mad considering they've only had like what one
album in between you know now and then like it
has been I know, obviously the last album, even before
we get into what people thought about the album, which
as we know it was very very mixed, but it
was a big meal of an album where you had
a lot to take in, right, But the fact that
there has only been one of then zero fold album
in the last ten years since the Stage has been
a you know, it's been a very patient, shall we say,
a slow going kind of creative decade for them. But
going back, you know, ten years to the stage was
just an interest kind of memory lane thing. I think, like, man, yeah,
that was a moment went obviously a surprise released that record.
It was the first record with Brooks Wackerman on the drums,
who now was again been in that camp for ages.
Now what are you all I suppose memories of you know,
looking back on ten years of this particular event, ZERREVL record.
Speaker 2: I remember being on the outside looking in. I was never.
I don't know, I didn't really like it when it
came out. I sort of dismissed it after a couple
listens and never really revisited it. But I remember the
surprise drop. I remember us both being so excited to
listen to it. I remember the ferrara it caused, and
it'd been really just like a really exciting moment for people.
And that was a really well received record, right like,
I remember people being really toughed with it.
Speaker 1: Yeah, at the time, it was probably my least favorite,
you know, up against the debut, but it was one
of my least favorite event sevenfold records. Yes, I do
like Hail to the King. That's a topic for another day.
But you know, the stage at the end of you know,
what was their their period of like being such you know,
when they were this unbelievable singles band basically, and that's
all say the albums weren't great, because a lot of
them were, but you know, the run of hit that
they produced in between, you know, let's say, Unholy Confessions
and Hail to the King, that decade where they were,
that's the decade that made them the top dogs that
they are. Right stage that came at the end of
that and was obviously it very much self styled as
being not in that mode and wasn't as much of
a crowd pleaser, and I didn't want I connected with
it less than you know, the event records before it,
but I still really liked it immediately at the time,
I liked it, and interesting looking back on it now
is it feels like, you know, it's ten years since
the last shall we say, coherently events Sevenfold album. Because
Life is but a Dream I can see, you know,
I actually I completely understand the argument for Life Is
But a Dream being a more interesting record, shall we say,
than the Stage, because the stage was then going prog
after you know, I was hailed to the King with
the most stripped down rock album that they'd done, and
then the stage was then for like over seventy minutes long.
It's got multiple fucking huge, like you know, sweet type
tracks on it. And then if you want to say
that Life is but a Dream, is them doing that
in a much more balls to the wall anything goes
less married to the I don't know fundamentals of being
a Sevenfold kind of record and prefer that for it.
I get that completely looking back as someone who was
not into Life Is But a Dream. The stage is
you know, I said the last the event Sevenfold that
I was a fan of, Right, that's the last time
that band were around, and they were doing it in
a way that was spreading their wings. I have fond
memories of the cycle because the tour was brilliant, Like
I wouldn't see him on that on that tour and
it was absolutely fantastic. And there are you know, tracks
I really like on that record. The title track opens,
it is great sunny disposition. There are bangers on it,
like goddamn. I remember it being as a record very
top heavy with the bangers, and like the further you
get into that, like seventy four minute or whatever, run
time like it keeps. You know, it is a time demanding,
patience demanding type of record that doesn't necessarily always you know,
like give you back one hundred percent. But I think
it is a Yeah, it's a strange album to look
back on in hindsight from Life Is But a Dream
because it is both much more normal. Life Is but
a dream in a way that you could say is
a little bit more I don't know, tepid. I suppose
like life, but it was so wholeheartedly leaping into what
they were doing. But it is still tied maybe to
some of the traits that the older fans could have
wanted in a them cell fored right, that life's but
a dream, you know, for better or or worse shed
and became something else in its own thing. It is
also as they were saying in that description there, it's
the events have a record that's all about science, right,
it's the science one. It's space and AI. And I
think that's an element of avenge that it's quite easy
to clown on because a couple of years after this
they became the NFT guys. Right. But you know, certainly
if you look back throw the lens of you know
where we are in twenty twenty six, and you know
AI is getting fucking more dominant by the day. Maybe
there is something in the heart of this record. I'm
not going to say, I'm not going to call it
a classic, and I'm not going to say whoa it
predicted the future because it's basically it's like a more
Neil de grass tyson version of kind of the stuff
that Fear Factory were doing in the nineties, that itself
was taken from Terminator or whatever, right, you know, and
maybe in the kind of modern muse is maybe a
close spiritual counterpart, at least the kind of the I
suppose the worldview or like, you know, the content of
a record like The Stage. So I'm not gonna call
it classic, but I do think I thought it at
the time, and I still think it now a pretty
good album, right.
