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Speaker 1: Hello, everybody, welcome to That's Not Metal. We are your

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weekly rock and heavy metal podcast. My name is Parenheish

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with me across from me today it's Sam dig Non.

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Speaker 2: Sam.

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Speaker 1: You're back from well last week we spoke about two

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thousand trees. How are you feeling this week?

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Speaker 3: I mean, as we're going to get on too, it's

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not been you know, particularly nice week, has it like

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when well, that's the kind of like the over rocky story.

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There's a there's a there is a sadness to this

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week that we're kind of going to get into.

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Speaker 2: I have just been listening to a ship ton of

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black Sabbath as a result. But yeah, yeah, I've.

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Speaker 1: Been in a art being in a contemplative mood. I

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suppose for a couple of days this week that you know,

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the main event, as it was planned in our schedule

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for this week's episode, is it's going to be the

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big July reviews episode. July is generally a quiet a

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month for like high profile releases and stuff, which is

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actually quite exciting for us because it means we have

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got a whole, you know, platoon of albums, mostly with

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only a couple of exceptions, mostly from bands that we

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haven't covered before. So if you are looking for totally

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new music, totally new bands to you, hopefully our reviews

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today are going to get into some of that and

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give you some of that. So up top, the reviews

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that we will be doing today come from The Dirty

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Nil Blood Vulture, Psycho, Frame, Blind, Equation, Crown of Anguish, Stanger, Egal,

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and Nouveola Scura. If those names sound like a mouthful

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and things that you won't remember, then hopefully that's a

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good thing because it means by the end of this

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we will have drilled to some new names into your head.

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So that is the aim of the game. When it

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comes to the end of the episode today up top,

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we've got one essentially new story to talk about because

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obviously the news that we were you know, not accounting

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for come in this particular week is the news we've

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got a couple of days ago at the time of recording,

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which is the passing of Ozzy Osbourne. And as said,

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we've had a couple of days really to mold us

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over now at this stage you as you've just said,

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along with everyone listening, I'm sure everybody in our entire

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sphere of you know, cultural influence, whatever everyone around us

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has spent the last couple of days talking thinking about

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listening to classic Black Sabbath and Ozzy Osbourne. It still

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feels like an event of almost cosmic proportions, right, like,

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like the the the level of stature within everything that

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we hold dear, the entire foundation for why we are

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here talking to you right now, that that Black Sabbath

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and Ossie as the you know, the front man of

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it is held in, I cannot think of a moment

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that feels quite as I don't know, broadly unifying as this,

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I suppose in terms of recognizing someone's loss.

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Speaker 3: Yeah, I mean, like obviously we've you know, talked about

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musicians who've passed on this podcast effect, and this feels

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like the first thing, you know, we're talking about someone

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who was pivotal in basically realization of why we're here.

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Ozzie is sort of one of those figures who was

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bigger than and again, like you look at his pop

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culture reagion, how like it is not just ourshor world

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that is morning and he had had such an impact.

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So it's been such a hard one to kind of

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like pro some piece together exactly how he feels in

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the impact his passing is going to have yeah.

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Speaker 1: Yeah, and Ozzie is I think it goes without saying

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really in terms of I don't think there is much

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else you could say to kind of counter this. He

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is the most famous an iconic person that heavy metal

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has ever produced. You know, like that there are people,

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you know, we've lost the likes of Lenny in years

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gone part who are similarly iconic to the culture and

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to metal culture. But as said, you just literally who

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is the most famous person who ever exists in metal?

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It is Ozzie And because of you know, his both

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his role as a pioneer and then also the way

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culture has gone and the way metal has progressed and

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the world has progressed, he always will be like we

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probably can never produce again someone who becomes as universally

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iconic and identifiable a figure as Ozzy Osbourne. Where you know,

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I got into Black sat and Ozzie's music when I

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was a young teenager, but I remember knowing who Ozzie

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was for several years before that, right, because he's one

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of those guys you know, like Michael Jackson or somewhere

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where you just instinctively know who that is without even

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really being told, I guess, and thinking about again the

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rush of emotions and the rush of thoughts that we've

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had in the couple of days since learning this news,

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they go so wide, right, like part of my it's

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hard trying to wrangle all the thoughts because part of

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my brain is existing in nineteen seventy and thinking about

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the genesis and every stop of the journey along the

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way in those fifty plus years. My mind kind of

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takes a pit stop at every part of that journey,

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right up of course, to the back to the beginning

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concert that we spoke about just you know, a couple

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of weeks ago. I think it was like seventeen days

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between that event and Ossy's passing, and some of my

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firth thoughts were just how on earth did he do

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that show? You know, like if he was obviously we

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all knew he was ill and has been for some time,

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but to go seventeen days after it, how did he

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have the strength to do that concert? It's it boggles

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the mind.

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Speaker 3: I Mean, this was the thing where like, well I

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looked at us you can kind of romantize this or

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look at his really tragicalvion into it, but like that

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show being the thing that doing this sort of final

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stamp on his legacy, the thing they kept going and

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did he like give everything to that final performance.

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Speaker 2: And that's the kind of like the romantic view of it.

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You can still say like this was it.

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Speaker 3: He had that final moment and then everything just kind

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of took its course following that, which is again doesn't

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make it any less tragic, but it like by all

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the reports of Halley was how it was like, how

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is this going to you know, go ahead? And then

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it went ahead and it wasn't just you know kind

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of like obviously he was in the throne the entire time,

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but you you everyone saw and one was like, Ozzie

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was fantastic.

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Speaker 2: Ozzie was as good, good, like.

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Speaker 3: As a vocalist as you could have hoped you'd be

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in that fun performance and that just kind of then

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then brings it all home. Its kind of like that

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was it. That was him leaving that final lasting image.

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I guess it's that we now have to remember him

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as the iconic, as the most famous metal vocalist ever.

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Him there on a throne, performing the final time and

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giving it everything, and I mean that is I like,

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that is incredible and I think that's the sort of

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like things sort of cling onto and remember among all

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of the like the sort of overming things of sadness

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that will have hit in the immediate aftermath.

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Speaker 1: Yeah. Like, I try not to do this and think

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this way because I try and think in a kind

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of realist sort of manner, and I don't want to,

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you know, try and romanticize anything where there might be

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you know, something that is less romanticizable, I suppose. But

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the way this has happened almost feels like just it's

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one of those dislike belief defying in its possible poetry. Yeah,

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moments where you know, Tony I Am this Week has

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said that, you know, similar to what you were just saying,

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that it kind of felt like he was just holding

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on to do that show basically, and you know, say

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goodbye to everyone one last time. And the shock that

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we've all felt of him going because most of my

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podcasting career, I feel like I have been, you know,

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aware of the fact that Ozzie's health problems were you know,

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a kind of constant part of what we'd be talking about,

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I suppose, But the shock that we all feel of

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him going so suddenly after that concert is bewildering, But

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there is something so can mind boggling about holding onto

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the strength to do that show and then almost as

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if that was the last thing he had to do,

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going so shortly after it. And maybe you know, it

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could be considered that that show just I don't know,

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exerted him too much and took too much out of him.

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But my god, I mean, you know, a beek or

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so ago, there was a headline that the back to

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the beginning black side of the show. Obviously this is

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I don't know if this is adjusted for inflation and

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all of this stuff that we have to consider now,

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but like it was the highest grossing charity concert ever,

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more than you know, Live Aid and all of these famous,

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you know, globally famous things. And I think a lot

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of us took some kind of great pride that it was,

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you know, a heavy metal event that did that. But

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some in our discord put it very well by saying, doing,

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you know, one final show with your old band, the

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same four blokes so you started or with all those

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years ago, ten minutes down the road from where you

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grew up, surrounded by all of your friends and you know,

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connections that you forged through decades in this music. Raising

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one hundred and fifty million pounds for local children's charities

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is the most heroic ending where we we should all

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wish to leave this world with such an impact of positivity.

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Speaker 2: Yeah, that's the only thing.

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Speaker 3: Again, Like I'm sure you know in the comics, people

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will kind of like dig into you, like oh or

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do this that the other I'm like, ah, fuck all that.

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At the moment, like the guy ended his sort of

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like said amazing insane amounts of money. Well again, like

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people he inspired, friend's family, people who just looked up

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to him.

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Speaker 2: All of that said, the bands who wouldn't.

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Speaker 3: Be here about Ossie. It was such a kind of

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like a feel good, sellatory moment. And again, if that

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is your final stamp on the world, it's a hell

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of a marketing. And again, like he's left so many

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like positive marks you can say like that is a

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kind of final just sort of like seal on your

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legacy as good as you could possibly hope or isn't it.

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Speaker 1: Yeah, And it's one of the most difficult things that

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I've had to do. You know, doing this is staring

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at you know, paper earlier basically and knowing that you know,

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people listening will expect us to formulate these words in

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a certain way with a certain amount of eloquency or

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dignity or whatever. But how do you sum up a

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life and a legacy like Ossie's, you know? And the

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I have to just go to the top down thing

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first of all, which is that we are united by

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these kind of moments and that these you know, these

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deaths of these people who have been so significant to

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us because you know, we're here doing this podcast, you're

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here listening to us, many of us, the vast majority

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of our friends. You know, the connections that we have

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and are you know, our sphere of culture, as I

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was saying, that we exist in and kind of interact

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with the world in all stem from people like Ozzie. Yeah. Yeah,

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And a loss of an individual like Ozzie is just

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as much a moment of collective cultural consideration, I suppose,

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where it's not just that we've lost the man Aussie,

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it's stopping to think about how how interlinked our identities

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are through this thing that we share. And I truly

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I cannot think of a more culturally unifying figure than

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Ozzy Osborne in our world, because like, if you are

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here no matter which strand of this music we talk

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about that you prefer you love Ossie. And you know,

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even if you somehow don't love Ossie, because you are here,

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some part of your DNA going back does. And it's

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not just that it's Aussie, but it's also the first

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original member of Black Sabbath to go, because any one

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of those four guys who we saw on stay together

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at the back to the beginning of a couple weeks

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ago is in their own way, individually momentous. I think

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we all knew that it would be Ossie, first of all,

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because he has been so well for so long. But

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the fact that one of those four guys who we

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have all seen countless images of together, who created our

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universe together, is gone. That is an event of like

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I say, like cosmological galaxy rendering in terms of our

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prism of how we perceive the world significance.

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Speaker 3: I mean, I mean that is it is again, It

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is the scope and like scale of what Sabbath and

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Ossie did. It is essentially Black Sabbath that that debut

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album is ground zero for like heavy metal as we

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know it and every sort of like and.

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Speaker 2: Again people say them like I bet you still.

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Speaker 3: There is at least one Black Sabbath song you fucking

240
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love like they were that band, or an Aussie solo song,

241
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something created by again Ossie or the other guys about

242
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subth that change the way you engage music, whatever metal

243
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you listen to, it's going to trace back to that

244
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Daby Black Sabbath album in some way.

245
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Speaker 1: Yeah, and capturing the life that he led just feels

246
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beyond words.

247
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Speaker 3: You know.

248
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Speaker 1: If you were going to try and a biture it

249
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in terms of how individual a human that we all

250
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know he was, you know, and how the absolute most

251
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insane thing that could ever happen to any of us

252
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in our lives, it would just be a Tuesday in Ausies,

253
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you know. Like one of the first pieces of like

254
00:14:09,399 --> 00:14:11,679
fan art I guess I saw after this news broke

255
00:14:12,000 --> 00:14:14,759
was someone that had drawn a headless bat waiting for

256
00:14:14,840 --> 00:14:17,000
him at the Pearly Gates, you know, and it's like, what,

257
00:14:17,159 --> 00:14:20,360
There's no other person who could have that piece of

258
00:14:20,480 --> 00:14:24,360
art applicable to their life. The fucking Alamo paid tribute

259
00:14:24,440 --> 00:14:27,080
and opened up talking about, Hey, Ozzie pissed on us once,

260
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but then he you know, tried to find redemption and

261
00:14:29,320 --> 00:14:33,519
we Reford, that relationship and just the most absolutely bewildering

262
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things that could apply to no other person because of

263
00:14:36,360 --> 00:14:39,799
what a life he led. One of the most magically

264
00:14:39,879 --> 00:14:42,600
gifted creators of melody is one of the things that

265
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I think of because he you know, at various times

266
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he kind of expressed that he felt inferior to the

267
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other three members of Sabbath because they're the instrumentally talented ones,

268
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you know, and amongst the like giants of each of

269
00:14:57,039 --> 00:14:59,919
their instruments. He's just kind of just a brummy who waiales,

270
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you know. But to put down what he did, like

271
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that he was extraordinary, Like from that first Sabbath album

272
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through to Sabbath Bloody Sabbath and Sabotage and even you know,

273
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Never Say Die and so on onto those first solo albums,

274
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all the way through to you know, like in the

275
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in the twenty first century, there's not necessarily as much

276
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material that I really personally loved, but like just a

277
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few years ago, there was that post Malone hit with

278
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the big Aussie chorus, and like hearing that on the

279
00:15:27,720 --> 00:15:30,480
radio and in movie trailers and shit, and it's just unmistakable, like,

280
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oh holy shit, that's Ozzy, you know, and some of

281
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those melodies that he would pull out from thin air

282
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just seem again like divine. You know, he might be

283
00:15:41,039 --> 00:15:46,480
the most specially gifted vocal melody writer that our music

284
00:15:46,519 --> 00:15:48,879
has ever seen. You know, he's in the conversation and

285
00:15:48,919 --> 00:15:51,440
he's a guy who always said he didn't know shit

286
00:15:51,480 --> 00:15:53,960
about music theory or anything. He's just a working class

287
00:15:54,039 --> 00:15:57,399
dude who'd you know, never fully give himself or at

288
00:15:57,399 --> 00:15:59,679
times be given the credit by others for it. But

289
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in that particular area, he was plugged into something magical.

290
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Speaker 3: That's one of the things I want high because you

291
00:16:08,200 --> 00:16:09,559
I've seen a few people say like, oh, you know

292
00:16:09,840 --> 00:16:11,320
he was you know, the least hand to member.

293
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Speaker 2: He was not, you know, the greatest smell Vosse.

294
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Speaker 3: I was like, yeah, maybe he's not the greatest metal

295
00:16:14,679 --> 00:16:16,919
vocals ever, but in terms of someone who could just

296
00:16:16,960 --> 00:16:20,039
come out with melodies that just stick with you and

297
00:16:20,559 --> 00:16:24,840
just were so perfectly aligned with the music, Like there is.

298
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Speaker 2: A knack to that that you kind of go go

299
00:16:26,399 --> 00:16:29,559
like that. You've got to have some kind of like magical.

300
00:16:29,240 --> 00:16:31,320
Speaker 3: Ear to be able to kind of go like, yeah, whatever,

301
00:16:31,399 --> 00:16:34,320
I hear someone that's gonna just like sing along with

302
00:16:34,360 --> 00:16:37,399
that so perfectly, and I mean even again you go

303
00:16:37,519 --> 00:16:41,360
back to again Black Sabbath, Black Sabbath, Black Sabbath. The

304
00:16:41,720 --> 00:16:43,440
vocals he comes up on that song are some of

305
00:16:43,519 --> 00:16:46,919
the most authentically like this is new, this is a

306
00:16:47,080 --> 00:16:49,600
new type of singing that you haven't heard yet, and

307
00:16:49,840 --> 00:16:54,519
that again, he's like redefined so much of like help sing.

308
00:16:54,559 --> 00:16:56,480
Like again, everyone say he wasn't you know, the most

309
00:16:56,519 --> 00:16:59,759
important vocals on metal like whatever, because then you kind

310
00:16:59,759 --> 00:17:01,639
of go, you maybe you're only listening to one sort

311
00:17:01,639 --> 00:17:04,720
of strand of mel I'm sure you used it as

312
00:17:04,720 --> 00:17:07,960
a do metal fan. How much is like like do

313
00:17:08,119 --> 00:17:10,960
melo vocalists are always just gonna be like doing Aussie

314
00:17:11,279 --> 00:17:12,279
like Yeah, But.

315
00:17:12,279 --> 00:17:15,680
Speaker 1: I also think he's a very difficult vocalist to have

316
00:17:15,759 --> 00:17:19,640
actually done, you know, because like I say, it's that

317
00:17:19,680 --> 00:17:23,759
conjuring of melody you try coming out with something like

318
00:17:23,839 --> 00:17:27,519
hole in the Sky or Sabbath, Bloody Sabbath or fucking

319
00:17:27,680 --> 00:17:31,079
you know, supern or into the like. One of the

320
00:17:31,119 --> 00:17:34,279
songs that I've just really kind of fixated on this

321
00:17:34,319 --> 00:17:37,519
week is Solitude, the ballad track on Master of Reality,

322
00:17:37,559 --> 00:17:39,759
And that's a track that for years a lot of

323
00:17:39,759 --> 00:17:42,079
people have gone like, is that even Ozsie, because he

324
00:17:42,240 --> 00:17:47,599
sounds so enigmatic on it, and he for all of

325
00:17:47,640 --> 00:17:51,279
this kind of talk of how technicality was never what

326
00:17:51,279 --> 00:17:53,839
you would associate with Ozzie as a singer. He had

327
00:17:53,880 --> 00:17:57,440
ability to do things that other people could not do.

328
00:17:57,559 --> 00:18:00,799
It's as simple as that. And for me, I think

329
00:18:00,799 --> 00:18:04,440
about of all the you know, the myriad of things

330
00:18:04,440 --> 00:18:07,279
that make up this figure who we've all kind of

331
00:18:07,279 --> 00:18:10,359
just collectively we all know as Ozzie, he has so

332
00:18:10,519 --> 00:18:13,079
many more things than just that, right, Like, you know.

333
00:18:13,160 --> 00:18:15,920
Part of being an Ossie fan, I think is learning

334
00:18:15,960 --> 00:18:19,559
to connect to both the part of his you know,

335
00:18:20,039 --> 00:18:22,839
the idea that his voice and his music could be

336
00:18:23,039 --> 00:18:26,440
genuinely scary, you know, and their impact on people in

337
00:18:26,480 --> 00:18:30,400
that sense, while at the same time the character we

338
00:18:30,440 --> 00:18:32,799
all know, the larger than life icon, and the fact

339
00:18:32,839 --> 00:18:35,200
that he was so clearly just fun, you know, like

340
00:18:35,279 --> 00:18:39,400
he is one of the most pure embodiments of fun

341
00:18:39,920 --> 00:18:42,759
in rock and metal there has ever been. That's why

342
00:18:42,799 --> 00:18:46,000
he was so huge and lovable, one of the purest

343
00:18:46,000 --> 00:18:48,640
embodiments of just the idea of rock and roll who

344
00:18:48,720 --> 00:18:52,400
has ever lived. I think Ozsie, probably most purely in

345
00:18:52,480 --> 00:18:56,039
his heart, was the guy madly clapping his hands on

346
00:18:56,079 --> 00:18:59,119
stage getting an audience to sing along to Paranoid and

347
00:18:59,160 --> 00:19:01,559
Crazy Train. You know, the guy who just loved to

348
00:19:01,640 --> 00:19:04,200
share that joy with people. And on that level alone,

349
00:19:04,240 --> 00:19:07,279
he is a hero. But I think a lot about

350
00:19:07,920 --> 00:19:11,319
if you're here and you're into metal, then certainly I'm

351
00:19:11,319 --> 00:19:13,440
speaking for myself here, but I'm sure many other people

352
00:19:13,480 --> 00:19:15,599
will connect with this idea as well. There's a part

353
00:19:15,640 --> 00:19:20,119
of you that perceives the world through the lens of

354
00:19:20,359 --> 00:19:23,839
dark art, right and even if that you're not an

355
00:19:23,960 --> 00:19:28,680
especially overtly miserable or downtrodden person or whatever, which I

356
00:19:28,680 --> 00:19:30,839
don't especially consider myself to be. But there is something

357
00:19:30,880 --> 00:19:34,920
about the world that only makes sense when this prism

358
00:19:34,960 --> 00:19:39,079
is applied to it. And what Black Sabbath summoned up

359
00:19:39,519 --> 00:19:43,799
as nineteen sixty nine became nineteen seventy, this wider cultural

360
00:19:43,839 --> 00:19:47,759
moment that seems so integral to the direction of global culture,

361
00:19:47,839 --> 00:19:50,799
with the summer of love dying out, the hippie dream

362
00:19:50,960 --> 00:19:54,440
melting into blackness. Even if they were not entirely aware

363
00:19:54,640 --> 00:19:58,839
of what exactly they were doing, they sensed that and

364
00:19:58,920 --> 00:20:03,079
they channeled it. And when you hear Ozzy at that

365
00:20:03,880 --> 00:20:09,039
moment of like epocal change. What is this that stands

366
00:20:09,039 --> 00:20:12,119
before me? Is this the end? My friend Satan coming

367
00:20:12,160 --> 00:20:14,559
around the bend? And that gutter or cry of oh no,

368
00:20:15,680 --> 00:20:18,559
that the impact of black Sabbath in that moment is

369
00:20:18,720 --> 00:20:23,839
just like a massive black tide crashing across the world

370
00:20:23,880 --> 00:20:28,200
as we knew it in popular culture, reflecting the most

371
00:20:28,240 --> 00:20:32,160
anything in popular music had all of that global poison.

372
00:20:32,359 --> 00:20:36,000
And he is there. He is the lovable prince of

373
00:20:36,039 --> 00:20:38,200
darkness and all of this stuff. He is Sharer and

374
00:20:38,240 --> 00:20:40,680
all of that shit. But he is, in that moment,

375
00:20:40,880 --> 00:20:44,319
the voice of the end. He is a voice from

376
00:20:44,359 --> 00:20:47,759
the void as yet untapped in popular music like that,

377
00:20:47,920 --> 00:20:50,359
and you know, to be incredibly dramatic, but humor me.

378
00:20:50,440 --> 00:20:52,440
I often think of the world that we live in

379
00:20:53,119 --> 00:20:56,319
as not just in direct musical influence, but in its

380
00:20:56,440 --> 00:21:00,359
tone and its texture and the reverberations of cult. Truly

381
00:21:00,400 --> 00:21:03,559
what that moment could be, It's the world of Sabbath.

382
00:21:03,640 --> 00:21:06,319
You know, we all live into the void. We are

383
00:21:06,440 --> 00:21:08,599
children of the grave, and the way that I perceive

384
00:21:08,680 --> 00:21:13,000
the world is colored, if not directly by Sabbath, it's

385
00:21:13,039 --> 00:21:17,440
the texture of Sabbath. And that is something that I

386
00:21:17,519 --> 00:21:20,720
cannot say to the same degree about any single other

387
00:21:20,880 --> 00:21:23,319
artist we can talk about. That is what makes Sabbath

388
00:21:23,480 --> 00:21:26,359
and Ozzie, even as you know, not my personal favorite

389
00:21:26,400 --> 00:21:28,799
band who have ever existed. Many many people listening, I'm

390
00:21:28,799 --> 00:21:31,559
sure will have their own favorite bands. But that is

391
00:21:31,599 --> 00:21:35,799
what makes Sabbath the kings of everything, the alpha and

392
00:21:35,839 --> 00:21:39,519
the omega. The fact that the very the wallpaper of

393
00:21:39,559 --> 00:21:42,559
the world that we live in is Sabbath's. Yeah.