Speaker 2: I hate doing this. I didn't like The Stage at
the time. I listened to it today for the first
time in nine years. It's brilliant.
Speaker 1: My god, really.
Speaker 2: Is so good. And I was thinking, obviously so much.
There's so much context and so much baggage I have
with Avenge sevenfold because Life is but a dream has
happened since then, which is so, you know, admirable record,
but it's so batshit and it's so unavenged. And previously
the most unavenged album was Hail to the King, which
was an album full of bangers, and my problem with
the Stage at the time was there was no banger,
Like obviously, I don't know goddamn as a banger, so
it's not after Life backcountry, you know, And that's why
I was like, yeah, I appreciate the prog thing, but
you could have given us a couple of choruses, having
had even less hooks since then going back to back
to the stage, thinking about the stage coming out after
Hill to the King and how mad that is. It's
almost like the Anti. It's what the Anti, what every
other band does when mastered on right, their prog oppus
would Crack the Sky. Yeah, they follow up with the Hunter.
They wrote the Hunter and then they were like, should
we do Crack the Sky? It's that makes me appreciate
it even more. And the fact that comes after Hail
to the King, which is it doesn't sound like classic Avenged,
It sounds like classic metal. This the stage it sounds
like Avenged, Yeah doing progue, but it sounds like Avenge sevenfold.
Ah Yeah. And I really the dramming on it that
Brooks is putting in some performance. He's is it incredible
on this? Obviously Cinder Store is whodling so well. Shadows
sounds sleazy as ever. I really like going back to
it really made me appreciate how good we had it.
I think this is a really great record, and I'm
sorry took this long to realize.
Speaker 1: Yeah, I said, my position has basically stayed the same
as it was almost ten years ago. It just has
the extra complicating factor of, you know, looking back from
the position of where we are right now and the
record that's coming between. But ten years ago, I thought
it was a pretty damn good record, and I still
think that. I think the first like half of it
particular is great. I do think like what you're saying
about it sounds like classic Avenge as we know them,
doing a more progressive kind of idea rather than you know,
fully go and be on the pale. Is the particular
slant that it has, Like I said, it is still
am I going to take the stage over certainly any
of the records between like Waking the Fallen and Nightmare,
And no, I'm not, But I do think the stage
is And for the reason you're saying about kind of
the place that came in their trajectory. I always thought,
like people who dismissed the record really quickly at the
time because it wasn't Nightmare, I did always think those
complaints were kind of weak source right, And I still,
you know, kind of my my stance is kind of similar.
I'm glad that you know you have had this positive
awakening with it, because that's just always a nice thing
when that happens with the record. But yeah, like I said,
a very interesting album back on ten years considering we've
only got one album between you know now and then.
But what a bizarre old decade. Like ten years ago,
they feel like a different prospect of a band than
the one that they are today. What are your memories
of the stage from ten years ago? How do you
think it? A holds up would be very interested to hear.
And the last piece of news here is just one
I've added in that I was really sad to hear that.
Federico Bernini, who is a long kind of standing member
of the essentially the UK underground extreme metal scene. He
played in Aca Cocca. Most recently he was the bassist.
He most recently he joined Olfusian, the Irish death metal
band who there He was on their record last year,
the Summoning Bell, which you may remember if you were
you know, along with me on the ride for end
of year stuff or whatever. One of the best death
Matt records I think of the last like twelve months,
absolutely phenomenal record with some killer base playing on it.
Also a member of bands like on Fathomore ruined Nation
cerebral bore. Like if you could throw a dart almost
at like a you know, UK or you know, Ireland
based extreme death metal band and you could imagine that
Federico Bernini had possibly played in that band. So the
news that he had seemingly quite suddenly passed away this week,
I know, will hit people who are you know, particularly
ingrained in that scene quite hard, so absolutely wanted to
pay my respects there. So yeah, rest in peace, Federico. Right,
we have got, like I said, the Corn Special Part two.