394
00:21:42,559 --> 00:21:44,319
Speaker 3: Now, that's the point I've ever been wanting to draw home,

395
00:21:44,559 --> 00:21:46,480
is that feeling of like, again, they might not be

396
00:21:46,480 --> 00:21:49,759
my favorite band ever, like, but there is none more

397
00:21:49,799 --> 00:21:53,559
important band out there that they they changed the well

398
00:21:53,599 --> 00:21:57,839
they created this particular light world and again actually that

399
00:21:57,839 --> 00:21:59,960
that world viewed for like a lens of a dark

400
00:22:00,400 --> 00:22:02,680
and how they did that, and how they brought that

401
00:22:02,720 --> 00:22:06,599
to popular culture, like just shifting that the whole world

402
00:22:07,920 --> 00:22:10,640
such a like huge impact. I youture remember what come

403
00:22:10,680 --> 00:22:12,759
try to think about how tenence is, Like you you

404
00:22:12,920 --> 00:22:16,960
cannot say enough words about the change and the importance

405
00:22:17,200 --> 00:22:18,640
that Osi and Sabbath bought.

406
00:22:19,319 --> 00:22:22,279
Speaker 1: Yeah, and I you know, I surround myself in the

407
00:22:23,039 --> 00:22:26,519
rappings essentially of this kind of art. You know, whether

408
00:22:26,640 --> 00:22:31,079
it be movies or you know, writing or music or whatever.

409
00:22:31,119 --> 00:22:36,039
But this, this texture of Sabbath is something that surrounds

410
00:22:36,079 --> 00:22:38,400
me and like I said, it is my kind of

411
00:22:39,519 --> 00:22:43,960
filter with the world. And Sabbath are the most single

412
00:22:44,000 --> 00:22:49,680
most instrumental artist ever in forging that kind of tapestry.

413
00:22:49,799 --> 00:22:53,279
And again, thinking about that moment on that first you know,

414
00:22:54,039 --> 00:22:58,440
guttaal letting forth of it all, it's almost like he

415
00:22:58,559 --> 00:23:01,799
is at that moment, almost even entirely in control, you know,

416
00:23:01,880 --> 00:23:04,400
but it's like what the moment in history calls for.

417
00:23:04,799 --> 00:23:08,839
He is like almost hijacked by the moment to create

418
00:23:08,880 --> 00:23:13,599
what is necessary. And then what Ozzie fully as his

419
00:23:13,640 --> 00:23:15,759
own you know, onto his own devices. What he does

420
00:23:15,839 --> 00:23:18,839
himself is he dresses up like a werewolf and bucks

421
00:23:18,839 --> 00:23:20,200
at the moon and all of this stuff, and he

422
00:23:20,240 --> 00:23:24,279
turns the the after ripples of that moment of you know,

423
00:23:24,359 --> 00:23:28,160
explosion into a thing of such joy and fun and

424
00:23:28,599 --> 00:23:30,400
becomes the you know, the kind of clown prints of

425
00:23:30,480 --> 00:23:32,759
darkness that we all love. And he kind of creates

426
00:23:32,839 --> 00:23:37,000
the framework in which we can all enjoy ourselves under

427
00:23:37,039 --> 00:23:39,599
this dark macarb thing that has been made. You know,

428
00:23:39,640 --> 00:23:44,079
he creates the framework for us to cut loose with it,

429
00:23:44,119 --> 00:23:47,279
but in that first moment he is like a conduit.

430
00:23:47,359 --> 00:23:49,400
And you know, I've seen it kind of positive a

431
00:23:49,400 --> 00:23:52,680
couple times this week that in terms of influence and

432
00:23:52,759 --> 00:23:56,880
someone whose very existence changed the trajectory of popular art

433
00:23:56,920 --> 00:23:59,400
and culture, this is one of the only things that's

434
00:23:59,400 --> 00:24:01,640
happened compared rible to a loss of a beetle. Yeah,

435
00:24:01,680 --> 00:24:05,640
and I'm always wary of kind of overstepping anything and

436
00:24:05,720 --> 00:24:08,480
putting anything just because I personally love it onto that

437
00:24:08,559 --> 00:24:11,160
kind of like broader level, because heavy metal seems so

438
00:24:11,519 --> 00:24:14,559
niche in comparison, but stopping to think about it with

439
00:24:14,680 --> 00:24:18,680
Black Sabbath and particularly as the breakout cultural icon of it, Ossie,

440
00:24:19,279 --> 00:24:21,400
I don't think that actually is wide of the mark,

441
00:24:21,640 --> 00:24:24,400
Like when you think about it, even as heavy metal

442
00:24:24,440 --> 00:24:27,000
has become over the years a more niche, underground genre,

443
00:24:27,680 --> 00:24:30,519
the cultural ripple effects of it, like in the mere

444
00:24:31,480 --> 00:24:34,079
iconography of pop culture, like not just what it means

445
00:24:34,079 --> 00:24:36,720
to us and our world as metal heads, but what

446
00:24:36,799 --> 00:24:40,720
would the world look like without heavy metal as part

447
00:24:40,759 --> 00:24:42,960
of its kind of artistic tapestry and as one of

448
00:24:43,000 --> 00:24:46,680
its cultural signifiers, of which, like we said, Ozzie Osbourne

449
00:24:46,759 --> 00:24:48,880
is the single most recognized bly iconic person to be

450
00:24:48,920 --> 00:24:53,880
associated with it. Ozsie is in his relevance so specifically

451
00:24:53,920 --> 00:24:56,920
to a subculture like heavy metal. It's easy to feel

452
00:24:56,920 --> 00:24:59,839
like he's he's just ours and just matters to us.

453
00:25:00,279 --> 00:25:02,799
But he is in his effect on why the musical

454
00:25:02,799 --> 00:25:07,240
culture a John Lennon, David Bowie and Michael Jackson like

455
00:25:07,759 --> 00:25:08,640
just a giant.

456
00:25:08,920 --> 00:25:10,880
Speaker 3: I mean again, like I obviously I knew it was

457
00:25:10,920 --> 00:25:13,839
he way before I'd even heard the name Black Sabbath,

458
00:25:13,839 --> 00:25:16,559
because like the Osbourne's, you know, there was that like

459
00:25:16,599 --> 00:25:18,240
that's when he sort of first came into my raidar

460
00:25:18,279 --> 00:25:19,880
was that sort of thing and then kind of going, oh,

461
00:25:19,920 --> 00:25:20,799
you know, he's the focus of this.

462
00:25:20,759 --> 00:25:22,799
Speaker 2: Metal band, Black Sabbath, and then the heard Paranoid and

463
00:25:22,799 --> 00:25:23,119
all that.

464
00:25:23,240 --> 00:25:27,039
Speaker 3: So like, but he He's impact on culture went so

465
00:25:27,200 --> 00:25:29,960
far beyond just told And again his impact on metal

466
00:25:30,000 --> 00:25:32,880
is what's most important to us. But as a pop

467
00:25:32,920 --> 00:25:35,279
culture icorn, as a sort of like celerity as a

468
00:25:35,359 --> 00:25:38,640
musician who zar did you know, make such a like

469
00:25:38,720 --> 00:25:40,519
huge impact he is on you sit on the level

470
00:25:40,559 --> 00:25:44,519
of the Beatles, David Bowe, those kind of like stone

471
00:25:44,519 --> 00:25:48,599
cold like icono classic like legends. He is every bit

472
00:25:48,759 --> 00:25:51,200
one of them and his word bit and then this

473
00:25:51,240 --> 00:25:53,039
is this is us, you know, trying to be like, oh,

474
00:25:53,039 --> 00:25:54,200
you know he's the metal guy.

475
00:25:54,200 --> 00:25:55,279
Speaker 2: Put him on that pedestal.

476
00:25:55,319 --> 00:25:57,839
Speaker 3: He's like, no, he's every bit as kind of like

477
00:25:59,240 --> 00:26:02,599
vital to art and culture as those are.

478
00:26:03,640 --> 00:26:06,880
Speaker 1: He's probably in the top ten most recognizable musicians of

479
00:26:06,880 --> 00:26:10,559
all time. Like you have to think about who you

480
00:26:10,680 --> 00:26:13,960
put there, but he's a genuine first draft pick. And

481
00:26:14,039 --> 00:26:17,000
like I'm wearing right now an Electric wizardshirt, the band

482
00:26:17,039 --> 00:26:21,440
who I consider to be the truest heir to Black Sabbath,

483
00:26:21,960 --> 00:26:25,119
not just in sound, but in terms of that existential

484
00:26:25,160 --> 00:26:28,079
suffocation and bleakness that I was just talking about that

485
00:26:28,119 --> 00:26:30,720
they kind of like ruptured fourth into the world. There

486
00:26:30,759 --> 00:26:33,279
was also a tribute from Kermit the Frog. Like both

487
00:26:33,319 --> 00:26:35,839
of those things are valid, you know, like both both

488
00:26:36,319 --> 00:26:40,680
have truth. Like Adam Sandler World of Warcraft. It's like

489
00:26:40,880 --> 00:26:43,839
every area of pop culture you could think of, Ozzie

490
00:26:43,920 --> 00:26:47,759
had a hand in, whilst also being directly responsible for

491
00:26:47,839 --> 00:26:51,160
the existence of the most underground of subversive heavy rock

492
00:26:51,240 --> 00:26:51,720
art forms.

493
00:26:52,200 --> 00:26:55,440
Speaker 3: I mean, there's about thirty years worth of clips of

494
00:26:55,519 --> 00:26:58,960
him in wrestling over the years from like WrestleMania two

495
00:26:59,000 --> 00:27:01,400
through to like a couple of years ago when he

496
00:27:01,480 --> 00:27:04,039
re recorded War Pigs and did like a voiceover introduction

497
00:27:04,079 --> 00:27:06,799
pick for the War Games, Like he was so pivotal

498
00:27:06,880 --> 00:27:10,480
to that pick. Any kind of like subculture and pop

499
00:27:10,519 --> 00:27:14,000
culture thing, and you'll probably find at some point Ozzie

500
00:27:14,759 --> 00:27:17,200
has been involved in it. And again like the tributes

501
00:27:17,200 --> 00:27:21,119
pulling up again, I say, the Muppets and films again,

502
00:27:21,200 --> 00:27:23,599
like amount of people just sharing that clip from Little

503
00:27:23,640 --> 00:27:26,880
Nikki where Ossie like teleports in bites ahead of a

504
00:27:26,880 --> 00:27:29,519
bat and teleports out and it's like such a like

505
00:27:29,799 --> 00:27:32,759
weird little came in this movie, but it's iconic as

506
00:27:32,920 --> 00:27:36,440
just about every other appearance he made in wherever he

507
00:27:36,519 --> 00:27:37,039
turned up.

508
00:27:38,039 --> 00:27:39,680
Speaker 1: And seeing all of the tributes that have come out

509
00:27:39,680 --> 00:27:42,799
this week, one thing also really hit me because I like,

510
00:27:42,880 --> 00:27:44,720
when I heard the news in my own head, I

511
00:27:44,759 --> 00:27:47,519
of course went straight to Ozzie's own you know, musical

512
00:27:47,559 --> 00:27:49,319
output and the importance of it to me in my

513
00:27:49,359 --> 00:27:52,519
relation to it. But all the personal stories that are

514
00:27:52,519 --> 00:27:57,160
coming out in the ways in which Ozzie intersected with

515
00:27:57,240 --> 00:27:59,680
the careers of like so many of our favorite bands,

516
00:27:59,720 --> 00:28:03,720
right the way that he and specifically through Ozfest as well,

517
00:28:04,200 --> 00:28:08,200
like put on so many like generations of bands. Right.

518
00:28:08,200 --> 00:28:11,759
It's like in the eighties Metallica were opening up for him. Right.

519
00:28:11,799 --> 00:28:15,160
So there's fucking you know mark one if there's not

520
00:28:15,200 --> 00:28:18,880
one before that of a way in which a fundamental

521
00:28:18,920 --> 00:28:22,720
pillar of our again our existence is given the leg

522
00:28:22,839 --> 00:28:26,759
up by Ozzie Osbourne, all of your then Ozfest generation

523
00:28:26,839 --> 00:28:29,279
of bands. Yeah, you know in the nineties, you know,

524
00:28:29,400 --> 00:28:31,680
you think about slipnot famously in the late nineties and

525
00:28:31,680 --> 00:28:33,640
everyone who was kind of surrounded with that scene at

526
00:28:33,680 --> 00:28:35,799
that time, and then the same thing going into the

527
00:28:35,799 --> 00:28:38,400
two thousands. I think, like Ozzie and the kind of

528
00:28:38,440 --> 00:28:40,880
you know, the Osbourne empire or machine if you will,

529
00:28:41,359 --> 00:28:43,240
I think it'd probably right to say that they are

530
00:28:43,279 --> 00:28:49,119
also responsible for creating more new stars beyond just themselves

531
00:28:49,480 --> 00:28:53,440
than just about anybody in metals history also, and that

532
00:28:53,880 --> 00:28:57,400
is a thing of unbelievable magnitude to think about as well.

533
00:28:57,839 --> 00:28:59,599
Speaker 3: I mean, I supse it is the branding was, you know,

534
00:29:00,240 --> 00:29:02,319
a rising tide to lift all ships. That I think

535
00:29:02,319 --> 00:29:04,319
that is one of the things about Ozzie and like

536
00:29:04,400 --> 00:29:07,440
oz Fester is it did like they did give back

537
00:29:07,480 --> 00:29:09,440
to the metals of scene and kind of like and again,

538
00:29:09,599 --> 00:29:11,839
sure it was all Aussie branded and it was all

539
00:29:11,880 --> 00:29:13,519
to get himself over you can sell what but it

540
00:29:13,599 --> 00:29:16,680
was still again done, it wasn't you know, Justica.

541
00:29:17,200 --> 00:29:18,640
Speaker 2: There were so many bands that you kind of go.

542
00:29:18,880 --> 00:29:21,039
Speaker 3: Well, they came up through Ozfest and you hear about

543
00:29:21,079 --> 00:29:24,079
like legendary kind of performances and Ozfest and how it

544
00:29:24,160 --> 00:29:26,240
kind of changed bands careers and.

545
00:29:26,160 --> 00:29:29,000
Speaker 1: That that's why everyone was so in for the back

546
00:29:29,039 --> 00:29:30,680
to the beginning thing, because it was almost like they

547
00:29:30,680 --> 00:29:33,839
were by appearing they were giving back to someone who

548
00:29:33,920 --> 00:29:36,960
had helped them on, you know, on their journey up.

549
00:29:37,160 --> 00:29:39,200
Speaker 3: Yeah, and I think that's it. There was a kind

550
00:29:39,240 --> 00:29:41,799
of a feeling of like there was always giving something

551
00:29:41,880 --> 00:29:45,319
back to metal and kind of boosting metal's profile and

552
00:29:45,400 --> 00:29:47,079
culture no matter what it took.

553
00:29:48,160 --> 00:29:52,200
Speaker 1: Yeah, and it's it. It feels like we would need

554
00:29:52,240 --> 00:29:56,839
to spend hours and hours more to even scratch the

555
00:29:56,920 --> 00:29:59,160
surface of what this means, you know, Like I I've

556
00:29:59,160 --> 00:30:01,680
written multiple things in the last couple of days just

557
00:30:01,799 --> 00:30:07,480
trying to tap into some level of elemental truth about

558
00:30:08,039 --> 00:30:11,279
what Ozzie meant and what this means. And we've been

559
00:30:11,319 --> 00:30:13,920
talking for half an hour or something, and it doesn't

560
00:30:13,960 --> 00:30:19,319
feel like we're getting remotely close to the magnitude of Yeah,

561
00:30:19,960 --> 00:30:22,640
but you know, and we've got the gift that was

562
00:30:22,640 --> 00:30:25,440
given to us by that portal which Ozzie and Sabbath

563
00:30:25,480 --> 00:30:27,920
opened up, which is new music to keep enjoying and

564
00:30:28,240 --> 00:30:30,799
talking about throughout the rest of this show. But I mean,

565
00:30:31,000 --> 00:30:33,920
like just looking at the just the reviews we're doing today, right,

566
00:30:34,720 --> 00:30:37,119
the spectrum of what we cover sometimes can feel very

567
00:30:37,119 --> 00:30:39,720
desparate and like that there are albums that are to

568
00:30:39,799 --> 00:30:43,079
be enjoyed by like totally different crowds and people. But

569
00:30:43,480 --> 00:30:47,400
from the Dirty Nil to Stanger Egal, the commonality between

570
00:30:47,400 --> 00:30:50,160
those two things is Ossie. Like that is the connective

571
00:30:50,200 --> 00:30:51,359
tissue between us all.

572
00:30:52,119 --> 00:30:53,359
Speaker 2: I dontal I think that's the thing?

573
00:30:53,400 --> 00:30:55,319
Speaker 3: Is that again you can say like that's one of

574
00:30:55,319 --> 00:30:58,359
those of like this like extreme blamabanlon Is, you know,

575
00:30:59,000 --> 00:31:03,519
big monic punk, but there is a Ozsie through line

576
00:31:03,519 --> 00:31:05,519
and a sab of DNA and all those things that

577
00:31:05,519 --> 00:31:07,960
are just kind of that that just somehow make these

578
00:31:08,000 --> 00:31:11,759
bands makes sense in like the same world.

579
00:31:12,160 --> 00:31:15,680
Speaker 1: Yeah, so we're gonna We're gonna go any other news

580
00:31:15,720 --> 00:31:18,160
week this week. Really, it just felt like this is

581
00:31:18,559 --> 00:31:20,240
straight away out of the gate what we have to

582
00:31:20,759 --> 00:31:23,880
dedicate the most time to. I am going to jump

583
00:31:24,200 --> 00:31:27,599
back into something that hopefully Ozzie would approve of, which

584
00:31:27,640 --> 00:31:29,039
is talking about the amount of fun. I had a

585
00:31:29,119 --> 00:31:31,799
heavy metal show this week. The thing I was going

586
00:31:31,880 --> 00:31:33,599
to open up this show talking about before we got

587
00:31:33,599 --> 00:31:35,319
that news is I went to see man O War

588
00:31:35,400 --> 00:31:39,240
this week after well, after many years of being a

589
00:31:39,240 --> 00:31:41,279
manor War fan, after we have had a bit of

590
00:31:41,279 --> 00:31:43,480
a man of War, you know, a few weeks talking

591
00:31:43,480 --> 00:31:46,200
about them and so on. It was all for me.

592
00:31:46,240 --> 00:31:48,519
It was building up to seeing them at Bricks and

593
00:31:48,559 --> 00:31:54,640
the Academy last last weekend. Man O War are a

594
00:31:54,799 --> 00:31:58,799
rare beast to catch, sometimes in major part because of

595
00:31:58,839 --> 00:32:01,960
their own ridiculousness and the evasiveness which they kind of

596
00:32:01,960 --> 00:32:06,680
you know, they make themselves less available. But they did

597
00:32:07,240 --> 00:32:10,599
do a European tour for the last couple of months.

598
00:32:11,400 --> 00:32:13,920
I guess it's marking the fact that forty one years

599
00:32:13,920 --> 00:32:17,960
ago man O War released two albums that year. I

600
00:32:18,000 --> 00:32:20,720
think I'm right in saying two of their most classic albums,

601
00:32:20,759 --> 00:32:23,200
Hail to England and Sign of the Hammer. And on

602
00:32:23,240 --> 00:32:26,400
this European tour they have been doing at various dates.

603
00:32:26,240 --> 00:32:28,160
It's kind of been a bit hard to keep track

604
00:32:28,200 --> 00:32:31,079
of what they've been doing where because some countries they've

605
00:32:31,079 --> 00:32:32,640
been doing like more than one date, some they're only

606
00:32:32,680 --> 00:32:35,960
doing one whatever. But they've been alternating basically doing one

607
00:32:35,960 --> 00:32:38,480
of those albums hel Toll sign the Hammer, playing that

608
00:32:38,599 --> 00:32:41,799
as a record while also surrounding it with a Greatest

609
00:32:41,839 --> 00:32:44,079
Hits set. So it's kind of a forty plus year

610
00:32:44,079 --> 00:32:47,720
anniversary of some of the prime eras of man o War.

611
00:32:47,960 --> 00:32:51,000
This was my kind of what I've had a few

612
00:32:51,039 --> 00:32:52,839
of lately, but certainly this feels like a bit of

613
00:32:52,839 --> 00:32:56,519
a capstone on It was I have an opportunity to

614
00:32:56,640 --> 00:32:59,039
tick this one off, you know, and I have opportunity

615
00:32:59,079 --> 00:33:01,680
to see this band. And there are many things that

616
00:33:01,759 --> 00:33:06,400
are very bizarre and daft and maybe less appealing about

617
00:33:06,400 --> 00:33:09,160
seeing Man of War live, but I did not want

618
00:33:09,200 --> 00:33:13,039
to go without, you know, ever seeing Man of War live.

619
00:33:13,559 --> 00:33:15,880
So I went a lot at it. And yeah, and

620
00:33:16,039 --> 00:33:18,400
my you know, a gang of my close friends who

621
00:33:18,440 --> 00:33:21,359
we all share this Man of War connection, you know,

622
00:33:21,400 --> 00:33:23,839
speaking about the connections of absolutely the connections of heavy metal.

623
00:33:23,880 --> 00:33:26,119
We were just talking about with Aussie. It was it was

624
00:33:26,119 --> 00:33:28,400
the right group of people to see man O War with.

625
00:33:28,720 --> 00:33:31,319
We went down to Bricks and Academy in London. They

626
00:33:31,359 --> 00:33:34,359
have no support act because other bands only play man

627
00:33:34,400 --> 00:33:35,799
O War Kills, so there's no one you can go

628
00:33:35,839 --> 00:33:40,599
on before man of War. A surreal evening in so

629
00:33:40,759 --> 00:33:46,119
many ways. I guess, you know, the acknowledgment of man

630
00:33:46,160 --> 00:33:50,200
O War in twenty twenty five, again over forty years

631
00:33:50,440 --> 00:33:57,400
into their career. They have been a questionable bande quite

632
00:33:57,599 --> 00:34:03,839
some time. And yeah, and you know, I've heard over

633
00:34:03,880 --> 00:34:08,000
the years many strange live reports and stuff like that.

634
00:34:08,800 --> 00:34:10,960
The you know, the divatism of man O War. There's

635
00:34:10,960 --> 00:34:13,239
the famous Hellfest story from many years ago when they

636
00:34:13,239 --> 00:34:15,599
didn't actually end up playing. But there's all sorts of

637
00:34:15,679 --> 00:34:17,440
like mad reports and stuff that have been going down

638
00:34:17,519 --> 00:34:19,880
with just I don't know the quality of a man

639
00:34:19,960 --> 00:34:22,280
of War show. I've heard some people say they're fantastic.

640
00:34:23,119 --> 00:34:26,320
The last like a couple decades of material like released

641
00:34:26,320 --> 00:34:29,159
output from man of War has been very strange. They

642
00:34:29,159 --> 00:34:30,840
haven't actually put out an album in a long time

643
00:34:30,920 --> 00:34:35,719
at this point. But the kind of the answering only

644
00:34:35,760 --> 00:34:37,760
to themselves in a similar way we might say to

645
00:34:37,800 --> 00:34:40,719
someone about Metallica, right kind of having no one to

646
00:34:40,760 --> 00:34:45,360
tell them no and only releasing stuff that is as

647
00:34:45,440 --> 00:34:48,599
man O War want it. That does sometimes go out

648
00:34:48,639 --> 00:34:51,000
of the realms of what you would describe as sensible,

649
00:34:51,559 --> 00:34:54,559
you know, recording output or anything like that. There are

650
00:34:54,599 --> 00:34:56,719
elements of the live show which do stray into that

651
00:34:56,760 --> 00:34:59,039
as well. They have a very weird mix where I

652
00:34:59,079 --> 00:35:02,119
think you kind of have to like understand the version

653
00:35:02,159 --> 00:35:05,639
of man of War you're seeing live, right because.

654
00:35:05,920 --> 00:35:06,800
Speaker 2: How high is the base?

655
00:35:07,199 --> 00:35:09,039
Speaker 1: Yeah, the Manu War thing for the past couple decades

656
00:35:09,119 --> 00:35:10,960
is for as much as they preach about, you know,

657
00:35:11,000 --> 00:35:13,239
being the loudest band in the world, the guitars are

658
00:35:13,239 --> 00:35:17,280
actually not very loud. The drums are also actually very quiet.

659
00:35:17,320 --> 00:35:18,760
Like the guy was at the back, you know, pounding

660
00:35:18,760 --> 00:35:20,480
along doing double bass and stuff. It's just kind of like,

661
00:35:22,280 --> 00:35:25,719
but of course the bass is what's really there, driving

662
00:35:25,760 --> 00:35:28,079
the riffs and stuff like that. Eric Adams, I say,

663
00:35:28,199 --> 00:35:31,039
was fantastic, Like he's still brilliant, even if he might

664
00:35:31,039 --> 00:35:33,559
not necessarily have the range he had forty years ago,

665
00:35:33,840 --> 00:35:36,639
he can still let out an absolutely mean like ah

666
00:35:37,000 --> 00:35:37,760
clips that scene.

667
00:35:37,800 --> 00:35:40,800
Speaker 2: He seemed to be on pretty good form, I will

668
00:35:40,840 --> 00:35:42,280
agree there, Like he.

669
00:35:42,239 --> 00:35:45,440
Speaker 1: Was brilliant and he was still you know, fully able

670
00:35:45,480 --> 00:35:48,480
to you know, rally the Man of Warriors behind him,

671
00:35:48,760 --> 00:35:50,880
behind this cause and all of that stuff. So that

672
00:35:51,000 --> 00:35:54,199
was brilliant. What really made this was particularly with their

673
00:35:54,880 --> 00:35:58,199
rare appearances in the UK over the past I don't

674
00:35:58,199 --> 00:36:00,639
know even how long at this stage, like certainly at

675
00:36:00,719 --> 00:36:04,199
least ten fifteen years, they've played very very few shows

676
00:36:04,199 --> 00:36:06,480
in the UK, despite literally having an album called Hail

677
00:36:06,519 --> 00:36:09,960
to England. Is the sense formed, wasn't it, you know,

678
00:36:10,320 --> 00:36:14,920
like they formed on English crowd exactly. But the people

679
00:36:15,239 --> 00:36:17,960
who are there through thick and thin with Man of

680
00:36:18,000 --> 00:36:20,480
War and they take their opportunities right, like the people

681
00:36:20,480 --> 00:36:23,280
who have been waiting for years for Man of War

682
00:36:23,320 --> 00:36:27,519
to come back. That the manor Warriors made this a

683
00:36:27,639 --> 00:36:30,840
fantastic occasion because you know, it was not completely sold

684
00:36:30,880 --> 00:36:34,639
out bricks and Academy, it was full, but seeing it

685
00:36:34,760 --> 00:36:38,719
was one of the loudest Academy shows in terms of

686
00:36:39,159 --> 00:36:43,239
voices being put on show that I have attended in

687
00:36:43,320 --> 00:36:45,199
quite some time, because you have to when it is

688
00:36:45,280 --> 00:36:49,880
these songs, right. So they opened with a so they

689
00:36:49,960 --> 00:36:51,679
kind of broke the set up into a couple of

690
00:36:51,679 --> 00:36:55,079
different runs and the opening of this set is one

691
00:36:55,079 --> 00:37:00,440
of the most overwhelming things experienced because they open with

692
00:37:00,679 --> 00:37:03,360
the song man O War from Battle Hymns Born to

693
00:37:03,400 --> 00:37:06,360
Live Forevermore. It's basically their theme song, so it's perfect

694
00:37:06,400 --> 00:37:08,400
to open up with. When they came out and hit

695
00:37:08,679 --> 00:37:12,079
a huge like indoor pyrotechnic went off, so it just

696
00:37:12,079 --> 00:37:15,440
went like book and just like absolutely exploded. And that's

697
00:37:15,480 --> 00:37:17,880
I guess why they have maybe still the claim to

698
00:37:17,880 --> 00:37:19,280
be the loudest band in the world. It is just

699
00:37:19,320 --> 00:37:22,360
because of the explosive they will set off inside. So

700
00:37:22,400 --> 00:37:24,760
they opened with man O War and then into a

701
00:37:24,800 --> 00:37:27,679
little opening run here of Kings of Metal, So that

702
00:37:27,800 --> 00:37:29,920
is man O War, man O War living on the road.

703
00:37:30,000 --> 00:37:32,239
Other bands play man O War kill that whole song,

704
00:37:32,679 --> 00:37:36,280
straight into without missing a beat, Fighting the World, and

705
00:37:36,320 --> 00:37:40,159
then into Brothers of Metal. If you know man O War,

706
00:37:41,239 --> 00:37:45,920
those are hits like those are everything that I kind

707
00:37:45,960 --> 00:37:48,199
of when I preach the gospel of man of War,

708
00:37:48,320 --> 00:37:52,519
the sensation of arms around your brothers, you know, singing

709
00:37:52,559 --> 00:37:55,480
these songs the Brothers of Metal. Uh, these are some

710
00:37:55,639 --> 00:37:58,400
of the songs that best encapsulated. And this run was

711
00:37:58,440 --> 00:38:04,559
so overwhelming. Our mutual friend Nathan, he had very quickly

712
00:38:04,599 --> 00:38:07,079
downed his pint at the beginning of this too, because

713
00:38:07,079 --> 00:38:09,079
they were coming on stage and then got some kind

714
00:38:09,079 --> 00:38:12,199
of like pent up built up gas. And when they

715
00:38:12,360 --> 00:38:15,719
moved from Kings of Metal straight into Fighting the World,

716
00:38:15,920 --> 00:38:18,000
which another piece of context here is Fighting the World.

717
00:38:18,000 --> 00:38:20,960
There is our sort of collective jukebox in the pub song.

718
00:38:22,280 --> 00:38:25,280
Speaker 3: I've been at like Predamnations, where Fighting the World has

719
00:38:25,280 --> 00:38:26,920
been played on repeat a few times.

720
00:38:27,559 --> 00:38:29,280
Speaker 1: Fighting the World is something of a theme song for

721
00:38:29,320 --> 00:38:31,280
just sort of our little friendship group. And when they

722
00:38:31,320 --> 00:38:34,199
moved into Fighting the World, he looked at me with

723
00:38:34,480 --> 00:38:37,679
a look I have seen on very few faces in

724
00:38:37,719 --> 00:38:41,719
my life. It was this insane combination of like excitement,

725
00:38:41,960 --> 00:38:46,519
stress and panic. A it was the most overwhelmed face.

726
00:38:46,719 --> 00:38:49,000
And then of course into Brothers of Metal. Then we

727
00:38:49,079 --> 00:38:52,039
got the Hell to England set, which again in terms

728
00:38:52,079 --> 00:38:54,360
of like the sign of the Hammer of Hell to

729
00:38:54,400 --> 00:38:57,760
England thing. Obviously they're only doing one set here, and

730
00:38:57,760 --> 00:39:00,159
then some countries where they've only done one show have

731
00:39:00,239 --> 00:39:02,000
like mixed and done sort of half and half. But

732
00:39:02,079 --> 00:39:06,719
I guess in England you had to do Hell to England. Unfortunately,

733
00:39:06,719 --> 00:39:08,199
that meant we didn't get anything off of Sign of

734
00:39:08,199 --> 00:39:10,079
the Hammer and another our favorite Man of War songs

735
00:39:10,159 --> 00:39:12,119
is all Men Play on ten, which I would have

736
00:39:12,159 --> 00:39:15,559
loved to have loved to have seen Never Gonna Turn

737
00:39:15,639 --> 00:39:19,679
Down Again. What a fucking tune. But obviously we got

738
00:39:19,679 --> 00:39:21,880
the Heil to England set. They didn't like out of

739
00:39:22,039 --> 00:39:24,599
Order as well. It was very weird. They did like

740
00:39:24,639 --> 00:39:27,440
the slowest version of each door and I die but

741
00:39:28,199 --> 00:39:34,360
blood of my Enemies, fucking massive Kill with Power. Yeah.

742
00:39:34,519 --> 00:39:37,239
Speaker 3: I listened to How to England this week and I

743
00:39:37,280 --> 00:39:42,239
was like this, Sam is like nine fucking amazing heavy metal.

744
00:39:42,880 --> 00:39:45,960
Speaker 1: Yeah. And they had like the full on Pyro going

745
00:39:45,960 --> 00:39:50,000
off on the killed, Killed with Power Hail to England.

746
00:39:50,000 --> 00:39:55,920
Of course, uh there were multiple guitar and bass duet

747
00:39:56,159 --> 00:39:58,760
parts while the rest of them would disappear just visually

748
00:39:58,800 --> 00:40:01,440
as well. But like I said, Eric had is doing

749
00:40:01,480 --> 00:40:04,719
fantastic work. Joey DeMaio has one of the weirdest stage

750
00:40:04,760 --> 00:40:07,679
presences where he like he stands out with his bass,

751
00:40:07,760 --> 00:40:10,719
but where normally you would imagine someone having like a

752
00:40:10,760 --> 00:40:13,559
power stance, right, maybe legs slightly spread apart or whatever,

753
00:40:13,880 --> 00:40:16,920
he tends to stand with his legs like firmly together,

754
00:40:19,199 --> 00:40:21,159
and he's got like this huge, like you know, body

755
00:40:21,280 --> 00:40:23,400
kind of armor piece on, but it gives the impression

756
00:40:23,400 --> 00:40:25,559
of like he skipped leg day and he's just standing

757
00:40:25,639 --> 00:40:27,880
there with his bass. And then they've got another guy

758
00:40:28,119 --> 00:40:31,280
a few years ago, for i'll just say reasons, Man

759
00:40:31,360 --> 00:40:34,519
o War had to change their guitarist. And a guy

760
00:40:34,519 --> 00:40:36,599
they've got at the moment is a guy called Michael

761
00:40:36,679 --> 00:40:40,920
Angelo Battio, who is sort of semi well known in

762
00:40:40,960 --> 00:40:43,079
those kind of like ingway mound steam, sort of like

763
00:40:43,199 --> 00:40:48,360
guitar shred virtuoso circles. He's famous for playing like double

764
00:40:48,440 --> 00:40:51,159
necked guitars, but I don't mean double neck poking in

765
00:40:51,199 --> 00:40:54,760
the same direction as in like two guitars put together

766
00:40:55,000 --> 00:40:59,719
pointing out. I've like, I don't know, it's baffling. He

767
00:40:59,760 --> 00:41:01,880
did didn't have that. I guess it's too much for

768
00:41:01,960 --> 00:41:03,480
Man of War. But that's where he's famous for doing

769
00:41:03,559 --> 00:41:06,760
in his own, you know, career. But he also looks

770
00:41:06,760 --> 00:41:08,360
at he's got a bit of like a Claudia Winkleman

771
00:41:08,400 --> 00:41:10,360
fringe going on like that. We didn't see his eyes

772
00:41:10,760 --> 00:41:13,840
all night, and he's just a very strange looking character.

773
00:41:13,880 --> 00:41:17,159
And you've got him a Joey DeMaio like flanking either side,

774
00:41:18,000 --> 00:41:20,000
Eric in the middle, and then they would come together

775
00:41:20,079 --> 00:41:25,280
and they did like a several minute guitar and bass duet,

776
00:41:25,639 --> 00:41:29,119
and then right after that, for the first one of those,

777
00:41:29,559 --> 00:41:32,920
Joey then played Black Arrows, which is the bass solo

778
00:41:33,000 --> 00:41:35,960
track on Maile to England and one of the genuine

779
00:41:35,960 --> 00:41:38,719
most stupid things to have ever been recorded in the

780
00:41:38,880 --> 00:41:40,800
history of heavy metal.

781
00:41:41,519 --> 00:41:44,280
Speaker 3: It was that moment I was like, how many Manoir

782
00:41:44,360 --> 00:41:48,960
albums are like so amazing? And then the second to

783
00:41:49,039 --> 00:41:51,760
last track is is the worst deal you've ever heard

784
00:41:52,159 --> 00:41:53,960
by someone who's forgotten how to play his intent and

785
00:41:54,079 --> 00:41:57,119
decided to play every note all or what like baffling,

786
00:41:57,239 --> 00:41:59,920
but like I can imagine it's just like that following

787
00:42:00,199 --> 00:42:03,639
from that might have been enough to kill me, Like

788
00:42:03,880 --> 00:42:05,320
it might have been too much.

789
00:42:05,639 --> 00:42:08,159
Speaker 1: There were portions of this evening that were like, you know,

790
00:42:08,280 --> 00:42:11,599
are you strong enough to handle I would not have been.

791
00:42:12,880 --> 00:42:16,400
Speaker 3: I'm the poser who has to leave the hole the

792
00:42:17,039 --> 00:42:18,400
extended bass instrumental.

793
00:42:18,519 --> 00:42:19,400
Speaker 2: It must have those.

794
00:42:19,280 --> 00:42:21,440
Speaker 1: Two things together. It must have collectively been about six

795
00:42:21,519 --> 00:42:26,159
or seven minutes of like it's a bit like Elliot's

796
00:42:26,199 --> 00:42:28,599
Deep Purple Keyboard story that we spoke about on the

797
00:42:29,639 --> 00:42:33,599
Special Lately, but then you know, the closer always brings

798
00:42:33,639 --> 00:42:35,519
it back on those records where they do that. Because

799
00:42:35,920 --> 00:42:39,440
Bridge of Death, the nine minute epic song, I think

800
00:42:39,440 --> 00:42:43,239
it's one of the most actually seminal and formative songs

801
00:42:43,280 --> 00:42:46,679
in the development of not just epic metal, but extreme

802
00:42:46,719 --> 00:42:48,199
metal and all of these things. And that was an

803
00:42:48,360 --> 00:42:51,039
enormous moment. And then they came out back out for

804
00:42:51,079 --> 00:42:54,760
another round of hits. These were more like, uh, you know,

805
00:42:54,960 --> 00:42:57,920
latter day, more kind of modern material. They picked like

806
00:42:58,199 --> 00:43:00,480
mostly the best songs of the bunch that I was

807
00:43:00,480 --> 00:43:03,199
happy to have seen, particularly when they get into the encore.

808
00:43:03,320 --> 00:43:06,280
There's a song called Warriors of the World United. That

809
00:43:06,519 --> 00:43:09,039
is it was kind of like their like early two

810
00:43:09,039 --> 00:43:11,320
thousands comeback single, Like it's a little bit to them,

811
00:43:11,360 --> 00:43:13,199
what's something like the Wicker Man is to Why I'm Maiden?

812
00:43:13,400 --> 00:43:16,400
Right from my understanding, in like the early two thousands,

813
00:43:16,440 --> 00:43:18,320
when mana War came back to Warriors of the World United,

814
00:43:18,360 --> 00:43:19,760
you know, it was a big moment for all the

815
00:43:20,199 --> 00:43:25,079
man of Warriors and it has the biggest fucking chorus

816
00:43:25,119 --> 00:43:27,800
in the world, and when you hear on record, it's

817
00:43:27,840 --> 00:43:31,000
about ten times as big live with the full you

818
00:43:31,039 --> 00:43:36,880
know man O warrior crowd effect. It was fucking biblically enormous.

819
00:43:36,679 --> 00:43:39,079
There's a there's a whole bridge part in there, which

820
00:43:39,119 --> 00:43:41,280
is kind of similar to like the battle hymn mid

821
00:43:41,320 --> 00:43:43,480
section part, where it's this this whole thing of if

822
00:43:43,480 --> 00:43:45,719
I should fall in battle, my brothers who fired by

823
00:43:45,719 --> 00:43:48,519
my side, gather my horse and weapons, tell my family

824
00:43:48,559 --> 00:43:51,239
how I died, and as this whole building part, and

825
00:43:51,280 --> 00:43:54,960
people were singing it so loudly into the last fucking chorus.

826
00:43:55,000 --> 00:43:59,920
It was just phenomenal. Sadly, we did not get back

827
00:44:00,079 --> 00:44:02,239
for him the song. I knew they weren't playing it

828
00:44:02,400 --> 00:44:04,159
on this run, but again, if you heard our album

829
00:44:04,159 --> 00:44:06,000
Club Packet, it's like one of the greatest songs ever.

830
00:44:06,800 --> 00:44:09,519
I was also surprised that what they weren't doing Metal Warriors,

831
00:44:09,519 --> 00:44:11,679
which is though literally the WIMPs and posers leave the

832
00:44:11,679 --> 00:44:13,320
whole song. So there were a few songs that were like,

833
00:44:13,360 --> 00:44:14,800
you know, left out of the mix, but they did

834
00:44:15,079 --> 00:44:18,559
because they had a fit in more guitar sos. But

835
00:44:18,599 --> 00:44:21,000
obviously we did got a serious round of like heavy

836
00:44:21,079 --> 00:44:24,360
hitting songs, and then the rest of the encourt was

837
00:44:24,800 --> 00:44:27,599
Hale and Kill, which they played without the intro. They

838
00:44:27,639 --> 00:44:29,800
just kicked straight into the fast part, presumably because they

839
00:44:29,800 --> 00:44:31,039
didn't want to do the lyrics that are at the

840
00:44:31,440 --> 00:44:33,079
beginning of it, or then they still did so the

841
00:44:33,159 --> 00:44:35,719
lyrics that are later in the song, but hale and

842
00:44:35,800 --> 00:44:39,440
kill My God, and then ending on another like classic

843
00:44:39,480 --> 00:44:42,159
older song black Wind, Fire and Steel, and at the

844
00:44:42,320 --> 00:44:46,400
end right, they did black Wind, Fire and Steel. And

845
00:44:46,440 --> 00:44:48,639
then it took them about five ten minutes to actually

846
00:44:48,760 --> 00:44:50,679
leave the stage because they had a whole thing of

847
00:44:50,719 --> 00:44:54,960
like doing bowels and stuff, but jerky right. First of all,

848
00:44:55,039 --> 00:44:57,920
him and Michael both handed their instruments off to Eric

849
00:44:58,320 --> 00:45:01,039
and they both left the stage, but just like very

850
00:45:01,159 --> 00:45:04,840
muscly holding a guitar in both hands, banging them both

851
00:45:04,880 --> 00:45:07,400
against the sides of his body, like creating a hell

852
00:45:07,400 --> 00:45:09,559
of a ruckus while walking around the stage. And then

853
00:45:09,679 --> 00:45:12,679
the other guys came back on. Joey took the bass

854
00:45:12,760 --> 00:45:14,760
back and he went up to the stage and with

855
00:45:14,880 --> 00:45:18,840
his hand he just pulled one of the bass strings

856
00:45:18,840 --> 00:45:21,760
off of it, big thick strings, you know, powerful thing

857
00:45:21,800 --> 00:45:24,159
to do, and as he did it, one of those

858
00:45:24,159 --> 00:45:28,760
big indoor pyrotechnic bangs went off, and it was powerful,

859
00:45:29,000 --> 00:45:30,679
and he tied the bass string up in like a

860
00:45:30,679 --> 00:45:33,119
little like a little knot, and then he handed it

861
00:45:33,119 --> 00:45:35,679
to someone in the front front row. He proceeded to

862
00:45:35,719 --> 00:45:39,440
do this with every single one of his bass strings,

863
00:45:39,480 --> 00:45:43,559
and every single time the fucking bang went off, and

864
00:45:43,599 --> 00:45:46,119
he really made a meal of it, you know, like oh,

865
00:45:46,159 --> 00:45:48,880
pulling it off, and we were all there like fingers

866
00:45:48,920 --> 00:45:50,760
in our ears, trying to predict the bit when the

867
00:45:50,800 --> 00:45:54,199
fucking firework was gonna go off. I swear it felt

868
00:45:54,239 --> 00:45:56,199
like about two or three minutes at least of him

869
00:45:56,199 --> 00:46:00,519
pulling base strings off and how do the into the crowd.

870
00:46:00,559 --> 00:46:04,760
It was a bewildering evening, but it was of such

871
00:46:05,639 --> 00:46:11,280
mighty epic cosmic proportions that I'm very happy to have

872
00:46:11,320 --> 00:46:15,519
had that particular manner or experience. Let's finally get into

873
00:46:15,519 --> 00:46:19,239
the reviews for today's show. Obviously, you know, a show

874
00:46:19,320 --> 00:46:24,079
of some significance there, and you know overwriting everything news

875
00:46:24,079 --> 00:46:26,840
about Ozzie to talk about there. But we are here

876
00:46:27,440 --> 00:46:30,559
for the rest of this to do our our review

877
00:46:30,599 --> 00:46:33,039
show for this month. And like I said, July tends

878
00:46:33,039 --> 00:46:35,840
to be a much lower profile month for releases, probably

879
00:46:35,880 --> 00:46:38,760
only after December when everyone stopped right, So we have

880
00:46:38,920 --> 00:46:42,360
got quite a nice, actually selection of records to talk

881
00:46:42,400 --> 00:46:44,800
about that you know, might struggle for space in one

882
00:46:44,840 --> 00:46:46,360
of the bigger months, but we've got plenty of room

883
00:46:46,400 --> 00:46:48,800
here to talk about some up and comers from across

884
00:46:48,840 --> 00:46:52,239
the metal spectrum. Case in point, are like really big

885
00:46:52,360 --> 00:46:55,000
guaranteed hit with the audience. Album that we've got to

886
00:46:55,039 --> 00:46:57,320
talk about this month comes from the Dirty Nil. It's

887
00:46:57,360 --> 00:46:59,639
called The Lash, and that's out today. I believe now

888
00:46:59,679 --> 00:47:01,960
the Dry are in the grand scheme of the world,

889
00:47:02,079 --> 00:47:06,159
still a relatively small band, but putting this together, I wrote,

890
00:47:06,280 --> 00:47:08,320
this is the fifth album now from the Dirty Nail,

891
00:47:08,559 --> 00:47:11,239
and I think when you get to five albums, you

892
00:47:11,280 --> 00:47:14,519
can no longer really be described as like a newer,

893
00:47:15,039 --> 00:47:17,119
up and coming band, you know, like the Dirty Nil.

894
00:47:17,239 --> 00:47:20,760
Whether they're level you feel is appropriate to where they

895
00:47:20,760 --> 00:47:23,119
are or what they deserve whatever they are long established.

896
00:47:23,159 --> 00:47:25,880
Now they are a rock band with their own tropes

897
00:47:25,920 --> 00:47:30,239
to a degree, their own like long held identity as

898
00:47:30,239 --> 00:47:32,760
a band, and amongst their fans, they are some of

899
00:47:32,840 --> 00:47:36,519
Canada's favorite sons and a beloved cult band amongst audiences

900
00:47:36,519 --> 00:47:38,719
like the T and M crowd, But they're also still

901
00:47:38,800 --> 00:47:41,400
kind of like Plucky underdogs in the wider world of

902
00:47:41,480 --> 00:47:44,559
rock music, but I think we're a few years beyond

903
00:47:44,639 --> 00:47:47,039
now the Dirty Nil being like one of our great

904
00:47:47,119 --> 00:47:49,440
new bands, and now they are more in the position

905
00:47:49,719 --> 00:47:51,960
that I don't know, like pup or the Menzingers or

906
00:47:52,039 --> 00:47:54,519
Joyce Manner whoever you might say, like our come albums

907
00:47:54,559 --> 00:47:57,840
five or six of kind of really speaking a largely

908
00:47:57,920 --> 00:48:00,840
established language to an established audience. Yeah.