I've mentioned it quite a lot over the last couple weeks,
so I'll skip the super hard sales pitch. But hopefully,
as I say, tomorrow, as you are listening to this,
that will be out there on the patroon where we
are talking all about the peak New metal years basically
and their peak period of khmer dominance. Very excitingly forward
to getting into that. Let's end today's Hyperblast with the
release roundup and not the largest quantity of releases I
would say today that are really like punching above the
standard weight bracket, but there are a couple that definitely
are you know, big notable names that are longer waited
records as well. The first of those is Marmozett's their
third studio album, cow War Dice. That's out. I don't
think we are going to review it on the next
one because Sam's away, and that feels like one that
we should tuck in the pocket until Sam comes back
and can really give us a thorough take on that record.
But I know that obviously. Right now, as this episode
is out, lots of you will be going and you know,
spinning and making your mind up about the first Marmott's
record in eight years or whatever. It may be a
much longer period away is we have the returning album
from A. Jason Perry and those those little brit rock
jokers back with their album Prong. First album in You'll
know better than I mark a long time right.
Speaker 2: Twenty one years?
Speaker 1: Wowser?
Speaker 2: Yeah, I mean, thank god.
Speaker 1: I mean you will definitely be pin a show since.
Speaker 2: Two thousand and five. Oh absolutely? Will it be good?
Don't know? Do I like the singles? Not really? Am
I going to be best to do it? Yep?
Speaker 1: Okay, I'll let you give me the report back.
Speaker 2: There you go.
Speaker 1: A's new album Prong and another album that's the first
in there, like also eight years. I think dimu Borgear,
the symphonic black metal Titans from Norway their album called
Grand Serpent Rising. They have been very slow to make
albums in the last like twenty years really, but when
they emerge and slither out of hibernation. I haven't heard
this one yet. I have heard some pretty good things
about this record, and I am in the camp of
people who basically liked everything Dimibore have done, so looking
forward to it obviously, we'll be checking that one out.
Then we have a debut album from a band called
XCOM called Time to Burn. These guys are a hardcore
punk band and this record has picked up a little
bit attraction because it is produced by mister Ross Robinson.
So a Ross Robinson produced upcoming, you know, young hardcore band.
There you go x Com. For the old heavy metalers
out there, we have Armored Saint with a motion factory reset.
David Eugene Edwards, the frontman of sixteen Horsepower and Woven Hand.
As much as you know, sixteen Horsepower are back out
there in the world playing shows and stuff right now
as we speak. I'm very jealous of everyone who's seen them recently.
But he has a solo record out, his second fully
Solar record, I believe, Mercurial Silence. Then we have, on
the kind of proggy post metally side of things, coming
from Europe, we have a band called Blind Dead twenty
three which does just make me think of I don't
know band names like Breed seventy seven or whatever, but
I understand that they are not of that ilk of band.
They're a little wit as I say, maybe a little
bit cooler than that. But their record Juteriarium. There you go.
Not a huge day for the underground, really, which is
considering the that's the place which normally produces a million,
you know, records a week. This time we have on
the kind of black thrash side of things. On Dying
Victims Productions, we have Witching Hour with descending Dot dot
Dot where time has ceased to exist, giving us enough
album title for the rest of us. Really, we have
on the UK blackmount front the band Law with psychotic
trance of the Black Knights and two EPs to end
us out. On the mushy hardcore side, we've got grid
Iron who've just dropped an EP called Lights Out, and
we have on the kind of math core east side
a band called Bear with an EP called an Herdonia.
So that's your lot this week. Thank you very much
for being with us here listening. As I say, let
us know what's your take on the Anthrax single just
the state of anthrects I suppose right now? Are you
looking forward to the new President album? And yeah, memories
of the stage from ten years ago, all of those
tools we were talking about. Let's know your thoughts. We
will be back. First of all, we will be back
immediately essentially with as I say, part two of our
ongoing corn band dissection of everything they've ever done. Going
to be really really a fun, hefty, meaty part this
time around, for sure, like a bunch of massive, massive
records on top of like side projects and you know,
major events in their story and all of that stuff.
And we will also be back. Ellie and I will
be back with a reviews bag reviewing a number of
the coolest records that we want to talk about from
the month of May. So be with us for both
of those and we'll see around. By everyone,