909
00:48:00,920 --> 00:48:03,360
Speaker 3: No, I think like Puppers, like not just because they're

910
00:48:03,360 --> 00:48:05,840
also Canadian, but like a very good comparison point of

911
00:48:05,880 --> 00:48:09,199
like one of our bands who over the past how

912
00:48:09,280 --> 00:48:12,039
many years kind of emerges this exciting new thing and

913
00:48:12,079 --> 00:48:14,920
have now just kind of really cement themselves and some

914
00:48:15,000 --> 00:48:17,679
pisodes as like we're going to take notice when they

915
00:48:17,719 --> 00:48:20,280
do it. The wider world might not, but it's still

916
00:48:20,280 --> 00:48:22,599
going to be in our in oursphy in particular, a

917
00:48:22,679 --> 00:48:25,800
big deal. We know what kind of like we're getting

918
00:48:25,800 --> 00:48:28,199
from them. We know what to expect and that there might,

919
00:48:28,239 --> 00:48:30,519
you know, be some surprises, but this is you know,

920
00:48:30,599 --> 00:48:32,639
just you know, I like, I say, album five from

921
00:48:32,639 --> 00:48:35,360
an established punk rock band that I personally fucking love

922
00:48:35,400 --> 00:48:38,119
at this stage and are like kind of just well

923
00:48:38,239 --> 00:48:40,599
liked enough by everyone else. I don't really know anyone

924
00:48:40,599 --> 00:48:42,679
who dislikes the dirt and al has heard of them, like,

925
00:48:43,519 --> 00:48:45,599
they're kind of like in that's opposition. Emond's kind of

926
00:48:45,639 --> 00:48:47,360
got like if you know, if you know they're doing, know,

927
00:48:47,360 --> 00:48:49,079
you've probably got at least a bit of time for them.

928
00:48:49,119 --> 00:48:51,880
Speaker 1: Sure. Yeah. Just over two years ago we reviewed their

929
00:48:51,960 --> 00:48:54,360
last album, Free Reign To Passions, which is an album

930
00:48:54,400 --> 00:48:58,679
that was fairly you know, expectedly positively received. I'd actually

931
00:48:58,639 --> 00:49:00,760
forgotten it got all the way up to number six

932
00:49:00,880 --> 00:49:02,519
in our audience polls, So maybe I have to be

933
00:49:02,719 --> 00:49:05,840
somewhat careful about what I say here. I felt after

934
00:49:06,159 --> 00:49:08,400
Fuck Art, which is, in my opinion, easily their standout

935
00:49:08,400 --> 00:49:12,440
moments so far. Yeah, Free Reine Passions was not an

936
00:49:12,559 --> 00:49:15,920
unenjoyable record, but it's not one that I went back

937
00:49:15,960 --> 00:49:18,400
to at all, really, And when I think about my

938
00:49:18,519 --> 00:49:21,760
favorite dirty Nil songs, many of them are on Fuck Art.

939
00:49:21,920 --> 00:49:23,920
There's a few on Master Volume, maybe one or two

940
00:49:23,960 --> 00:49:26,079
on Higher Power. There's not many of them that are

941
00:49:26,079 --> 00:49:27,480
on Free rein To Passions.

942
00:49:28,159 --> 00:49:30,199
Speaker 3: Even again, I really liked Free in Passions. I think

943
00:49:30,199 --> 00:49:31,880
it's still you know, made it into my top twenty.

944
00:49:32,559 --> 00:49:35,079
But I do agree I think it's always the difficult

945
00:49:35,079 --> 00:49:37,440
one of when you've kind of you've hit your defining

946
00:49:37,480 --> 00:49:40,880
album on fuck Art, which is like the one where

947
00:49:40,880 --> 00:49:42,840
everyone was kind of like unanimously it came out on

948
00:49:42,880 --> 00:49:45,320
New Year's Day and everyone was kind of like, this is,

949
00:49:45,360 --> 00:49:48,360
you know, album of the year day one done? It

950
00:49:48,480 --> 00:49:50,159
was it was it was it was like it was

951
00:49:50,199 --> 00:49:52,519
like for you know what kind of a monumental record,

952
00:49:53,039 --> 00:49:54,639
and that meant there was there was at pressure on

953
00:49:54,719 --> 00:49:56,239
Free Range of Passions, which.

954
00:49:56,760 --> 00:49:58,760
Speaker 2: It did slightly under deliver it.

955
00:49:58,800 --> 00:50:00,480
Speaker 3: If you're looking for a follow up to an album

956
00:50:00,519 --> 00:50:02,719
as good as Fuck Art, iceling album is great.

957
00:50:02,840 --> 00:50:04,599
Speaker 2: I think a lot of people who like it still

958
00:50:05,039 --> 00:50:05,639
would agree.

959
00:50:05,679 --> 00:50:08,199
Speaker 3: But I do agree that you could say maybe it

960
00:50:08,320 --> 00:50:11,880
was the first time their trajectory had dipped, because I

961
00:50:12,119 --> 00:50:14,800
think every album up to funk Art was like better

962
00:50:14,920 --> 00:50:17,199
than the last, and then this was the kind of

963
00:50:17,199 --> 00:50:19,199
one it was like at best, you could hope it

964
00:50:19,239 --> 00:50:21,599
was probably a leveling out, because when you're releasing like,

965
00:50:22,039 --> 00:50:24,840
there's always gonna happen. I think like most bands, naturally

966
00:50:24,880 --> 00:50:26,559
they're going to kind of go up up and hear

967
00:50:26,599 --> 00:50:28,280
peak and then it's either going to level out or

968
00:50:28,360 --> 00:50:32,280
dip or whatever. For me, it was you know, maybe

969
00:50:32,320 --> 00:50:34,679
like a small step down from Fuck Art. But I

970
00:50:34,719 --> 00:50:36,960
do I do think like the wider sentiment that it

971
00:50:36,960 --> 00:50:39,320
probably was, you know, the first time they had it,

972
00:50:39,400 --> 00:50:41,480
you know, I do think they just got better than

973
00:50:41,480 --> 00:50:42,039
where they were.

974
00:50:42,280 --> 00:50:44,960
Speaker 1: Yeah, So going into this one, I'm always be you know,

975
00:50:45,159 --> 00:50:47,920
well up for a great Dirty Nil record, like a

976
00:50:47,960 --> 00:50:50,239
Fuck Art. I imagined it would probably be at least

977
00:50:50,280 --> 00:50:52,360
a pretty solid one, because all of their records do

978
00:50:52,480 --> 00:50:55,920
have that ground floor of quality. But I wasn't necessarily

979
00:50:56,000 --> 00:50:59,079
going to be too surprised or let down if it

980
00:50:59,119 --> 00:51:01,719
turned it out to be another just kind of pretty

981
00:51:01,760 --> 00:51:03,639
solid one. I suppose that's the stage I'm at with

982
00:51:03,639 --> 00:51:05,679
with Dirty Nil, where I take the ones that are

983
00:51:05,800 --> 00:51:08,960
stella and are you know, respectively, nod and tip the

984
00:51:09,000 --> 00:51:10,960
hat to the ones that are decent because they're so

985
00:51:11,039 --> 00:51:14,079
reliably productive anyway, there's always something in the tank. Sam,

986
00:51:14,119 --> 00:51:18,599
you are maybe my most resident kind of Dirty Nil ambassador. Obviously,

987
00:51:18,639 --> 00:51:20,840
the build up to this album, the kind of asthetic

988
00:51:21,000 --> 00:51:23,360
choice around it was it looked more heavy metal. The

989
00:51:23,400 --> 00:51:25,920
album cover is designed to look like a heavy metal

990
00:51:26,000 --> 00:51:28,639
casset tape from the eighties, like the metal Massacre comps

991
00:51:28,920 --> 00:51:31,760
or something. The first single we got, Gallop of the Hounds,

992
00:51:31,800 --> 00:51:34,079
was also more like eighties heavy metal inspired, with like

993
00:51:34,119 --> 00:51:37,280
detectable Iron Maiden influence. As a full album, I wasn't

994
00:51:37,280 --> 00:51:39,480
necessarily sure how much I was expecting that to like

995
00:51:40,480 --> 00:51:43,760
be the guiding force, because there's always a degree of

996
00:51:43,880 --> 00:51:47,760
kind of classic metal imagery going on with the Dirty Nil.

997
00:51:47,760 --> 00:51:49,800
Because that's the sort of spirit they've got going on.

998
00:51:50,440 --> 00:51:53,119
It would probably be very natural for the Dirty Nil

999
00:51:53,159 --> 00:51:55,039
to put a metal asthetic on what turned out to

1000
00:51:55,039 --> 00:51:59,239
be a completely normal Dirty neilbum. Anyway, this I do

1001
00:51:59,320 --> 00:52:01,320
think has some differn is about it, but also not

1002
00:52:01,440 --> 00:52:03,199
in the ways that you could have so easily I

1003
00:52:03,239 --> 00:52:05,400
don't know predicted from that. How much do you feel

1004
00:52:05,719 --> 00:52:06,199
about that?

1005
00:52:07,760 --> 00:52:10,000
Speaker 3: Yeah, I think Like again, like I was wondering, you know,

1006
00:52:10,039 --> 00:52:11,719
when you got Gallop of the Hounds and you saw

1007
00:52:11,760 --> 00:52:13,480
the art cars, like are they kind of going all

1008
00:52:13,519 --> 00:52:15,199
in on doing their their.

1009
00:52:15,119 --> 00:52:16,000
Speaker 2: Heavy metal album?

1010
00:52:16,119 --> 00:52:18,199
Speaker 3: And I was like, I want to think if it's

1011
00:52:18,239 --> 00:52:20,239
a slight misdirect That was kind of my initial sort

1012
00:52:20,280 --> 00:52:21,559
of thing. I was like, I think this is probably

1013
00:52:21,559 --> 00:52:23,360
gonna be you know, the seven Il start, and then

1014
00:52:23,400 --> 00:52:25,239
they're going to do as do anyone knowed to do,

1015
00:52:25,679 --> 00:52:27,440
because once they have a really distinct sound, they are

1016
00:52:27,559 --> 00:52:29,760
quite a sort of weird band at times where they

1017
00:52:29,960 --> 00:52:32,840
they they they will go in different directions and they'll

1018
00:52:32,840 --> 00:52:36,639
play about and like have like different moods and vibes.

1019
00:52:37,000 --> 00:52:38,320
And I was kind of like, I think we're gonna get,

1020
00:52:38,360 --> 00:52:40,480
you know, probably the most heavy melt they've been, but

1021
00:52:40,480 --> 00:52:42,559
I think we're also going to get a couple of things.

1022
00:52:42,679 --> 00:52:45,119
I expected this to be kind of like a bit

1023
00:52:45,159 --> 00:52:48,639
of a no rules kind of like we're gonna see

1024
00:52:48,639 --> 00:52:50,119
where the vibe takes us and do what we want

1025
00:52:50,159 --> 00:52:52,639
to do and kind of take the pressure and almost

1026
00:52:52,719 --> 00:52:55,440
get back to just doing what we're gonna do for fun.

1027
00:52:55,519 --> 00:52:57,760
So about that was kind of the thing I was

1028
00:52:58,360 --> 00:53:00,000
expecting this, And I kind of think that's what we've

1029
00:53:00,079 --> 00:53:02,840
got is a sort of a dirty album where they

1030
00:53:02,880 --> 00:53:05,400
feel like they're not trying to please anyone but themselves.

1031
00:53:05,880 --> 00:53:07,800
Speaker 1: Yeah. I think Gallup of the Hounds is you know,

1032
00:53:07,960 --> 00:53:10,320
very tailor to my ears with as said, it is

1033
00:53:10,360 --> 00:53:13,079
a you know, it's kind of standard dirty Nill foundation,

1034
00:53:13,199 --> 00:53:16,719
but with an additional like power Slave era Maiden style

1035
00:53:16,880 --> 00:53:18,440
like lead Element which.

1036
00:53:18,360 --> 00:53:19,039
Speaker 2: Galloped to it.

1037
00:53:19,480 --> 00:53:20,920
Speaker 1: Yeah, and it's got a kind of a flavor of

1038
00:53:20,920 --> 00:53:24,039
the epic that Dirty Nil don't usually have, even though

1039
00:53:24,079 --> 00:53:26,280
it's still like a three minute Dirty Nil single. It's

1040
00:53:26,280 --> 00:53:28,559
got a bit of you know, grandeur to it, beyond

1041
00:53:28,599 --> 00:53:30,519
your usual Nil song that I like. And it's got

1042
00:53:30,559 --> 00:53:32,639
a fun chorus as well, but it is it's a

1043
00:53:32,639 --> 00:53:34,800
bit harsher and a bit heavier this album as well,

1044
00:53:34,840 --> 00:53:37,000
where like you know, the falling track, failing Times riff

1045
00:53:38,480 --> 00:53:42,360
hits in a very kind of unwieldy, slightly more odd

1046
00:53:42,400 --> 00:53:45,119
ball end of grunge maybe rather than just like the

1047
00:53:45,119 --> 00:53:48,239
Three Chords Nirvana simplicity thing that they have done sometimes

1048
00:53:48,280 --> 00:53:51,320
in the past. The chorus makes it a very like

1049
00:53:51,440 --> 00:53:55,320
oh reliable, dirty ill rock and roll song, but it

1050
00:53:55,400 --> 00:53:58,559
is a little bit more kind of raggedy. I suppose.

1051
00:53:58,599 --> 00:54:01,920
It's also got a great like fake out riff ending,

1052
00:54:01,960 --> 00:54:03,039
which is the trick they do a couple of.

1053
00:54:03,039 --> 00:54:06,800
Speaker 2: Times break down like yeah, like again I haven't found

1054
00:54:06,840 --> 00:54:07,039
in time.

1055
00:54:07,079 --> 00:54:09,800
Speaker 3: It's wicked because I was like, this is don't knil

1056
00:54:09,800 --> 00:54:12,199
that I know in the melodies that chorus that I

1057
00:54:12,239 --> 00:54:13,800
got feeling in my spy and this will fail in

1058
00:54:13,840 --> 00:54:15,920
time like the hooks are there. It's all there, but

1059
00:54:15,920 --> 00:54:19,079
you're right, it's just a bit more kind of ragged

1060
00:54:19,079 --> 00:54:23,039
and unrefined. And again like just again the thing is

1061
00:54:23,039 --> 00:54:26,280
that thing cut loose and again that altro breakdown that

1062
00:54:26,400 --> 00:54:28,039
is like really big and they fake out and then

1063
00:54:28,039 --> 00:54:30,679
they hit it back in such cool trick. Like there's

1064
00:54:30,719 --> 00:54:33,119
loads of really fun ideas across this record.

1065
00:54:33,280 --> 00:54:38,159
Speaker 1: Yeah, that the recording I think definitely feels rawer. And

1066
00:54:38,199 --> 00:54:41,679
that's interesting because the Dirty Nil part of their descriptor

1067
00:54:41,719 --> 00:54:44,079
has always been that they've been kind of scrappy, right, Like,

1068
00:54:44,119 --> 00:54:47,199
there isn't any record which you would say is like

1069
00:54:47,559 --> 00:54:51,440
an especially overproduced, you know, shot for the big time

1070
00:54:51,519 --> 00:54:54,199
type dirty Nail record. Their thing is always been the

1071
00:54:54,199 --> 00:54:57,239
band who just bring kind of like big raw amps

1072
00:54:57,280 --> 00:54:59,360
and stuff, you know, kind of rocking out rush of energy.

1073
00:55:00,280 --> 00:55:02,480
But this, I don't know whether it's just sort of

1074
00:55:02,480 --> 00:55:05,039
the final mastering job or something. They haven't like tried

1075
00:55:05,079 --> 00:55:08,519
to put the level of accessible polish onto this that

1076
00:55:08,559 --> 00:55:11,039
even their previous couple did have to some degree. Like

1077
00:55:11,079 --> 00:55:14,880
this feels like they've you know, kind of left the

1078
00:55:15,119 --> 00:55:20,119
raw recordings as literally touched up as they can within reason,

1079
00:55:20,239 --> 00:55:23,760
you know, and the intent does seem to be getting

1080
00:55:23,760 --> 00:55:26,239
that energy of like something ripped and booted on a

1081
00:55:26,280 --> 00:55:28,400
tape deck being you know, jammed in your cast area

1082
00:55:28,519 --> 00:55:30,719
and off you go. It's tapped into that similar wavelength,

1083
00:55:31,480 --> 00:55:34,280
which is I guess what I would would have predicted

1084
00:55:34,320 --> 00:55:37,400
from again the announcement and the artwork and the single

1085
00:55:37,400 --> 00:55:39,599
and all of that stuff. The other side is that

1086
00:55:39,639 --> 00:55:42,679
it's also more like brooding than we've come to expect

1087
00:55:42,679 --> 00:55:44,800
from the dirt, you know at times, which I found

1088
00:55:44,920 --> 00:55:46,559
very interesting to kind of get to gorict with.

1089
00:55:47,760 --> 00:55:49,000
Speaker 2: I think that's one of the things that there's a

1090
00:55:49,039 --> 00:55:50,480
really cool dynamic.

1091
00:55:50,039 --> 00:55:53,480
Speaker 3: Between this sort of being this sort of raw diy

1092
00:55:53,559 --> 00:55:56,639
punk album whilst being like just that little bit more

1093
00:55:56,679 --> 00:55:59,320
brooding and experimental again, like you know on that I mean,

1094
00:55:59,320 --> 00:56:05,280
it won't stick or this is me warning yet like.

1095
00:56:04,159 --> 00:56:06,119
Speaker 2: Like there's me one of your sounds like really weird.

1096
00:56:06,199 --> 00:56:09,320
Speaker 3: It's like kind of creaky and there's like strings and

1097
00:56:09,360 --> 00:56:11,559
the sort of delicacy to it, but it is it's

1098
00:56:11,559 --> 00:56:13,599
not your typical dirty ill ballad, which you know, they've

1099
00:56:13,639 --> 00:56:16,280
always been quite playful when they've.

1100
00:56:16,199 --> 00:56:18,000
Speaker 2: Kind of gone into a ballad sort of mood.

1101
00:56:18,840 --> 00:56:21,039
Speaker 3: There is a sort of sort of a I guess

1102
00:56:21,079 --> 00:56:22,880
just a slightly somb a touched to it where you

1103
00:56:22,920 --> 00:56:24,239
say brooding is the word.

1104
00:56:24,480 --> 00:56:27,039
Speaker 1: Yeah, those songs you mentioned, actually I really you know

1105
00:56:27,239 --> 00:56:29,159
that don't mean it won't. Sting is like a real

1106
00:56:29,199 --> 00:56:31,840
sort of drowned in your sorrows dirty n Il song,

1107
00:56:31,920 --> 00:56:34,079
which we're not used to a degree, and I quite

1108
00:56:34,119 --> 00:56:36,760
like it. There's a really good solo in that that's

1109
00:56:37,000 --> 00:56:40,199
kind of like throwing its girth around like it's too

1110
00:56:40,199 --> 00:56:42,360
big to handle. Yeah, it's like he's trying to wrangle

1111
00:56:42,400 --> 00:56:45,119
a big python to place on that zone.

1112
00:56:45,519 --> 00:56:47,960
Speaker 2: Antagonistic but playful at the same time. That so I

1113
00:56:48,000 --> 00:56:48,519
really like it.

1114
00:56:48,639 --> 00:56:50,480
Speaker 1: Yeah. But then into you know, this is the Warden Year,

1115
00:56:50,480 --> 00:56:52,639
which you mentioned, I really like it has this It

1116
00:56:52,639 --> 00:56:55,639
reminds me almost like a kind of like sixties or

1117
00:56:55,679 --> 00:56:58,960
seventies kind of psychedelic rock, you know, slow Burn. It's

1118
00:56:59,000 --> 00:57:00,920
got like actual string and stuff in there. I don't

1119
00:57:00,920 --> 00:57:02,679
know if it's like finger picked on the guitar, and

1120
00:57:02,679 --> 00:57:05,199
it has this reverby feel on the vocal, and it

1121
00:57:05,239 --> 00:57:10,760
has more like sonic depth than I would expect in

1122
00:57:10,880 --> 00:57:13,559
a you know, recorded dirty Nail song, Like I couldn't

1123
00:57:13,599 --> 00:57:15,639
have predicted a song that feels like that on a

1124
00:57:15,679 --> 00:57:17,679
Dirty Pil record at all. And then later on there's

1125
00:57:17,679 --> 00:57:19,360
a song called Spider Dream, which is kind of like

1126
00:57:19,360 --> 00:57:21,559
their most country moment, you know, and it's like a

1127
00:57:21,599 --> 00:57:26,679
really woozy slow jam kind of side from that, and

1128
00:57:26,719 --> 00:57:28,559
you know, the song. I don't think this area is

1129
00:57:28,599 --> 00:57:30,159
the best song on the record, but it does. It

1130
00:57:30,199 --> 00:57:34,199
seems like the record has a lot more dynamic range

1131
00:57:34,400 --> 00:57:37,320
than your prior NIL records, and it's quite cozy in

1132
00:57:37,320 --> 00:57:39,239
that regard. And I actually did appreciate in the track

1133
00:57:39,320 --> 00:57:42,559
list having both these, you know, more against sort of

1134
00:57:42,599 --> 00:57:46,159
slightly the epic metal or angry metal songs in there,

1135
00:57:46,199 --> 00:57:49,280
but also rather than something I have leveled at the

1136
00:57:49,280 --> 00:57:50,920
Dirty Nil sometimes, which is they kind of write the

1137
00:57:50,920 --> 00:57:52,440
same song again and again a lot of the time,

1138
00:57:52,800 --> 00:57:55,639
having these like real detours in the track list. And

1139
00:57:55,639 --> 00:57:56,920
it's not a long album, you know, half an hour

1140
00:57:56,960 --> 00:57:58,480
or something, as you do expect them to be, but

1141
00:57:58,559 --> 00:58:02,159
it made it more kind of, I don't know, continually compelling.

1142
00:58:03,440 --> 00:58:05,880
Speaker 3: On's the thing, I think, like every song kind of

1143
00:58:06,360 --> 00:58:10,000
feels different to the song you hear before. There are

1144
00:58:10,039 --> 00:58:13,960
songs on here that are as typical Dirtynel song as

1145
00:58:14,000 --> 00:58:16,599
you could be, Like, so you're being rock and are

1146
00:58:16,639 --> 00:58:18,480
bad like come on that that that that that song

1147
00:58:18,559 --> 00:58:21,159
is the most like classically on here. But that, like

1148
00:58:21,159 --> 00:58:22,960
I say, that is when you then go into this

1149
00:58:23,000 --> 00:58:26,960
semi warning you and that is immediately followed by do

1150
00:58:27,000 --> 00:58:30,679
You Want Me, which is the most like raucous like

1151
00:58:31,079 --> 00:58:34,239
fuck it burst of energy that drum feel that kind

1152
00:58:34,239 --> 00:58:36,920
of comes in after the fuck It. It's like Jesus,

1153
00:58:36,960 --> 00:58:39,800
there's there's whiplash there, which you I don't normally associate

1154
00:58:39,880 --> 00:58:42,960
tonal whiplash with the dirty nil they you know, kind

1155
00:58:43,000 --> 00:58:45,920
of just like good vibes, let's all have a drink

1156
00:58:45,960 --> 00:58:47,840
and sing along and that they like. That song is

1157
00:58:47,880 --> 00:58:51,760
kind of like again it's hard rocking party punk rock like,

1158
00:58:52,599 --> 00:58:55,000
but it just clatters and rumbles about with all the

1159
00:58:55,039 --> 00:58:55,760
bubble of melodies.

1160
00:58:56,159 --> 00:58:58,320
Speaker 2: But just come over the back of this ballad. It's

1161
00:58:58,440 --> 00:59:00,800
kind of a shock to your system when it hits yeah,

1162
00:59:00,840 --> 00:59:01,280
do you want Me?

1163
00:59:01,320 --> 00:59:03,639
Speaker 1: I feel like has to be like the side B

1164
00:59:04,039 --> 00:59:07,280
vinyl opener, you know, it feels such like a a

1165
00:59:07,320 --> 00:59:09,239
reset point of like you flip it over and then

1166
00:59:09,280 --> 00:59:12,159
this explosion of just proper punk on it going back

1167
00:59:12,199 --> 00:59:13,719
to a rock and roll band though, which you know

1168
00:59:13,719 --> 00:59:17,239
you kind of said sonically is fairly typical. Nil, I agree,

1169
00:59:17,239 --> 00:59:20,159
but I do feel that song is more like barbed

1170
00:59:20,599 --> 00:59:23,400
than they would usually do when Dirty and He'll do

1171
00:59:23,440 --> 00:59:25,840
a song about rocking out and being with your friends,

1172
00:59:25,840 --> 00:59:27,360
and it sounds like a kind of classic, you know,

1173
00:59:27,880 --> 00:59:30,400
punk called rock and roll song. There's always a level

1174
00:59:30,440 --> 00:59:34,599
of you know, even when they are a bit pessimistic,

1175
00:59:34,639 --> 00:59:36,599
not pessimistic, but a little self deprecating. Maybe the word

1176
00:59:36,639 --> 00:59:39,480
I'm looking forward to, that's the thing. I yeah, Yeah,

1177
00:59:39,519 --> 00:59:41,840
there's still a sense of fun about it, whereas this

1178
00:59:42,480 --> 00:59:46,320
song is genuinely angry, you know, like it feels like

1179
00:59:46,360 --> 00:59:49,400
this is maybe Luca's just been in a slightly more

1180
00:59:49,480 --> 00:59:51,559
kind of burned out patch or something of doing what

1181
00:59:51,599 --> 00:59:55,679
he does, because that song feels like a level of

1182
00:59:55,840 --> 00:59:57,960
sort of disillusionment with maybe.

1183
00:59:57,719 --> 00:59:58,760
Speaker 2: Anyone else is getting rich.

1184
00:59:58,920 --> 01:00:01,039
Speaker 1: Yeah, exactly right. But it's on this song. I think

1185
01:00:01,159 --> 01:00:02,960
the positive thing about it is obviously it's being turned

1186
01:00:02,960 --> 01:00:05,320
into this kind of frustrated Catharsis, but that you know

1187
01:00:05,400 --> 01:00:08,519
someone else is getting rich part. It doesn't sound like

1188
01:00:08,559 --> 01:00:11,199
he is, you know, gonna quit being the good time

1189
01:00:11,320 --> 01:00:13,559
rock guy or something for the sake of what he's

1190
01:00:13,559 --> 01:00:15,440
expressing in that song, but it feels like he is

1191
01:00:15,519 --> 01:00:18,800
there genuinely channeling frustration of what exists around what the

1192
01:00:18,800 --> 01:00:22,519
Dirty Nill do, and it's you know, sort of accepting, Okay,

1193
01:00:22,559 --> 01:00:24,360
it's a shit life at times, but that's the price

1194
01:00:24,440 --> 01:00:26,039
we pay for this feeling of what we do that

1195
01:00:26,079 --> 01:00:27,519
you might feel in all our other songs, but like

1196
01:00:27,559 --> 01:00:30,679
that is a genuinely that's the angriest the Dirty Nill

1197
01:00:30,920 --> 01:00:31,800
have actually sounded.

1198
01:00:32,559 --> 01:00:34,119
Speaker 2: I see exerctally, but I also want to look at that.

1199
01:00:34,159 --> 01:00:36,199
Speaker 3: It's kind of like the like that there's the kind

1200
01:00:36,199 --> 01:00:37,519
of likes Paul you want to be a rock and

1201
01:00:37,559 --> 01:00:40,239
roll band with your face on the Instagram or like

1202
01:00:40,320 --> 01:00:41,159
right a wrong reasons.

1203
01:00:41,199 --> 01:00:42,599
Speaker 2: I love when he does those little sides.

1204
01:00:42,639 --> 01:00:45,519
Speaker 3: And then like Luke is just such a charismatic like

1205
01:00:45,639 --> 01:00:48,239
and likable vocals and I do agree like it is

1206
01:00:48,280 --> 01:00:50,920
a bit more barbed, but like it reminds me the

1207
01:00:51,880 --> 01:00:53,440
what's something of usking about that I don't ever want

1208
01:00:53,480 --> 01:00:55,239
to work your jobs again? Like it's kind of like

1209
01:00:55,440 --> 01:00:57,199
it feels like this ams mose of that, but just

1210
01:00:57,239 --> 01:00:59,800
because it is, you know, as you say, a bit

1211
01:00:59,800 --> 01:01:03,159
more of like not Harsher record, but a less kind

1212
01:01:03,159 --> 01:01:06,079
of like playful one. It does come across as that

1213
01:01:06,159 --> 01:01:10,480
slightly more sort of spiky and antagonistic, but that chorus,

1214
01:01:10,559 --> 01:01:13,840
every time it hits like I'm just arms in their

1215
01:01:13,880 --> 01:01:15,679
singing along. And again when I see him live, I

1216
01:01:15,760 --> 01:01:17,599
will be having the best time when they play that,

1217
01:01:17,639 --> 01:01:19,800
because I'm sure that feels like that's got to make

1218
01:01:19,800 --> 01:01:20,800
it into the settlest.

1219
01:01:20,480 --> 01:01:22,000
Speaker 1: Oh yeah, it's a really good song. And you also

1220
01:01:22,039 --> 01:01:24,400
have the maybe later on the record you have a

1221
01:01:24,440 --> 01:01:26,079
kind of relief from the more jaded bits when you

1222
01:01:26,079 --> 01:01:27,960
get something like they Won't Beat Us, which kind of

1223
01:01:27,960 --> 01:01:30,199
has like a like a hash pipey, you know, sort

1224
01:01:30,199 --> 01:01:32,239
of feel with the riff, and I love the cruel

1225
01:01:32,280 --> 01:01:36,400
weather Big Fellas which is great, and another real big

1226
01:01:36,400 --> 01:01:38,400
and of like a fake finish, you know, drop book

1227
01:01:38,440 --> 01:01:40,800
kind of moment as well. So there are these moments

1228
01:01:40,800 --> 01:01:43,400
of cutting loose as you would expect them to do.

1229
01:01:43,639 --> 01:01:45,800
But I do I do feel it is a again

1230
01:01:45,840 --> 01:01:51,239
a slightly nastier and more antagonistic Nil record. It's good

1231
01:01:51,239 --> 01:01:53,440
that it's just got a big, you know, nasty growler

1232
01:01:53,440 --> 01:01:55,440
of a guitar tone. Still, you know, I was a

1233
01:01:55,480 --> 01:01:59,159
henchman at the very end. Yeah, really fucking good thing

1234
01:01:59,199 --> 01:02:01,599
there and as a bridge bit in that song where

1235
01:02:01,639 --> 01:02:05,000
it goes into like a genuine like Matt Bellamy size

1236
01:02:05,199 --> 01:02:07,679
muse like digga doga diggad sort of riff, which is

1237
01:02:07,719 --> 01:02:10,480
pretty righteous. But the thing as a record, it's, you know,

1238
01:02:10,599 --> 01:02:13,280
it's I don't mean this to say less enjoyable, because

1239
01:02:13,280 --> 01:02:15,239
actually I think I'd like this more than the last record,

1240
01:02:15,400 --> 01:02:18,360
but I think it's maybe a less fun record. I think,

1241
01:02:18,480 --> 01:02:20,320
you know, I know at least one person who heard

1242
01:02:20,320 --> 01:02:23,840
this and said they weren't really into it because it

1243
01:02:23,960 --> 01:02:26,159
essentially it sounds like the Dirty Nil. So it will

1244
01:02:26,159 --> 01:02:28,760
have those moments that you've just described of doing the

1245
01:02:28,800 --> 01:02:31,000
heavy lifting in terms of having something in the song

1246
01:02:31,119 --> 01:02:34,960
to grasp onto and sing along with. But it's interesting

1247
01:02:35,159 --> 01:02:38,800
to hear them go a little bit more kind of

1248
01:02:38,920 --> 01:02:41,760
jagged and off the beaten path, so.

1249
01:02:41,719 --> 01:02:43,119
Speaker 3: Like I was a handsful one where I did saw

1250
01:02:43,199 --> 01:02:46,159
pickup and go like there is maybe some more frustration

1251
01:02:46,239 --> 01:02:48,639
in this as your album closer, like where he does

1252
01:02:48,719 --> 01:02:51,920
just sound like a little bit a little bit more

1253
01:02:52,000 --> 01:02:54,880
just can like jaded, but I think it also comes

1254
01:02:54,920 --> 01:02:57,400
in to like like they're doing what they want and

1255
01:02:57,400 --> 01:03:00,519
now that's what matters. But yeah, I I assume mean,

1256
01:03:00,559 --> 01:03:02,159
I still found this to just be like, I don't

1257
01:03:02,199 --> 01:03:04,320
know if I'm just so tuned to just like I

1258
01:03:04,360 --> 01:03:07,360
hear Luke's voice, I hear that guitar tone, I'm having fun,

1259
01:03:07,760 --> 01:03:09,800
even if it is on the sort of fun songs

1260
01:03:09,800 --> 01:03:13,519
maybe a little bit less like purely playful, but I

1261
01:03:13,559 --> 01:03:15,719
still just think this is like I mean, the is

1262
01:03:15,800 --> 01:03:17,760
I do furtherest to free range the Passion, which I loved.

1263
01:03:17,840 --> 01:03:20,719
I think like this album is more interesting, and I

1264
01:03:20,760 --> 01:03:24,440
do think the big hit moments are more memorable to

1265
01:03:24,440 --> 01:03:26,920
me that they really hit out of the path on them.

1266
01:03:26,920 --> 01:03:29,599
So I think it kind of just delivers both for

1267
01:03:29,679 --> 01:03:32,440
me in terms of like big catchy punk rock songs

1268
01:03:32,440 --> 01:03:34,400
that I'm gonna have at the best time singing along

1269
01:03:34,440 --> 01:03:37,880
too live, whilst also just kind of taking the dirt

1270
01:03:37,960 --> 01:03:40,320
yil on a slightly different, maybe more interesting route.

1271
01:03:40,400 --> 01:03:42,119
Speaker 1: Yeah, you know, I can add you know, Gallop of

1272
01:03:42,119 --> 01:03:43,880
the Hounds and a couple others onto that list of

1273
01:03:43,920 --> 01:03:45,519
my favorite dirty Nail songs I was talking about that

1274
01:03:45,639 --> 01:03:47,920
is mostly populated by the likes of Fuck Art and

1275
01:03:49,119 --> 01:03:50,760
Master Volume and stuff. But like, you know, it's interesting

1276
01:03:50,760 --> 01:03:51,960
to hear because I think, you know, free rent of

1277
01:03:51,960 --> 01:03:55,760
Passions somewhat felt like, you know, here's the Dirty Nil

1278
01:03:55,800 --> 01:03:59,000
doing what they do now with little real development. This.

1279
01:03:59,320 --> 01:04:01,360
You know, I don't know if it's necessarily going to

1280
01:04:01,400 --> 01:04:03,920
be anyone's favorite record, but it's at least like a

1281
01:04:04,039 --> 01:04:07,559
one degree angle of us werve and yeah, they've got

1282
01:04:07,599 --> 01:04:08,960
a bit of I don't know, a bit of juice

1283
01:04:08,960 --> 01:04:11,599
going on with it. So the Dirty Nil, the Lash

1284
01:04:11,719 --> 01:04:14,159
they're out on. The Lash at out today, from an

1285
01:04:14,159 --> 01:04:16,480
album that is out today to one that came out

1286
01:04:16,519 --> 01:04:18,360
just under a month ago. But when I was looking

1287
01:04:18,480 --> 01:04:21,079
at what was going to go in this episode, I

1288
01:04:21,159 --> 01:04:23,039
knew this is one that you know, could do its

1289
01:04:23,039 --> 01:04:24,800
share with kind of the heavy lifting up alongside the

1290
01:04:24,840 --> 01:04:28,000
Dirty Nil comes from a band called Blood Vulture. The

1291
01:04:28,039 --> 01:04:31,440
album is called Die Close. This is a debut album

1292
01:04:31,480 --> 01:04:35,199
from Jordan Olds, who you may better know as Guarsinio

1293
01:04:35,320 --> 01:04:38,199
Hall from the Two Minutes to Late Night YouTube show,

1294
01:04:38,280 --> 01:04:40,000
that guy who wears the funny kind of corpse painting

1295
01:04:40,079 --> 01:04:43,079
makeup who acts as the the lynchpin of like a

1296
01:04:43,119 --> 01:04:47,079
combination of I Guess Internet sketch series and like music

1297
01:04:47,199 --> 01:04:49,920
channel that for several years has been producing like a

1298
01:04:49,960 --> 01:04:54,159
long stream of heavy music all star cover versions. I mean,

1299
01:04:54,239 --> 01:04:56,440
this week, for obvious reasons, I found myself back on

1300
01:04:56,480 --> 01:04:59,840
the Chelsea Wolf singing crazy train one, like genuinely so

1301
01:05:00,119 --> 01:05:02,400
of the best rock covers that exist on the internet.

1302
01:05:02,440 --> 01:05:04,559
If you've not been exposed to them yet, there is

1303
01:05:04,599 --> 01:05:06,599
like a gold mine. You will be on a playlist

1304
01:05:06,639 --> 01:05:09,440
for hours on YouTube of them and all the faces

1305
01:05:09,440 --> 01:05:12,360
that pop up throughout them. That's what Jordan is you know,

1306
01:05:12,360 --> 01:05:15,199
known for. We should note that Blood Vulture, this project

1307
01:05:15,239 --> 01:05:18,360
is separate to that, you know, it is not part

1308
01:05:18,400 --> 01:05:21,480
of the sort of guarsenio hall talk show host character

1309
01:05:21,760 --> 01:05:24,360
that he does there. This is kind of the musical

1310
01:05:24,360 --> 01:05:27,000
equivalent of that old thing of like comedy guy having

1311
01:05:27,000 --> 01:05:29,480
to make pains to separate himself from his comedy persona

1312
01:05:29,519 --> 01:05:31,760
and do something more serious. But the reason I think

1313
01:05:31,760 --> 01:05:33,320
it's important to make note of, you know, what he's

1314
01:05:33,360 --> 01:05:36,840
done previously is for what is a debut album from

1315
01:05:36,840 --> 01:05:41,639
a new band, that combination of the musical and studio

1316
01:05:41,920 --> 01:05:44,920
professionalism that you'd expect from a guy who has been

1317
01:05:44,960 --> 01:05:49,079
like wrangling and assembling these cover versions from this myriad

1318
01:05:49,119 --> 01:05:51,800
of great musicians for all those years. Plus some of

1319
01:05:51,840 --> 01:05:53,760
the you know, the connections and the friends on Tap

1320
01:05:53,800 --> 01:05:57,480
to come with that both make themselves felt on this album,

1321
01:05:57,519 --> 01:05:59,159
and this is a debut album that feels to me

1322
01:05:59,400 --> 01:06:02,199
like it's it's kind of an extra step ahead from

1323
01:06:02,199 --> 01:06:04,440
where you would expect, you know, most new bands to

1324
01:06:04,440 --> 01:06:05,320
be starting at.

1325
01:06:06,320 --> 01:06:09,679
Speaker 3: Yeah, I think like to misslet something that could have

1326
01:06:09,719 --> 01:06:12,360
been you know, oh, it's a YouTube cover channel, all

1327
01:06:12,400 --> 01:06:15,159
those things that I can have such a verse reactions.

1328
01:06:14,639 --> 01:06:15,280
Speaker 2: To that sort of thing.

1329
01:06:15,320 --> 01:06:18,880
Speaker 3: But that always because like the sort of the All

1330
01:06:18,920 --> 01:06:21,920
Star car Seed Assemble, how legit the covers were, how

1331
01:06:21,920 --> 01:06:23,960
they would do really interesting different things with the covers

1332
01:06:24,000 --> 01:06:27,000
sometimes that were like kind of way out of left field,

1333
01:06:28,159 --> 01:06:29,960
and and again how it has to like metal and

1334
01:06:30,000 --> 01:06:31,360
hardcore and all these sort of things and put it

1335
01:06:31,400 --> 01:06:33,679
all together in this sort of just really fun way.

1336
01:06:33,800 --> 01:06:37,159
It was like he is clearly like a totally legit

1337
01:06:37,360 --> 01:06:40,199
like musician who knows his ship, knows all these sort

1338
01:06:40,199 --> 01:06:42,000
of things. So what it's sort of realized, Oh he's

1339
01:06:42,000 --> 01:06:44,360
doing Zambana, was like, yeah, I think this is gonna

1340
01:06:44,360 --> 01:06:46,320
be really together from the sort of the word go,

1341
01:06:46,440 --> 01:06:49,079
even before I'd seen you know, the guest spots, so

1342
01:06:49,159 --> 01:06:51,199
I was gonna like, not surprise planet, this is like

1343
01:06:51,280 --> 01:06:54,400
it's so assured of itself almost immediately, and I think

1344
01:06:54,400 --> 01:06:56,880
it's a really interesting album.

1345
01:06:56,599 --> 01:06:59,400
Speaker 2: From from someone like who is a YouTube personality.

1346
01:06:59,760 --> 01:07:03,039
Speaker 1: Yeah, I think this is an album that displays some

1347
01:07:03,679 --> 01:07:05,440
and this is again a big difference between like what

1348
01:07:05,480 --> 01:07:07,599
the two minutes of Late Night thing has done and

1349
01:07:07,679 --> 01:07:09,679
like if we would say YouTube covers and you go

1350
01:07:09,800 --> 01:07:12,199
like pop gone gent or something. You know, like a

1351
01:07:12,199 --> 01:07:16,840
big difference that separate it is really good taste, right, like,

1352
01:07:17,000 --> 01:07:19,920
which is sometimes that's an element that's not highlighted enough

1353
01:07:19,960 --> 01:07:22,239
when it comes to discussing art, right you know, this

1354
01:07:22,320 --> 01:07:25,719
album is really slickly done and as I say, as

1355
01:07:25,719 --> 01:07:27,880
a real skill that has clearly been worked over. But

1356
01:07:28,239 --> 01:07:31,079
what you know, Jordan applies that to here is a

1357
01:07:31,159 --> 01:07:34,639
really delectable combination of things that just show some good

1358
01:07:34,679 --> 01:07:37,480
fucking taste, right like from the guests that show up

1359
01:07:37,519 --> 01:07:40,960
here to the styles and reference points that are kind

1360
01:07:40,960 --> 01:07:42,920
of brought together. This you could, I guess sort of

1361
01:07:43,000 --> 01:07:46,119
loosely describe as like a kind of vampire doom album.

1362
01:07:46,519 --> 01:07:49,880
Like the color scheme of it is very red. This

1363
01:07:49,960 --> 01:07:55,280
is a very sanguine, seductively decadent kind of album. It's

1364
01:07:55,280 --> 01:07:57,679
a doom album to enjoy a big goblet of red

1365
01:07:57,679 --> 01:08:01,599
wine two, but also like Umpire, Doom as a descriptor

1366
01:08:02,280 --> 01:08:06,599
could encompass a lot of different sort of musical touch points. This,

1367
01:08:06,760 --> 01:08:08,760
I would say, and again a big part of why

1368
01:08:08,840 --> 01:08:10,639
I knew we had to put this forward because I

1369
01:08:10,639 --> 01:08:13,199
think what it does so many people listening will like

1370
01:08:13,960 --> 01:08:16,560
it's kind of like pall Bearer, alis In Chains and

1371
01:08:16,640 --> 01:08:20,159
type of negative all had a baby conceived inside of

1372
01:08:20,199 --> 01:08:24,479
Dracula's castle. Like it is this kind of thick, luscious

1373
01:08:24,680 --> 01:08:27,119
like if this album had curtains, maybe some damn high

1374
01:08:27,199 --> 01:08:29,159
quality red velvet curtains, you know what I mean.

1375
01:08:29,960 --> 01:08:32,680
Speaker 3: This is vampire alis in Chains. This is like the

1376
01:08:32,760 --> 01:08:36,279
most gothic Alison capes. Yeah, yeah it was. But it's

1377
01:08:36,399 --> 01:08:38,880
so because the thing is is like you can even

1378
01:08:38,920 --> 01:08:40,840
point some of the sort of like the points of reference.

1379
01:08:40,920 --> 01:08:42,760
Speaker 2: Is this draw and are just you know, alis change.

1380
01:08:42,840 --> 01:08:44,840
Speaker 3: It's some of the things that you could say were

1381
01:08:44,920 --> 01:08:46,359
inspirations for Alison Chains.

1382
01:08:46,359 --> 01:08:48,479
Speaker 2: I think like there's so many things like when I

1383
01:08:48,479 --> 01:08:49,119
was listening.

1384
01:08:49,159 --> 01:08:51,560
Speaker 3: Like that's a really cool sort of frame reverence where

1385
01:08:51,560 --> 01:08:53,960
it's not just leaning on like Doom that it's cleansed

1386
01:08:54,000 --> 01:08:56,319
inspired by so much doom and grunge and or rock,

1387
01:08:56,720 --> 01:08:58,760
but there's so many other sort of things that you

1388
01:08:58,800 --> 01:09:01,960
accept palls on even going into sort of pop music there,

1389
01:09:02,079 --> 01:09:05,680
you know, kind of like some really nice harmonizations, which

1390
01:09:05,720 --> 01:09:08,000
is like full on like Beach Boys sort of shit,

1391
01:09:08,119 --> 01:09:10,159
Like it's all over here, and it's all kind of

1392
01:09:10,720 --> 01:09:14,840
brought together a really delectable just like interesting and clearly

1393
01:09:14,920 --> 01:09:20,000
sort of passionately poured over like sort of supergroup project

1394
01:09:20,000 --> 01:09:21,279
wherever you want to sort of lay it as I

1395
01:09:21,279 --> 01:09:23,359
don't know, like who actually else is in the band

1396
01:09:23,399 --> 01:09:25,840
obviously outside of some of the like amazing guest spots

1397
01:09:25,840 --> 01:09:26,439
he gets in on.

1398
01:09:26,399 --> 01:09:29,199
Speaker 1: It, I think he's maybe apart from the drums, he's

1399
01:09:29,199 --> 01:09:34,159
done basically everything. Kind of yeah, it's his project, and

1400
01:09:34,239 --> 01:09:36,359
you can really he can clearly write a riff as well.

1401
01:09:36,680 --> 01:09:40,279
When I think of like like those the two minutes

1402
01:09:40,279 --> 01:09:43,039
of Late Night covers sort of the house band on

1403
01:09:43,039 --> 01:09:44,640
that show, if you will, And people who show up

1404
01:09:44,640 --> 01:09:47,800
a lot in those are Mutoid Man, and they share

1405
01:09:48,000 --> 01:09:51,600
a similar kind of like fat juicy guitar tope, a

1406
01:09:51,600 --> 01:09:55,000
lot of that Stephen Brodsky type stuff, but here it's

1407
01:09:55,000 --> 01:09:59,239
combined with that, you know, really gorgeous Paul Bearery or

1408
01:09:59,279 --> 01:10:02,479
maybe Baroness as well, sort of doom tone that's this

1409
01:10:02,560 --> 01:10:06,119
big dollop of grace in it and embracing the flood

1410
01:10:06,399 --> 01:10:09,640
has this like lovely sort of gothy electronic element that

1411
01:10:09,680 --> 01:10:11,680
really sounds to me like the Black Queen that band

1412
01:10:11,680 --> 01:10:13,640
Greg Pricatto used to do, and I love getting that

1413
01:10:13,720 --> 01:10:15,319
kind of feeling. But then you get the guitar riff

1414
01:10:15,359 --> 01:10:18,680
coming over it that brings this like real Leviathan like

1415
01:10:18,800 --> 01:10:21,720
beauty with it. And if you love that kind of

1416
01:10:21,720 --> 01:10:25,359
like graceful guitar harmony approach that like Paul Bearer or

1417
01:10:25,399 --> 01:10:28,159
a Baroness and their ilk do, this record is a

1418
01:10:28,239 --> 01:10:30,279
must for you this year, I think, because there's loads

1419
01:10:30,319 --> 01:10:32,600
of them to a really high standard and a really

1420
01:10:32,640 --> 01:10:35,880
like high quality of sound to really get lost in.

1421
01:10:36,319 --> 01:10:38,720
Speaker 3: Yeah, I mean, like straight like all the riffs on

1422
01:10:38,760 --> 01:10:41,119
this album just fucking are monstrous.

1423
01:10:41,119 --> 01:10:42,800
Speaker 2: But again, there's this brilliant sort of.

1424
01:10:42,960 --> 01:10:46,279
Speaker 3: Balance between the sort of brightness and darkness. Like it

1425
01:10:46,399 --> 01:10:48,800
is like really heavy and dark and gothic, but there's

1426
01:10:48,840 --> 01:10:51,319
like both in the guitars and vocals are these like

1427
01:10:51,520 --> 01:10:54,520
wonderful kind of like bright soaring melodies that kind of

1428
01:10:55,079 --> 01:10:56,840
collide with it. And again that's why again I think

1429
01:10:56,880 --> 01:10:59,560
of like Alison chains on those kind of like vocal

1430
01:10:59,560 --> 01:11:02,680
harmony moments like yeah, that is you know, that's that

1431
01:11:02,720 --> 01:11:05,600
Addison change thing, where like the vocals pierce through these

1432
01:11:05,640 --> 01:11:10,079
like thick, dark, dirgy riffs and it's such a cool sound.

1433
01:11:10,119 --> 01:11:12,399
And again you're on and embracing the flood like it

1434
01:11:12,479 --> 01:11:15,119
is mostly heavy, but they just mix all these like

1435
01:11:15,520 --> 01:11:19,439
electronic touches on those vocals and it never feels oppressive,

1436
01:11:19,479 --> 01:11:21,640
and it's kind of like waiting darkness. There's always kind

1437
01:11:21,640 --> 01:11:24,439
of like a weirdly comforting sort of feel to it.

1438
01:11:25,359 --> 01:11:28,960
Speaker 1: Yeah, and in the verse as well, it starts chirning

1439
01:11:29,039 --> 01:11:32,000
and just goes properly disgusting. Like the bends with this

1440
01:11:32,079 --> 01:11:34,479
massive tone are so good. There's a full on like

1441
01:11:34,560 --> 01:11:36,840
sludge beat down in the second half of the song.

1442
01:11:36,720 --> 01:11:39,319
Speaker 3: Yes, about three and a half minutes in, where like

1443
01:11:39,359 --> 01:11:42,479
that riff hits and I'm like fucking hell, like right

1444
01:11:42,479 --> 01:11:43,600
before the solo, like.

1445
01:11:43,560 --> 01:11:44,520
Speaker 2: They just beat.

1446
01:11:44,600 --> 01:11:47,920
Speaker 1: Yeah, but the songs have a really great push and

1447
01:11:47,960 --> 01:11:51,560
pull kind of between those those modes and complimented by Jordan,

1448
01:11:51,960 --> 01:11:54,960
as we said, clearly worships the fuck out of Alison

1449
01:11:55,000 --> 01:11:57,399
Chain's vocally, he's actually he sounds quite a lot like

1450
01:11:57,479 --> 01:12:00,279
Jerry Cantrell maybe if he was a bit more into

1451
01:12:00,319 --> 01:12:02,560
like an eighties heavy metal yeah, as well as you know,

1452
01:12:02,560 --> 01:12:05,119
doing that thing. But it will clearly, you know, it

1453
01:12:05,159 --> 01:12:08,119
will fire off alis In Chain's receptors in your brain,

1454
01:12:08,520 --> 01:12:11,319
but I think it stops maybe just short of being

1455
01:12:11,359 --> 01:12:15,119
caricature as well. It's maybe a bit more, a bit

1456
01:12:15,159 --> 01:12:16,960
more kind of up to interpretation for people, but I

1457
01:12:16,960 --> 01:12:19,359
think for me it works because his actual vocal melodies

1458
01:12:19,560 --> 01:12:21,680
are very strong as well, Like there's a there's a

1459
01:12:21,720 --> 01:12:24,399
melody refrain that is like woven throughout the album, which

1460
01:12:24,399 --> 01:12:26,560
again feels like maybe slightly beyond what your average debut

1461
01:12:26,600 --> 01:12:28,359
album would be expected to do as well, but they're

1462
01:12:28,399 --> 01:12:29,880
kind of like, you know, yeah, you're dying close to

1463
01:12:29,920 --> 01:12:34,279
me thing, which shows up basically across three three tracks

1464
01:12:34,279 --> 01:12:36,479
spread across the album every time it comes back up,

1465
01:12:36,479 --> 01:12:38,039
and it's kind of a bit bigger and a bit more,

1466
01:12:38,119 --> 01:12:42,039
you know, newly backed by something. My brain just kind

1467
01:12:42,039 --> 01:12:44,640
of like you know, automatically starts firing off some kind

1468
01:12:44,640 --> 01:12:48,640
of dopamine you know, sensors. But it's the third one

1469
01:12:48,680 --> 01:12:49,960
was well, the kind of like that every night I'm

1470
01:12:50,039 --> 01:12:51,880
dreaming that I'm starving to death. That kind of like

1471
01:12:51,920 --> 01:12:55,359
has a real hymn feel to it as well, that

1472
01:12:55,439 --> 01:12:59,199
sort of multi part pop harmony every and I'm dreaming,

1473
01:12:59,279 --> 01:13:02,760
And that's a real or like pop sensibility with this

1474
01:13:02,800 --> 01:13:06,840
like lovely thick doom romanticism. That really marks out as well,

1475
01:13:06,880 --> 01:13:12,039
because it's a really quite delicately arranged pop doom ballad

1476
01:13:12,359 --> 01:13:14,760
with this like great vocal focus.

1477
01:13:15,399 --> 01:13:16,359
Speaker 2: Yeah, no, that's the song work.

1478
01:13:16,520 --> 01:13:18,439
Speaker 3: And the pop really jumped out to me because that

1479
01:13:18,520 --> 01:13:22,560
begins with that kind of anna that's on barbershop harmonized

1480
01:13:22,800 --> 01:13:26,119
sort of I said, vocal intro, and and that was

1481
01:13:26,159 --> 01:13:26,920
like a really cool thing.

1482
01:13:26,960 --> 01:13:29,199
Speaker 2: I was like, oh, you know, he's clearly like got

1483
01:13:29,239 --> 01:13:29,680
a pool of.

1484
01:13:29,640 --> 01:13:32,960
Speaker 3: Influence that's so much wider than just I want to

1485
01:13:32,960 --> 01:13:36,079
do a doom record. He's like pulled so many cool

1486
01:13:36,079 --> 01:13:39,720
sort of things together, and it is just this like dramatic,

1487
01:13:40,359 --> 01:13:43,439
somber but kind of like touching pop mal ballad that

1488
01:13:43,479 --> 01:13:45,600
you right, is sort of like him at their very

1489
01:13:45,680 --> 01:13:47,239
sort of the peak of their powers, were like doing

1490
01:13:47,239 --> 01:13:49,279
this or thing, and it's it's great to hear that.

1491
01:13:49,319 --> 01:13:49,840
Speaker 2: It's a sound.

1492
01:13:49,920 --> 01:13:52,920
Speaker 3: I'm just so like, oh yeah, I love to hear

1493
01:13:52,960 --> 01:13:55,920
that sort of blend of like gothic down us with

1494
01:13:56,119 --> 01:13:58,359
like irresistible pop melodies.

1495
01:13:59,159 --> 01:14:01,399
Speaker 1: Yeah, and the total lip side is then gray Morning.

1496
01:14:01,520 --> 01:14:04,279
It's just like the Batters its way in with the

1497
01:14:04,319 --> 01:14:07,159
most like you know, sort of Billie big Bollocks like

1498
01:14:07,239 --> 01:14:09,520
them bones kind of gate to it. It sounds like

1499
01:14:09,600 --> 01:14:13,560
Dracula walking into the wrestling ring, like it's so meaty,

1500
01:14:13,800 --> 01:14:15,880
and that descending one that he does kind of between

1501
01:14:15,920 --> 01:14:17,520
the verses, which is like there's a bit of definiteal

1502
01:14:17,560 --> 01:14:19,760
influence in there without ever going quite so serrated, but

1503
01:14:19,800 --> 01:14:24,319
it's really nasty. And talking about taste, right, if you're

1504
01:14:24,359 --> 01:14:27,279
thinking of like brainstorming what guitarists you could possibly get

1505
01:14:27,319 --> 01:14:30,840
for like a guest solo, you know, Jade from Afi

1506
01:14:31,479 --> 01:14:34,119
is not a name that would maybe come to immediately

1507
01:14:34,159 --> 01:14:36,720
for a lot of people, but it is such a

1508
01:14:36,800 --> 01:14:39,199
cool shell and such a marker of taste, and when

1509
01:14:39,199 --> 01:14:42,960
he comes in, it's a really like twisted metal like

1510
01:14:43,199 --> 01:14:45,279
evil shreddy solo from him.

1511
01:14:45,600 --> 01:14:47,800
Speaker 2: I was like I was out a minute, like because something.

1512
01:14:47,880 --> 01:14:49,239
I was like, oh cool, he's got Jade on here.

1513
01:14:49,279 --> 01:14:50,600
I was like that's a cool point.

1514
01:14:50,600 --> 01:14:52,880
Speaker 3: And then I was like, I guess that's what Jame's doing,

1515
01:14:52,880 --> 01:14:54,720
but that was maybe not what I was expecting, But

1516
01:14:54,800 --> 01:14:57,800
I was like, no, it makes sense. It fits actually

1517
01:14:57,800 --> 01:15:00,600
really well, and it's cool to get like who brings

1518
01:15:00,640 --> 01:15:03,880
a distinct flavor to their guitar solo playing and it

1519
01:15:04,000 --> 01:15:07,279
like and again, like a guitarist guests book can sometimes

1520
01:15:07,279 --> 01:15:08,680
just kind of be a bit of a faraway solo.

1521
01:15:08,720 --> 01:15:13,760
This feels like it really is. Yeah, it feels entailed

1522
01:15:13,760 --> 01:15:15,199
to the DNA of this song, because again, this is

1523
01:15:15,920 --> 01:15:17,560
one of the heaviest songs on the record, just one

1524
01:15:17,560 --> 01:15:21,119
of the meanest kind of like stompious or doom metal crushes.

1525
01:15:21,239 --> 01:15:23,760
And having him just rip out this like proper metal

1526
01:15:23,800 --> 01:15:25,279
solo really cool.

1527
01:15:25,760 --> 01:15:28,640
Speaker 1: Yeah. And the song where that kind of takes the piss,

1528
01:15:28,680 --> 01:15:34,079
I suppose is Entwined, which is a doom duet between

1529
01:15:34,239 --> 01:15:37,960
Jordan and Kristin Hater formerly known of course as Lingering

1530
01:15:38,039 --> 01:15:41,800
nota and that is an outrageous thing.

1531
01:15:41,800 --> 01:15:44,960
Speaker 3: To do, the vocal dynamic between the two of them

1532
01:15:45,000 --> 01:15:47,239
on that song. I was kind of like, this on

1533
01:15:47,319 --> 01:15:50,880
your debut album, just mates in, yeah, calling it a

1534
01:15:50,920 --> 01:15:55,800
favor from your friend whatever, like look.

1535
01:15:55,680 --> 01:15:58,359
Speaker 1: I'm Jordan Old's I'm really talented and funny, and I've

1536
01:15:58,359 --> 01:16:00,680
got Christin Hater on speed dial to sing a duet

1537
01:16:00,720 --> 01:16:02,399
with on my debut album Fuck You.

1538
01:16:03,520 --> 01:16:05,720
Speaker 3: Literally like and the thing is is that you have

1539
01:16:05,760 --> 01:16:08,479
this amazing vocal sort of interplay between the two of

1540
01:16:08,479 --> 01:16:11,199
them that just just doesn't stop. It's just like whirlwind

1541
01:16:11,239 --> 01:16:13,159
of the song that I was kind of like just

1542
01:16:13,159 --> 01:16:15,439
trying to like piece together, and again that I think

1543
01:16:15,439 --> 01:16:17,880
they get where there's you know, there is drama and

1544
01:16:17,960 --> 01:16:20,319
theater to it alongside of the metal, and then it

1545
01:16:20,399 --> 01:16:23,079
still just ends on the hard is fucking rift imaginable?

1546
01:16:23,159 --> 01:16:25,279
I was like, yeah, you fucking show off.

1547
01:16:26,079 --> 01:16:29,439
Speaker 1: It sounds phenomenal that like she sounds so good kind

1548
01:16:29,439 --> 01:16:31,640
of coming in on the lines where it's a song

1549
01:16:31,680 --> 01:16:33,640
that that that push and pull that I was talking

1550
01:16:33,640 --> 01:16:36,840
about before really kind of like lets loose because Jordan

1551
01:16:36,880 --> 01:16:39,760
actually kind of carries those more graceful again sort of

1552
01:16:39,800 --> 01:16:42,920
like doom floating over the earth sort of passes and

1553
01:16:42,960 --> 01:16:47,199
then when the rift goes sickly, Kristin Hater comes in

1554
01:16:47,279 --> 01:16:50,560
and like lifts those lines into this realm of like

1555
01:16:51,039 --> 01:16:55,479
demonic biblical terror as this like you know, gurgling nightmare

1556
01:16:55,520 --> 01:16:57,359
portion of the song comes in and it just it

1557
01:16:57,560 --> 01:17:00,720
sounds so good. I think, you know, that opening run

1558
01:17:00,760 --> 01:17:04,279
of like four tracks part of the intro is fucking

1559
01:17:04,600 --> 01:17:07,439
like some of the best material you would hear on

1560
01:17:07,479 --> 01:17:10,000
a debut album this year. It's really strong. I think

1561
01:17:10,039 --> 01:17:12,399
it maybe front loads its best material a little bit,

1562
01:17:12,520 --> 01:17:14,880
but then going forward you've got burned for it. With

1563
01:17:14,960 --> 01:17:17,520
Brian from Shadam's Fall, who he's gotten about a bit recently,

1564
01:17:17,560 --> 01:17:19,239
I think that's really good. It's got another one of

1565
01:17:19,279 --> 01:17:22,039
those like just ass beater riffs on like a thumper

1566
01:17:22,119 --> 01:17:25,680
disco beat, but along with this sort of like fluttery

1567
01:17:25,760 --> 01:17:26,399
synth element.

1568
01:17:26,439 --> 01:17:28,800
Speaker 3: Again that I said, there's like symphonic touches to that

1569
01:17:28,800 --> 01:17:30,840
one which give it a bit of character as well, which.

1570
01:17:30,640 --> 01:17:31,319
Speaker 2: That's the thing I think.

1571
01:17:31,319 --> 01:17:33,920
Speaker 3: I do like how the song's all kind of like

1572
01:17:34,000 --> 01:17:35,560
he tries to find way to make the songs feel

1573
01:17:35,560 --> 01:17:38,079
distinct from each other and not just you know, a

1574
01:17:38,159 --> 01:17:40,680
throwaway track, which I think is admirable, even if it's

1575
01:17:40,720 --> 01:17:42,840
like pulling loads of ideas.

1576
01:17:42,439 --> 01:17:44,840
Speaker 1: In Yeah, and then the Silence of God is like

1577
01:17:44,840 --> 01:17:47,479
a kind of lovely Paul Bearery, you know, tear jerker

1578
01:17:47,520 --> 01:17:50,880
doom track, but then the closer Die Close I think

1579
01:17:50,960 --> 01:17:52,760
really like ends it on a high as well, because

1580
01:17:52,760 --> 01:17:55,119
it's when that like you know, overture melody that's been

1581
01:17:55,119 --> 01:17:58,399
the through line gets fleshed out into a full piece

1582
01:17:58,439 --> 01:18:01,000
with everything behind it, and it's like building level of

1583
01:18:01,039 --> 01:18:05,199
like choral harmony almost is it is fantastic and just

1584
01:18:05,199 --> 01:18:09,359
such a warm, like reassuring bath of a finish.

1585
01:18:09,600 --> 01:18:12,640
Speaker 3: Yeah, the the Diacose Over Tours, I was like, oh, yeah,

1586
01:18:12,680 --> 01:18:15,479
this is just that. The sound of this record is

1587
01:18:15,600 --> 01:18:18,880
just really just fucking good. Like all the elements just

1588
01:18:18,920 --> 01:18:21,079
feel sort of poplar lined up. And someone was like,

1589
01:18:21,479 --> 01:18:24,319
it is no mournful and sad with the sort of doing.

1590
01:18:24,439 --> 01:18:26,720
But the melodies that like soar over it in the

1591
01:18:26,760 --> 01:18:29,600
gars and vocals, they are obliftering and it absously just

1592
01:18:29,720 --> 01:18:31,319
rocks like abomination.

1593
01:18:31,399 --> 01:18:32,760
Speaker 2: The one before as well, that's another word. It's just

1594
01:18:32,800 --> 01:18:33,760
that's just a rocker.

1595
01:18:34,159 --> 01:18:35,720
Speaker 3: Like there are times in the sound does just cut

1596
01:18:35,760 --> 01:18:38,159
loose and rock out, and I think that's really cool

1597
01:18:38,159 --> 01:18:39,960
and it gives it like for a doom record, I

1598
01:18:39,960 --> 01:18:42,039
actually think this is really accessible. I think this is

1599
01:18:42,479 --> 01:18:47,279
very yeah, like totally kind of like again I'm again

1600
01:18:47,479 --> 01:18:48,960
more and more doom. I'm coming up too, But this

1601
01:18:49,000 --> 01:18:50,760
was when I was like, yeah, I did not feel

1602
01:18:50,960 --> 01:18:52,399
sort of held back at all, but this I was like,

1603
01:18:52,439 --> 01:18:59,359
this is I mean, noise amazingly like but like it again,

1604
01:18:59,399 --> 01:19:02,399
it catches like the sort of Ladies comparaison, but like

1605
01:19:02,439 --> 01:19:05,399
the Sabbath thing of like these like pop metal songs,

1606
01:19:05,920 --> 01:19:08,119
but again they're they are really inch cut and layered

1607
01:19:08,119 --> 01:19:10,399
and full of so many interesting ideas, and it does

1608
01:19:10,479 --> 01:19:14,039
end with this like grand outro that mirrors you know,

1609
01:19:14,119 --> 01:19:17,159
the start of the record and SIGs that's gonna bewhere

1610
01:19:17,199 --> 01:19:19,880
and it's something like just weirdly joyous about the whole thing.

1611
01:19:20,319 --> 01:19:23,119
Speaker 1: Yeah, you know, obviously totally different sounding bands, but like

1612
01:19:23,159 --> 01:19:25,720
both him and Alis in Chains right are bounds who

1613
01:19:25,760 --> 01:19:30,159
take that sabbathy thing into kind of their own realms

1614
01:19:30,239 --> 01:19:33,880
of sort of you know, melodic magic, I guess, and

1615
01:19:33,960 --> 01:19:37,760
are both you know, really quite accessible, you know, really

1616
01:19:37,760 --> 01:19:41,520
successful obviously bands. And you know that's not to say

1617
01:19:41,520 --> 01:19:44,560
that this is immediately a band punching in those realms,

1618
01:19:44,560 --> 01:19:46,079
but like that's the sort of lineage that this is

1619
01:19:46,119 --> 01:19:48,199
kind of going in. So like this is, yeah, if

1620
01:19:48,199 --> 01:19:50,600
you are a fan of those or if you are

1621
01:19:50,640 --> 01:19:52,880
a fan of just like the Meat Riff, you know

1622
01:19:53,039 --> 01:19:54,640
you've got to get on this one because I think

1623
01:19:54,680 --> 01:19:55,960
this is one of the records that would most you know,

1624
01:19:56,000 --> 01:19:59,199
appeal to that sensibility. This year, so Blood Vulture with

1625
01:19:59,279 --> 01:20:02,760
Die Close Day record following on from Blood Vulture. Like

1626
01:20:02,800 --> 01:20:04,960
I said, this month, we really trying to kind of

1627
01:20:04,960 --> 01:20:08,439
put our focus on, you know, new, not yet fully

1628
01:20:08,520 --> 01:20:11,680
established bands. We've got a few debut LPs here following

1629
01:20:11,680 --> 01:20:14,000
on from Blood Vulture. And it's quite nice actually to

1630
01:20:14,039 --> 01:20:16,159
do this for reviews, I found because I found myself

1631
01:20:16,199 --> 01:20:20,960
writing so much less like pre existing context to go

1632
01:20:21,039 --> 01:20:23,159
through for all these and I just got to go like,

1633
01:20:23,159 --> 01:20:24,640
what does this sound like? You know? Is this good?

1634
01:20:24,720 --> 01:20:26,720
And we are for the whole rest of the show

1635
01:20:26,760 --> 01:20:31,199
basically reviewing bands who we've never reviewed before. One who

1636
01:20:31,199 --> 01:20:33,079
have been maybe guarding a bit of buzz, and you

1637
01:20:33,159 --> 01:20:34,600
may have heard the name a little bit more visibly

1638
01:20:34,640 --> 01:20:37,239
than others, are a band called Psycho Frame and their

1639
01:20:37,279 --> 01:20:41,159
album is out today as well, called Salvation Laughs in

1640
01:20:41,199 --> 01:20:43,960
the Face of a Grieving Mother, which is very fucking intense,

1641
01:20:44,000 --> 01:20:46,520
isn't it. We've had a bit of a few options

1642
01:20:46,600 --> 01:20:50,359
for like a death cord choice lately, because the death

1643
01:20:50,399 --> 01:20:52,960
cored trend for you know a few years has been

1644
01:20:53,000 --> 01:20:56,960
the kind of post lawn ashore massively you know, flamboyant,

1645
01:20:57,239 --> 01:21:01,920
quite squeakily, cleanly produced and of death Corps. But in

1646
01:21:01,960 --> 01:21:04,520
the past couple of months we've seen you know, quite

1647
01:21:04,560 --> 01:21:07,720
a few bands coming through kind of taking a claim,

1648
01:21:08,199 --> 01:21:12,279
swinging back towards a more like two thousand's MySpace style

1649
01:21:12,399 --> 01:21:14,960
of death court as well, essentially like the death core

1650
01:21:15,000 --> 01:21:18,000
world answer to the like two thousand throwback metalcore bands

1651
01:21:18,000 --> 01:21:20,199
that we've had in the hardcore underground for a few years.

1652
01:21:20,279 --> 01:21:22,479
So just in the past few weeks we've had thus

1653
01:21:22,520 --> 01:21:25,840
spoke Varathustra. Another option for this review space was a

1654
01:21:25,840 --> 01:21:28,239
band called The Killing of a Sacred Deer who released

1655
01:21:28,239 --> 01:21:30,239
like a seventeen minute record or something in the other

1656
01:21:30,239 --> 01:21:34,399
week of just like slopper evil deathcore. Yeah, and the

1657
01:21:34,399 --> 01:21:37,079
one who have kind of been maybe poking their head

1658
01:21:37,079 --> 01:21:40,399
into the most spaces is this band's Psycho Frame. Sam.

1659
01:21:40,479 --> 01:21:42,840
When we were talking about like, you know, through those

1660
01:21:43,279 --> 01:21:44,880
you said that this band is the one that you

1661
01:21:45,039 --> 01:21:47,600
had been like keeping some tabs on where you know

1662
01:21:47,600 --> 01:21:49,359
where where Psycho Gap Frame come from. Where they come

1663
01:21:49,359 --> 01:21:50,840
into your realm of lineage.

1664
01:21:51,920 --> 01:21:55,319
Speaker 3: They popped up one day with this like EP, and

1665
01:21:55,319 --> 01:21:57,800
Itone's like, yo, this is a Death Go bad and

1666
01:21:57,840 --> 01:22:01,479
again they really to be like hardcore circles was with

1667
01:22:01,520 --> 01:22:03,319
the immediate thing I kind of found interesting to know

1668
01:22:03,359 --> 01:22:05,239
straight away, I was like, it's been a while since

1669
01:22:05,279 --> 01:22:08,439
like a death core band has been heavily touted as

1670
01:22:09,359 --> 01:22:11,439
this is something you've got to get on in hardcoresees

1671
01:22:11,479 --> 01:22:15,399
because Death had become so far removed from the hardcore

1672
01:22:15,439 --> 01:22:18,399
side of things, as you say, because of the symphonic,

1673
01:22:18,800 --> 01:22:22,000
very highly produced nor the source sort of thing. So

1674
01:22:22,159 --> 01:22:24,560
I was kind of immediately kind of had my interests

1675
01:22:24,600 --> 01:22:27,439
peaked by that. And then the you know power couple

1676
01:22:27,520 --> 01:22:31,159
like singles and EPs. The art work was very like striking,

1677
01:22:31,199 --> 01:22:33,840
and I was like, oh, yeah, cool, this is like

1678
01:22:34,319 --> 01:22:38,159
as throwback manchers get while still sounding like really current

1679
01:22:38,239 --> 01:22:40,000
and like cutting edge at the same time. It kind

1680
01:22:40,000 --> 01:22:42,680
of that was striking the sort of balance between being

1681
01:22:42,720 --> 01:22:46,960
a throwback thing but also not being total nosalgabetic and

1682
01:22:47,000 --> 01:22:50,000
sort of trying to have some kind of modern element

1683
01:22:50,039 --> 01:22:51,680
to it, which kind of made it like quite interesting.

1684
01:22:51,760 --> 01:22:53,880
But I was kind I was like, right, cool, I'm

1685
01:22:53,920 --> 01:22:57,039
into these epis singles bring on the Fall length.

1686
01:22:56,880 --> 01:22:58,640
Speaker 2: I want to see what you know, what you've got?

1687
01:22:58,680 --> 01:23:00,199
And they have you been making waves?

1688
01:23:00,199 --> 01:23:02,560
Speaker 3: Theyre obviously they're opening the Malevolence tour that's coming up,

1689
01:23:02,680 --> 01:23:05,960
so like that, they're they're, they're, they're they're a prosper

1690
01:23:06,039 --> 01:23:07,479
that people have been like keeping an eye on.

1691
01:23:07,800 --> 01:23:10,399
Speaker 1: Yeah, you know, this one's on Sharp Turn Records, where

1692
01:23:10,439 --> 01:23:12,479
like a lot of the newer metal core and hardcore

1693
01:23:12,520 --> 01:23:14,680
stuff that's kind of making you know, waves does come

1694
01:23:14,680 --> 01:23:17,039
out from rather than again, some of these other ones

1695
01:23:17,039 --> 01:23:19,560
are maybe more sort of independent releases or whatever. So

1696
01:23:19,600 --> 01:23:21,880
the impression that I get is that Psycho Frame are

1697
01:23:22,640 --> 01:23:26,039
maybe the most ready of like this particular crop of

1698
01:23:26,119 --> 01:23:29,279
bands to try and sort of stage a breakout. You know,

1699
01:23:29,279 --> 01:23:32,039
like if you are wanting just some pure disgusting noise

1700
01:23:32,079 --> 01:23:33,560
of this type, you can go to like the Killing

1701
01:23:33,600 --> 01:23:36,319
of a Sacred Deer record or something, but Psycho Frame

1702
01:23:36,439 --> 01:23:38,520
are again, they're the one that you are currently seeing

1703
01:23:38,600 --> 01:23:40,720
popping up opening bills and stuff like that on some

1704
01:23:40,760 --> 01:23:42,880
of these larger you know, death core medical shows and

1705
01:23:43,760 --> 01:23:46,319
death cor is a funny old thing because like I

1706
01:23:46,560 --> 01:23:49,640
like Lorna Shore and I love you know, great symphonic

1707
01:23:49,760 --> 01:23:52,199
extreme metals. So death core going that way has produced

1708
01:23:52,199 --> 01:23:54,479
some stuff that I think is cool, but it's also

1709
01:23:55,279 --> 01:23:59,119
become sanitized very quickly. And the death core where my

1710
01:23:59,199 --> 01:24:02,640
heart lies is the stuff that I loved in the

1711
01:24:02,720 --> 01:24:05,239
late two thousands and early twenty tens. So I think

1712
01:24:05,239 --> 01:24:07,640
it's a good thing that some bands are like kind

1713
01:24:07,680 --> 01:24:10,640
of recognizing that and trying to recapture some of that

1714
01:24:10,760 --> 01:24:13,199
violence that made it special that's maybe been lost along

1715
01:24:13,199 --> 01:24:15,640
the way. On the flip side, there are a lot

1716
01:24:15,720 --> 01:24:18,359
of mediocre bands or copying Ea Chess's homework back then,

1717
01:24:18,720 --> 01:24:22,560
and not everybody was gonna be Suicide Silence or Whitechapel

1718
01:24:22,920 --> 01:24:26,000
or or Shall Perish. So a movement of bands, you know,

1719
01:24:26,119 --> 01:24:29,279
just sort of following that is not necessarily any more

1720
01:24:29,319 --> 01:24:32,600
creatively fruitful than a flood of bands or trying to

1721
01:24:32,600 --> 01:24:34,520
do poison the well, you know, a fraction as well.

1722
01:24:35,079 --> 01:24:37,680
So I like the vibe of these bands. I have

1723
01:24:37,880 --> 01:24:41,159
yet to find a sort of MySpace style deathcore band

1724
01:24:41,239 --> 01:24:44,640
in the twenty twenties that I have really attached onto,

1725
01:24:44,800 --> 01:24:47,800
and like, I feel, do it as well as the

1726
01:24:47,800 --> 01:24:51,079
classic stuff that I love. But Psycho Frame, you know,

1727
01:24:51,399 --> 01:24:52,960
do it about as well as most of them to

1728
01:24:53,000 --> 01:24:53,359
have tried.

1729
01:24:54,640 --> 01:24:55,520
Speaker 2: Yeah, I think that's fair.

1730
01:24:55,600 --> 01:24:59,000
Speaker 3: I mean I did laugh my head off when this

1731
01:24:59,039 --> 01:25:01,119
album in twenty seven and you've had this like big

1732
01:25:01,119 --> 01:25:04,760
gut roll, a pig squill, a sample gunch and a

1733
01:25:04,800 --> 01:25:07,039
blaste it all hitting. You've been like say twenty seconds

1734
01:25:07,039 --> 01:25:09,680
of him playing on this record. I was kind of like, cool,

1735
01:25:09,760 --> 01:25:11,880
you're you're doing it all. You're not, just like you

1736
01:25:11,960 --> 01:25:14,800
are doing everything that is deaf core.

1737
01:25:16,439 --> 01:25:18,319
Speaker 1: Is probably the biggest hook on the record, Like the

1738
01:25:18,359 --> 01:25:21,279
opening just anvil drops and then guttural breeze and then

1739
01:25:21,439 --> 01:25:23,840
breaking up for do a heavier attention boy, Like that's

1740
01:25:23,880 --> 01:25:29,000
the moment on the record, Like that was.

1741
01:25:29,000 --> 01:25:30,600
Speaker 3: I was just like, yeah, cool, you're you're throwing it

1742
01:25:30,640 --> 01:25:31,880
all in there. It's a it's a head of a

1743
01:25:31,880 --> 01:25:35,359
way to make an impact. I do like this a lot.

1744
01:25:35,439 --> 01:25:39,199
I do agree it's maybe not like a revolutionary game

1745
01:25:39,239 --> 01:25:42,279
thing that's gonna save death core, but I just got

1746
01:25:42,279 --> 01:25:44,760
to kick out of how nasty and violent this sounded,

1747
01:25:44,800 --> 01:25:48,840
and again just frequently hilarious of how how obnoxious it is,

1748
01:25:48,880 --> 01:25:50,880
like again just scheckless of everything.

1749
01:25:50,880 --> 01:25:51,119
Speaker 1: You know.

1750
01:25:51,560 --> 01:25:54,359
Speaker 3: There's there's occasional genty rifts there's sub drops. There is

1751
01:25:54,399 --> 01:25:56,079
you know, a kind of a sort of almost a

1752
01:25:56,199 --> 01:25:57,199
slightly spoken a bit.

1753
01:25:57,159 --> 01:25:57,920
Speaker 2: Going into a scream.

1754
01:25:57,920 --> 01:26:02,079
Speaker 3: There were just these rapid jackhammer drum blast is got

1755
01:26:02,119 --> 01:26:04,199
it all. It's got all the beatdowns, all the kind

1756
01:26:04,199 --> 01:26:06,600
of like discordant, panicky.

1757
01:26:06,239 --> 01:26:08,319
Speaker 2: Sort of riffs. There was a thing like we're just

1758
01:26:08,359 --> 01:26:11,399
gonna do it all and like turn it into maybe

1759
01:26:12,039 --> 01:26:13,680
things that almost resemble songs.

1760
01:26:13,720 --> 01:26:17,359
Speaker 3: I think, you know, having that's that's probably the biggest credit,

1761
01:26:17,399 --> 01:26:20,039
and you're gonna lovel it this is. There aren't the

1762
01:26:20,039 --> 01:26:23,760
most distinct memorable songs yet, but as of just so

1763
01:26:24,000 --> 01:26:26,159
pure sonic thrill. I do have a lot of fun

1764
01:26:26,199 --> 01:26:27,479
with this record.

1765
01:26:27,800 --> 01:26:30,279
Speaker 1: I mean it has tin Can snare for a start,

1766
01:26:30,279 --> 01:26:33,359
which is evidence as ever that people do accept Saint

1767
01:26:33,439 --> 01:26:36,239
Anger if the music is discussing Moss music like Lars

1768
01:26:36,359 --> 01:26:38,119
was ahead of the tide and they've been the runs

1769
01:26:38,159 --> 01:26:41,680
around things, but people love it here. There's also got

1770
01:26:41,840 --> 01:26:43,960
elements though of that kind of newer, you know, sharp

1771
01:26:44,039 --> 01:26:48,199
tone production that is you know, obviously it's very very

1772
01:26:48,239 --> 01:26:50,560
maxed out. It's very overwhelming, but also has some subtle

1773
01:26:50,600 --> 01:26:53,960
moments of kind of ingenuity. I suppose there are parts

1774
01:26:54,000 --> 01:26:57,520
when the guitars just like kind of test the waters

1775
01:26:57,560 --> 01:26:59,760
a little bit with their limbs into that kind of

1776
01:26:59,800 --> 01:27:03,119
like laser gun, you know, pp sort of territory. The

1777
01:27:03,439 --> 01:27:06,760
blueprints for Idle Genocide breakdown. Two minutes in there's a

1778
01:27:06,760 --> 01:27:09,359
tiny little transition that almost sounds like a DJ winding

1779
01:27:09,359 --> 01:27:12,199
it back, you know, like the tiny little moments like that, there's.

1780
01:27:12,720 --> 01:27:15,319
Speaker 3: Manipulation and like they play around with the layering and

1781
01:27:15,359 --> 01:27:17,079
stuff like that. Again, that's why I say like the

1782
01:27:17,119 --> 01:27:19,880
modern sort of touches come into a raging yeah, just

1783
01:27:20,039 --> 01:27:21,079
pure nostalgia bait.

1784
01:27:21,560 --> 01:27:26,319
Speaker 1: It's not like like like brand of sacrifice level electronic integration,

1785
01:27:26,439 --> 01:27:29,279
which makes them, for example, a thoroughly modern could not

1786
01:27:29,319 --> 01:27:31,680
be around in the two thousands death core band. But

1787
01:27:31,720 --> 01:27:34,520
it's it's got like a taste of these more contemporary

1788
01:27:34,560 --> 01:27:37,239
kind of techniques on top of a general engine which

1789
01:27:37,279 --> 01:27:39,119
is pretty old school. I think. You know, you can

1790
01:27:39,159 --> 01:27:41,640
tell that these guys listen to like the Infinite Death

1791
01:27:41,680 --> 01:27:45,760
EP more than post hate Viator's Murder, but they also

1792
01:27:45,800 --> 01:27:49,279
have that modern, souped up kind of you know, futuristic

1793
01:27:49,399 --> 01:27:51,680
production sound at times sort of on top of that,

1794
01:27:52,399 --> 01:27:54,159
which was an interesting thing I guess to get my

1795
01:27:54,199 --> 01:27:56,479
heads around with in terms of like you know what

1796
01:27:57,079 --> 01:28:00,239
school of death core, I guess this belongs to, Yeah, like.

1797
01:28:00,239 --> 01:28:02,520
Speaker 3: Black Wave twos or somewhere like that has that real

1798
01:28:02,600 --> 01:28:05,119
kind of like heavily producing, but then it also feels

1799
01:28:05,159 --> 01:28:07,279
like it's got, you know, a drum machine going at

1800
01:28:07,279 --> 01:28:08,439
a million miles an hour.

1801
01:28:08,560 --> 01:28:12,000
Speaker 2: To sort of make it seem like, you know, moving.

1802
01:28:11,760 --> 01:28:13,880
Speaker 3: From about to like like internt an Nilo and the

1803
01:28:14,000 --> 01:28:15,760
daftest of like that early death cord.

1804
01:28:15,800 --> 01:28:17,000
Speaker 2: There is stuff.

1805
01:28:17,079 --> 01:28:19,159
Speaker 1: I'm so glad you brought them up as well.

1806
01:28:19,479 --> 01:28:21,159
Speaker 3: Like, but there was stuff in this that does sound

1807
01:28:21,319 --> 01:28:24,159
like that school of just like how can we be

1808
01:28:24,239 --> 01:28:26,279
the most obnoxious discussing everything there?

1809
01:28:26,479 --> 01:28:26,960
Speaker 2: And it just.

1810
01:28:26,920 --> 01:28:31,640
Speaker 3: Blends it with like kind of modern like production things,

1811
01:28:31,920 --> 01:28:33,600
and it just it feels like it's all in an

1812
01:28:33,600 --> 01:28:36,920
effort to push the just sheer extremity of it, where again,

1813
01:28:36,960 --> 01:28:38,800
I think the modern production is kind of used to

1814
01:28:38,840 --> 01:28:42,119
make it sound more extreme and frightening at times where

1815
01:28:42,119 --> 01:28:44,159
it's kind of distorting things and making it sound like

1816
01:28:45,039 --> 01:28:47,199
kind of horror influence and unsettling.

1817
01:28:48,039 --> 01:28:50,439
Speaker 1: Yeah, Like it was the double bass at the start

1818
01:28:50,479 --> 01:28:53,640
of the portal, which has like the lead guitar racing

1819
01:28:53,680 --> 01:28:55,359
over it as well, which I thought was just like

1820
01:28:55,520 --> 01:28:57,840
speaker breaking, and like there are moments of these like

1821
01:28:57,880 --> 01:29:01,520
more sort of techy, nudely weirdly weirdly guitars which are

1822
01:29:02,159 --> 01:29:04,960
sort of charmingly nostalgic at this stage, even though lots

1823
01:29:04,960 --> 01:29:06,840
of them were nonsense at the time. And I think

1824
01:29:07,239 --> 01:29:10,760
again Apocalypse through Life Serenergy procession, when they combine that

1825
01:29:10,800 --> 01:29:14,039
with the blast, it does tip over into kind of

1826
01:29:14,039 --> 01:29:16,439
infot annihilated territory. And you know, we had an album

1827
01:29:16,479 --> 01:29:19,960
club some years ago where we went over how absurd

1828
01:29:20,079 --> 01:29:24,560
that was as a moment. Inverted Spear of Heaven has

1829
01:29:24,560 --> 01:29:26,479
like a bit of a maybe slightly more moshy slip

1830
01:29:26,560 --> 01:29:29,720
knock feel, which put its like very slightly closer to

1831
01:29:30,000 --> 01:29:33,039
the other really big contemporary mainstream deathcore band that we

1832
01:29:33,039 --> 01:29:35,159
haven't mentioned, but if it was like less obsessed with

1833
01:29:35,239 --> 01:29:38,359
bears and conservative family values and actually a lot more

1834
01:29:38,399 --> 01:29:40,119
demonic as well, because this has like little bits of

1835
01:29:40,199 --> 01:29:42,920
like dbeat parts and stuff as well where it's sort of.

1836
01:29:42,880 --> 01:29:44,840
Speaker 2: Hit on the album I'd say is Inverted Spirit of Heaven.

1837
01:29:45,600 --> 01:29:47,199
Speaker 1: Yeah, you know, it just sort of flies off the handle,

1838
01:29:47,199 --> 01:29:48,800
but it's a lot of that tempo changes and sort

1839
01:29:48,800 --> 01:29:52,199
of new you know, battery parts into just over three

1840
01:29:52,239 --> 01:29:55,600
minutes the parts when it did, you know, sort of

1841
01:29:55,600 --> 01:29:58,319
wind the clock back. Like Black Wave two has a

1842
01:29:58,359 --> 01:30:01,560
sort of like thrashy, rampage, aging death metal tempo that

1843
01:30:01,600 --> 01:30:03,640
I used to like about like two thousand and seven

1844
01:30:03,720 --> 01:30:06,640
death Cores that kind of got lost along the way somewhere.

1845
01:30:07,000 --> 01:30:09,399
And there's one groove probably my favorite single moment on

1846
01:30:09,399 --> 01:30:11,800
the record and my favorite riff. There's one groove thirty

1847
01:30:11,800 --> 01:30:15,680
seconds into endless agonal devotion that so specifically took me

1848
01:30:15,760 --> 01:30:18,079
back to that kind of sensation that I couldn't help

1849
01:30:18,119 --> 01:30:20,439
but kind of grin and bob my head a little bit.

1850
01:30:20,560 --> 01:30:24,800
There's absurd fucking like frog gurgling, breeze and shit all

1851
01:30:24,800 --> 01:30:27,720
over the record, filleted and fucked particular. It is like

1852
01:30:27,760 --> 01:30:30,600
welcome back two thousand and nine, ingested I missed you.

1853
01:30:32,039 --> 01:30:33,760
Speaker 2: It's at the end of the portal.

1854
01:30:34,600 --> 01:30:36,960
Speaker 3: There's like the pig squirrell beat and then full on despised,

1855
01:30:36,960 --> 01:30:43,640
I like, I've missed that. It is such a daft sound,

1856
01:30:43,640 --> 01:30:47,479
but it is just again weirdly comforting. All these kind

1857
01:30:47,520 --> 01:30:50,960
of like little touches that like have been lost to

1858
01:30:51,079 --> 01:30:52,760
time and it's nice to have him back here.

1859
01:30:53,079 --> 01:30:54,920
Speaker 1: Yeah, I think you know, part of the again, the

1860
01:30:54,920 --> 01:30:57,920
fetishization of that, Like I said, maybe infinite death over

1861
01:30:57,920 --> 01:31:02,920
the hate or whatever. But with this very again souped up,

1862
01:31:03,399 --> 01:31:07,000
I would say maybe slightly more ear exhausting than how

1863
01:31:07,119 --> 01:31:10,399
the the rawer way this stuff used to be produced.

1864
01:31:10,920 --> 01:31:12,880
There is very little the way of hooks, you know which,

1865
01:31:12,920 --> 01:31:16,800
which Yeah, again, those best bands, even on their earlier releases,

1866
01:31:16,840 --> 01:31:19,279
right you look at the Somatic Defilement or the Cleansing,

1867
01:31:20,119 --> 01:31:22,800
they had some hooks even at those bands most like

1868
01:31:22,920 --> 01:31:26,399
volatile stages, and this band they've not written their like

1869
01:31:26,479 --> 01:31:30,920
prostatic fluid association. Yeah, there's there might be a moment

1870
01:31:30,960 --> 01:31:33,000
in I think endless agonal devotion where I think he

1871
01:31:33,159 --> 01:31:35,600
just goes get fucked, which if I've heard that correct,

1872
01:31:35,800 --> 01:31:38,680
it would be good. I'm still at the stage where

1873
01:31:38,720 --> 01:31:40,560
I may never listen to this again because I do

1874
01:31:40,640 --> 01:31:44,239
I get slight infant annihilateor syndrome more than I feel

1875
01:31:44,239 --> 01:31:46,159
it living up to the records I actually think are

1876
01:31:46,319 --> 01:31:50,239
classics of this scene. But sonically it's very heavy and

1877
01:31:50,319 --> 01:31:53,600
it's very explosive, and they're probably well obnoxious live.

1878
01:31:54,680 --> 01:31:56,760
Speaker 3: Yeah, I want to see this live because I want

1879
01:31:56,800 --> 01:32:00,239
to see again how they recreate the most like out

1880
01:32:00,279 --> 01:32:03,840
there obnoxious moments on there and again. This is not

1881
01:32:03,840 --> 01:32:05,600
filled the potential that i'd hope star from ye, but

1882
01:32:05,640 --> 01:32:07,840
I do just think it's a very enjoyable listen for

1883
01:32:07,880 --> 01:32:09,760
me where I can just go of like sit there

1884
01:32:09,760 --> 01:32:11,560
and just gonna go like, yeah, just just play all

1885
01:32:11,600 --> 01:32:13,199
the loud noises. Let me, let me just get a

1886
01:32:13,239 --> 01:32:16,319
little bit of that like sonic feel from again hearing

1887
01:32:16,359 --> 01:32:18,439
death course sound, this kind of blood soaked again.

1888
01:32:19,319 --> 01:32:20,800
Speaker 2: It is a rare treat these days.

1889
01:32:21,239 --> 01:32:23,960
Speaker 1: Yeah, well, if you want some noises, maybe our next

1890
01:32:23,960 --> 01:32:26,319
album will also fix you up with those. Because our

1891
01:32:26,359 --> 01:32:29,359
next review comes from a bat called Blind Equation, who

1892
01:32:29,399 --> 01:32:32,960
released an album last week called a Funeral in Purgatory.

1893
01:32:33,000 --> 01:32:35,279
This is actually the third Blind Equation album. I think

1894
01:32:35,279 --> 01:32:37,880
I'm right in sane. I think I remember their previous album,

1895
01:32:37,920 --> 01:32:39,920
Death of Weights coming out and having it in hyperblast

1896
01:32:40,000 --> 01:32:42,359
one week. But it does seem like this one has

1897
01:32:43,079 --> 01:32:45,800
spread out a bit more since its release last week. This,

1898
01:32:46,000 --> 01:32:47,880
I think is the most people have really begun to

1899
01:32:48,199 --> 01:32:50,439
pick up on them. I thought this would be quite

1900
01:32:50,479 --> 01:32:53,439
interesting to do. It's something that you know, both you

1901
01:32:53,479 --> 01:32:56,239
and I Sam could maybe appreciate from some like slightly

1902
01:32:56,239 --> 01:33:00,359
different perspectives. The album art is basically like your sort

1903
01:33:00,359 --> 01:33:04,039
of you know, risk meets Razor style, Naughty's emotional MySpace

1904
01:33:04,079 --> 01:33:07,600
metal core thing meets anime and it looks like it's

1905
01:33:07,640 --> 01:33:11,039
a weeb downloading anime off the internet in the mid

1906
01:33:11,039 --> 01:33:15,359
two thousand's album cover and musically in some you know,

1907
01:33:15,520 --> 01:33:18,600
inventive ways, but it really quite unmatches that image as well.

1908
01:33:20,439 --> 01:33:23,800
Speaker 3: I this is been one of those things in Tybego listeners.

1909
01:33:23,880 --> 01:33:26,000
I have no idea how parents are going to be

1910
01:33:27,319 --> 01:33:29,560
out there. I mean, welcome back to the Bunny and

1911
01:33:29,600 --> 01:33:30,239
the Bear.

1912
01:33:32,600 --> 01:33:32,920
Speaker 1: Like it.

1913
01:33:33,239 --> 01:33:36,239
Speaker 2: It's like something but like this is one of the

1914
01:33:36,279 --> 01:33:36,800
most kind of.

1915
01:33:36,800 --> 01:33:43,000
Speaker 3: Like garish, unwieldy, kind of frequently hilarious, kind of fascinating.

1916
01:33:44,079 --> 01:33:47,119
But I kind of really like sort of like takes

1917
01:33:47,159 --> 01:33:51,039
on metalcore that is like really refreshing. Again it is

1918
01:33:51,399 --> 01:33:53,880
do you like MySpace here music? Well, this is you know,

1919
01:33:54,000 --> 01:33:55,640
the corner of the Internet for you right now.

1920
01:33:56,199 --> 01:33:58,279
Speaker 1: Yeah, I think there's actually more to it than that.

1921
01:33:58,359 --> 01:34:01,479
I thought. I hope that you would like this. I

1922
01:34:01,479 --> 01:34:05,039
imagine it would maybe connect to some deep dark part

1923
01:34:05,039 --> 01:34:07,720
of your brain that there's a lot of music to

1924
01:34:07,760 --> 01:34:10,479
process in this, like not especially long record because you know,

1925
01:34:10,520 --> 01:34:12,279
you say, you know MySpace and all that stuff. But

1926
01:34:12,439 --> 01:34:15,680
I also think that the closest genre descriptor to this

1927
01:34:16,159 --> 01:34:20,760
would be cybergrind, you know, like it's a really fucking

1928
01:34:21,039 --> 01:34:26,239
full on, fast, musically explosive at the seems, you know,

1929
01:34:26,479 --> 01:34:30,880
but it's not a agrophobic, nosebleed style like ott you know,

1930
01:34:31,119 --> 01:34:34,560
headache or the you know, early genghist tron maybe slightly

1931
01:34:34,560 --> 01:34:36,279
more art house take on what that word is. This

1932
01:34:36,439 --> 01:34:40,119
is like a very you know, online culture, y two

1933
01:34:40,239 --> 01:34:46,560
K flashback video games soundtracks, chip Chune, you know, DG hardcore.

1934
01:34:46,720 --> 01:34:48,359
Maybe I think you can compare it to things like

1935
01:34:48,399 --> 01:34:50,600
you know, Igor or like Machine Girl and all of

1936
01:34:50,600 --> 01:34:52,680
that realm of just like really like head fucky type stuff.

1937
01:34:53,960 --> 01:34:55,119
Speaker 2: It was like a reference pot.

1938
01:34:55,119 --> 01:34:56,600
Speaker 3: I definitely sort of picked on this of just that

1939
01:34:56,680 --> 01:35:01,479
kind of like terminally online kind of hyper pop leaning

1940
01:35:01,760 --> 01:35:03,600
alternati music where it's not quite hype hoop, but there's

1941
01:35:03,600 --> 01:35:07,199
a definite element of that I've come for, like Castlevania

1942
01:35:07,239 --> 01:35:09,840
metalcore up points, because there are like again the video

1943
01:35:09,880 --> 01:35:13,439
game soundtracks for that. Really it's like the Nintendo DS

1944
01:35:13,439 --> 01:35:16,760
Castlevania games, like that is the sort of specific element

1945
01:35:16,800 --> 01:35:18,920
of the sound like they're leaning for on that which

1946
01:35:19,399 --> 01:35:20,560
I used to recall again.

1947
01:35:20,840 --> 01:35:22,600
Speaker 2: Either this is now me rather gonna love Aye.

1948
01:35:22,920 --> 01:35:25,479
Speaker 3: I do like it's just landed just on the right

1949
01:35:25,520 --> 01:35:28,640
side of ridiculous for me, where I've had so much

1950
01:35:28,640 --> 01:35:31,000
fun with this despite kind of like frequently being like

1951
01:35:31,600 --> 01:35:33,840
this is silly, isn't it? This is daft? But like

1952
01:35:33,920 --> 01:35:36,439
I'm always just thoroughly entertained by this.

1953
01:35:36,359 --> 01:35:40,000
Speaker 1: Record emotionally though, Like I also I get some similar

1954
01:35:40,079 --> 01:35:43,479
vibes off of like the the last Pupil Slicer album Blossom,

1955
01:35:43,640 --> 01:35:46,239
which I think is a more you know, organic band

1956
01:35:46,279 --> 01:35:48,279
record than this, which is saying something because that's very

1957
01:35:48,319 --> 01:35:50,439
like electronically pimented in its own way, you know. But

1958
01:35:50,920 --> 01:35:54,119
that like for as you know, garish and all these

1959
01:35:54,119 --> 01:35:56,680
things you're saying, this is it has that like I

1960
01:35:56,720 --> 01:35:59,680
am a digital spirit trapped within the kind of ghostly

1961
01:35:59,720 --> 01:36:03,039
realm of the Internet of you know, anime forums in

1962
01:36:03,039 --> 01:36:07,119
two thousand and six type music that does it does

1963
01:36:07,119 --> 01:36:09,399
intrigue me because I got emailed this a while ago,

1964
01:36:09,479 --> 01:36:11,159
and I was intrigued straight away when I saw the

1965
01:36:11,199 --> 01:36:15,279
press release site, both Corn and Seminole DSBN band Life Lover,

1966
01:36:15,720 --> 01:36:18,319
and I was like, Okay, they're cooking something here, you know,

1967
01:36:18,479 --> 01:36:21,840
and there is that kind of you know, dejected misery

1968
01:36:21,880 --> 01:36:24,000
about it. I think I'm right in saying that the

1969
01:36:24,039 --> 01:36:27,319
guy tweeted out there's no guitars on this album, like

1970
01:36:27,359 --> 01:36:30,039
I guess, it's all just samples and electronics and stuff,

1971
01:36:30,119 --> 01:36:34,199
but it still behaves like grind or hardcore. The very

1972
01:36:34,239 --> 01:36:38,279
first sound you hear is like hyper aggressive program blast beats,

1973
01:36:38,600 --> 01:36:42,560
but alongside it, rather than a metal riff, it's a

1974
01:36:42,680 --> 01:36:46,039
really like beautiful, flourishing video game synth melody. It's like

1975
01:36:46,079 --> 01:36:49,119
you've put agrophobic Nosebleed's drum machine into the legend of Zelda.

1976
01:36:50,680 --> 01:36:54,359
Speaker 2: Yeah, it's gonna like because those things is when.

1977
01:36:53,880 --> 01:36:56,279
Speaker 3: It goes hard, it is really hard and at it

1978
01:36:56,319 --> 01:37:00,239
like this feels like a very metallic leaning record. It's

1979
01:37:00,239 --> 01:37:04,439
not like sort of soften, but like, is that kind

1980
01:37:04,439 --> 01:37:08,520
of playing against these like synth melodies that are occasionally

1981
01:37:08,640 --> 01:37:11,359
like really like uplifting and sort of soaring and other

1982
01:37:11,359 --> 01:37:14,960
times hilariously garriss But it's always of like colliding with it.

1983
01:37:15,000 --> 01:37:18,800
That is again initially a bit of a head fuck

1984
01:37:18,840 --> 01:37:20,720
to listen to, and I think it's funny how like

1985
01:37:20,720 --> 01:37:22,439
the simps, I don't want to say they're cheap, but

1986
01:37:22,439 --> 01:37:24,439
they're you know, they're not like the most high text

1987
01:37:24,479 --> 01:37:25,199
sort of something simps.

1988
01:37:25,199 --> 01:37:26,039
Speaker 2: They are of an era.

1989
01:37:26,600 --> 01:37:28,920
Speaker 3: They are leaning into that sort of sound or like

1990
01:37:29,319 --> 01:37:32,239
something a little bit dated, I think deliberately. So it's

1991
01:37:32,359 --> 01:37:34,359
kind of like to sort of, yeah, conjure the sort

1992
01:37:34,359 --> 01:37:36,920
of thing they're doing, but it actually does work bizarrely.

1993
01:37:36,960 --> 01:37:40,439
Speaker 1: Well, there's a certain thing you get about like certain

1994
01:37:40,520 --> 01:37:42,920
kinds of pixel art I suppose of like you know,

1995
01:37:43,000 --> 01:37:45,359
late nineties or early two thousands video games that has

1996
01:37:45,399 --> 01:37:49,800
a kind of, I don't know, an intimate naivety compared

1997
01:37:49,880 --> 01:37:52,920
to like you know, just full blockbuster graphics games and

1998
01:37:52,960 --> 01:37:55,039
stuff that has you know, a different kind of emotional

1999
01:37:55,039 --> 01:37:57,279
element to it. And the music yeah matches that right,

2000
01:37:57,279 --> 01:38:00,439
And I agree, like the synth in this it never

2001
01:38:00,479 --> 01:38:03,000
goes symphonic in its texture it but it is like

2002
01:38:03,079 --> 01:38:06,520
it's really beautifully orchestrated, Like the melodies are really well

2003
01:38:06,560 --> 01:38:08,199
done and kind of they interact with each other in

2004
01:38:08,199 --> 01:38:12,760
compelling ways, but the sound is that like same kind

2005
01:38:12,840 --> 01:38:16,279
of emotional intimacy that you get from the like slightly

2006
01:38:16,600 --> 01:38:19,479
you know, lower five sounds of like Turn of the

2007
01:38:19,520 --> 01:38:23,199
Millennium video game sound trucks and stuff, And I really

2008
01:38:23,239 --> 01:38:25,399
like that about it. But then what you also get

2009
01:38:25,520 --> 01:38:28,439
it's halfway through that first song it goes into what

2010
01:38:28,479 --> 01:38:32,279
you could describe as like an emo crunk beat. When

2011
01:38:32,279 --> 01:38:34,800
it goes to that, it's like, oh, okay, we're really

2012
01:38:35,439 --> 01:38:35,840
the buddy in.

2013
01:38:35,800 --> 01:38:36,640
Speaker 2: The Bear comparison.

2014
01:38:36,800 --> 01:38:39,760
Speaker 3: Yeah, it has that kind of like texture to it,

2015
01:38:40,239 --> 01:38:43,000
and it is just like the screams are like the

2016
01:38:43,039 --> 01:38:45,439
most grounded part of this record at a lot of points,

2017
01:38:45,479 --> 01:38:47,039
because they're the most kind of like, oh, that's just

2018
01:38:47,039 --> 01:38:50,279
a typical screen vocal, because the clean vocals are really weird,

2019
01:38:50,399 --> 01:38:52,680
like the melodies that he saw comes out with, Like

2020
01:38:53,199 --> 01:38:55,800
the entire thing just has this kind of like weirdo,

2021
01:38:56,199 --> 01:38:59,119
dejected energy to it. It feels again that this feels

2022
01:38:59,159 --> 01:39:00,840
like kind of like an outside of our record.

2023
01:39:01,039 --> 01:39:01,279
Speaker 2: Yeah.

2024
01:39:01,319 --> 01:39:04,840
Speaker 1: I really like again those kind of you know, Turn

2025
01:39:04,840 --> 01:39:08,479
of the Millennium sort of chiptune style, but also actually

2026
01:39:08,720 --> 01:39:10,479
I think chiptune is one of those words where people

2027
01:39:10,479 --> 01:39:12,720
automatically like kind of assume a certain level of silliness

2028
01:39:12,800 --> 01:39:15,600
or novelty. Or whatever, but like done to act in

2029
01:39:15,600 --> 01:39:18,560
a you know, an emotionally kind of heartfelt way, and

2030
01:39:18,640 --> 01:39:20,000
some of like it feels like the end. You know,

2031
01:39:20,079 --> 01:39:22,920
those melodies are really like filling up space as they can.

2032
01:39:23,079 --> 01:39:25,960
And if you are someone who can find those melodies

2033
01:39:26,039 --> 01:39:28,520
kind of you know, affecting and sort of a motive

2034
01:39:28,560 --> 01:39:30,960
and a nostalgic out of body sort of capacity, there's

2035
01:39:30,960 --> 01:39:33,199
a lot of them here, but they're glued onto these

2036
01:39:33,239 --> 01:39:36,119
like veering from right to left head Fox. But the

2037
01:39:36,119 --> 01:39:39,840
thing I appreachi about this record is I didn't find

2038
01:39:39,880 --> 01:39:42,920
it mad to the point of like dissipating atmosphere. You know,

2039
01:39:43,680 --> 01:39:47,399
there is a quite vivid environment and specific tone that

2040
01:39:47,439 --> 01:39:49,359
I think this this, this gets you with, which is

2041
01:39:49,359 --> 01:39:51,359
why I compared it to like that Pupil slice of record,

2042
01:39:52,039 --> 01:39:55,720
because like the song of Funeral is at first very

2043
01:39:55,760 --> 01:39:57,720
slow to the point of almost feeling like a chiptune

2044
01:39:57,760 --> 01:39:59,840
doom metal song like that is a very you know,

2045
01:40:00,079 --> 01:40:03,880
save point in uh Dracula's Castle sort of moment of respite.

2046
01:40:04,560 --> 01:40:08,239
But because this record is very melodically led rather than

2047
01:40:08,279 --> 01:40:11,439
just kind of tenpestuous, I don't think it's actually as

2048
01:40:11,439 --> 01:40:13,479
hard to follow as you'd think even when it is

2049
01:40:13,520 --> 01:40:16,680
throwing in like mad rave parts and whatever else, there

2050
01:40:16,760 --> 01:40:19,079
is that kind of guiding hand to it. And when

2051
01:40:19,079 --> 01:40:21,960
you get the like absolute dizzying vomit of that songs,

2052
01:40:21,960 --> 01:40:25,399
then second part in Purgatory, it's really fucking at it.

2053
01:40:25,560 --> 01:40:28,760
But compared to like some other albums in this lane,

2054
01:40:29,399 --> 01:40:31,479
there's a there's a world and a tone here that

2055
01:40:31,560 --> 01:40:34,600
I can relate to. You know, that kind of melancholic

2056
01:40:35,520 --> 01:40:40,199
sad ghost within a cold digital realm atmosphere is really potent,

2057
01:40:40,239 --> 01:40:42,000
like and I know what this record is like trying

2058
01:40:42,039 --> 01:40:44,479
to get me to feel. Even as it veers from

2059
01:40:44,560 --> 01:40:45,199
place to place.

2060
01:40:45,960 --> 01:40:47,399
Speaker 3: I mean like as you get like near the back

2061
01:40:47,399 --> 01:40:48,880
of the record that something like Morn is one where

2062
01:40:49,039 --> 01:40:51,800
it does all kind of like come together on that track,

2063
01:40:51,840 --> 01:40:56,199
which is like because again it is like hyperactive at

2064
01:40:56,239 --> 01:40:58,119
times and kind of considering. But then you get to

2065
01:40:58,199 --> 01:41:00,880
like Mourn, where it does down and lets you sort

2066
01:41:00,880 --> 01:41:02,119
of take into it and set and you kind of

2067
01:41:02,159 --> 01:41:04,840
like everything that's come before it kind of like finds

2068
01:41:04,880 --> 01:41:08,600
its place and it's like right cool, I'm now like

2069
01:41:09,279 --> 01:41:14,039
centered in this kind of like really dark again, that

2070
01:41:14,119 --> 01:41:16,319
kind of like desolate online world, and that that's so

2071
01:41:16,520 --> 01:41:19,680
closing on the record of like Morning to Relinquish Dreams,

2072
01:41:19,680 --> 01:41:22,640
which is like almost like eight bit industrial at times,

2073
01:41:22,640 --> 01:41:25,079
were like the sort of like kind of mechanized thing

2074
01:41:25,159 --> 01:41:27,359
on like that again makes me think of like a

2075
01:41:27,479 --> 01:41:31,119
video game sort of level where it's like almost like

2076
01:41:31,359 --> 01:41:33,560
a Terminator game from the nineties on the snares or

2077
01:41:33,560 --> 01:41:35,000
something like that is like where you can imagine the

2078
01:41:35,000 --> 01:41:37,479
soundtrack to that being and it does kind of create

2079
01:41:37,520 --> 01:41:41,600
this like consistent world and mood that you can finally

2080
01:41:41,640 --> 01:41:43,479
sort of sell down into it. And again I say,

2081
01:41:43,479 --> 01:41:45,359
any think before it makes a little bit more sense.

2082
01:41:45,760 --> 01:41:48,520
Speaker 1: Yeah, And uh, morn is one of the ones I

2083
01:41:48,560 --> 01:41:50,520
really kind of like have my head turned by it

2084
01:41:50,600 --> 01:41:53,600
because that then leads into a closing track as well.

2085
01:41:53,840 --> 01:41:57,760
That Morn is basically a Dungeon sent song, right, like

2086
01:41:57,920 --> 01:41:59,840
not for the last time today, It's a Dungeon scent,

2087
01:41:59,880 --> 01:42:02,760
and it's Dungeon sins by way of like this particular

2088
01:42:02,800 --> 01:42:05,039
anime video game kind of template, right, but it is,

2089
01:42:05,319 --> 01:42:09,199
and the pianos in that song are straight off of

2090
01:42:09,239 --> 01:42:12,920
My Dying Bride's Turned Loose to Swans, And that following

2091
01:42:13,119 --> 01:42:17,760
closer at the beginning is kind of like a nineties

2092
01:42:17,840 --> 01:42:21,880
Pieceville Goth Doom song via the world of Chipchune. It's

2093
01:42:21,880 --> 01:42:23,720
like they've tried to write your River on a snez,

2094
01:42:23,840 --> 01:42:25,880
you know, And I don't think I've heard that specific

2095
01:42:25,920 --> 01:42:29,159
mix before. And like I never would have imagined going

2096
01:42:29,199 --> 01:42:31,399
into this album that I could then come out and go,

2097
01:42:31,640 --> 01:42:34,079
if you like this, put on turn Loose the Swans,

2098
01:42:34,680 --> 01:42:36,960
but I can, and like it reminded me of my

2099
01:42:37,319 --> 01:42:40,239
It gets me into my Dying Bride, and it reminded

2100
01:42:40,239 --> 01:42:42,479
me of My Dying Bride more than the Vampire Doom

2101
01:42:42,520 --> 01:42:45,000
album that we just really that it's so bewildering, but

2102
01:42:45,000 --> 01:42:47,239
like that's a really inventive, cool thing. And at the

2103
01:42:47,279 --> 01:42:48,760
same time, on the other end of it, you have,

2104
01:42:48,840 --> 01:42:52,520
you know, basically like hard corey mosh parts, Like there's

2105
01:42:52,560 --> 01:42:55,960
a one note synth riff in Relinquished Dreams that feels

2106
01:42:55,960 --> 01:42:58,840
like you are silly walking like the Harm's way fucking guy,

2107
01:42:59,560 --> 01:43:03,239
And they have like mosh drop parts. Nothing is another

2108
01:43:03,239 --> 01:43:05,920
one that has like big fuck off breakbeats and stuff

2109
01:43:05,960 --> 01:43:09,119
like that. But the screams again, they're coming at the

2110
01:43:09,159 --> 01:43:12,800
scream Oh world, and they do feel human amidst everything else,

2111
01:43:12,840 --> 01:43:15,239
and they do feel appropriately kind of real amidst what

2112
01:43:15,279 --> 01:43:18,359
this is. Then you have the clean vocals, which, like

2113
01:43:18,399 --> 01:43:21,680
you said, are like the biggest like jarring moments in

2114
01:43:21,680 --> 01:43:25,720
the record because they are heavily computer affected, veering into

2115
01:43:25,800 --> 01:43:29,600
as we say, like borderline crunk core nostalgia. Like genuinely

2116
01:43:30,319 --> 01:43:32,920
I still think, you know, well, I don't necessarily love

2117
01:43:32,960 --> 01:43:35,239
that sound. They are still more sort of melancholic in

2118
01:43:35,279 --> 01:43:37,239
their approach rather than like, you know, is anyone up?

2119
01:43:37,239 --> 01:43:39,760
You know? So they still they fit the world of

2120
01:43:39,760 --> 01:43:41,600
the record to a degree.

2121
01:43:42,279 --> 01:43:42,479
Speaker 2: Yeah.

2122
01:43:42,520 --> 01:43:45,159
Speaker 3: No, there is a kind of like mournfulness to the

2123
01:43:45,199 --> 01:43:47,680
melodies where it is it's downtrodden.

2124
01:43:48,279 --> 01:43:48,920
Speaker 2: And again there are.

2125
01:43:48,880 --> 01:43:50,520
Speaker 3: Times of like some of like the other like I

2126
01:43:50,520 --> 01:43:51,920
don't know if it's like guess volks on a bit where

2127
01:43:51,960 --> 01:43:54,439
they like lean heavily into the origin where that does

2128
01:43:54,439 --> 01:43:56,880
get a bit more like knocks in your face, but

2129
01:43:56,920 --> 01:44:00,880
the main lean back a lot. They're still quite gothic

2130
01:44:01,000 --> 01:44:04,039
and sad, so it never gets too kind of like,

2131
01:44:04,680 --> 01:44:06,680
oh aren't we a bit silly? Now? Like I think

2132
01:44:06,720 --> 01:44:10,399
this album like, I think this is as kind of

2133
01:44:10,640 --> 01:44:13,840
crazy and like all other places, is it is never whacky?

2134
01:44:14,199 --> 01:44:15,800
Speaker 2: Is I think it is always.

2135
01:44:15,399 --> 01:44:18,239
Speaker 3: Like doming sort of handled with an element of like

2136
01:44:18,319 --> 01:44:21,199
they're taking this seriously, even if the sounds are kind of.

2137
01:44:21,119 --> 01:44:24,000
Speaker 2: Like a bit of an insane head fucker points Yeah.

2138
01:44:24,279 --> 01:44:26,319
Speaker 1: And I love as well that the song Flashback, the

2139
01:44:26,319 --> 01:44:30,279
main melody riff, feels like a particularly epic boss battle

2140
01:44:30,319 --> 01:44:32,119
in some eight bit game, Like it takes me back

2141
01:44:32,119 --> 01:44:34,279
to my days of playing Undertail about ten years ago,

2142
01:44:34,279 --> 01:44:37,319
you know, but it feels like it has been exploded

2143
01:44:37,359 --> 01:44:40,640
into this like onslaught of like grindbeats and programming and

2144
01:44:40,640 --> 01:44:42,159
stuff like that. And the record I didn't think goes

2145
01:44:42,159 --> 01:44:45,880
by pretty quickly as well, because it's such a onslot

2146
01:44:45,880 --> 01:44:48,560
of ideas. I think, if it's you know, if you

2147
01:44:48,680 --> 01:44:52,880
like genres placing electronic heavy music, I suppose with a

2148
01:44:52,960 --> 01:44:56,600
temperament towards maybe the kind of you know, sensations of

2149
01:44:56,600 --> 01:44:58,319
nostalgia and stuff like that, but also in a very

2150
01:44:58,319 --> 01:45:00,560
emotive way, I think this is gonna be a fair

2151
01:45:00,800 --> 01:45:02,239
I think it could be a hit. You know, this

2152
01:45:02,279 --> 01:45:04,520
is a fair bit of a claim, but potentially sort

2153
01:45:04,520 --> 01:45:07,239
of ruminating here. It's really cool, really unique. The band

2154
01:45:07,319 --> 01:45:10,760
called Blind Equation, that record is called a Funeral Impurgatory.

2155
01:45:11,199 --> 01:45:14,680
I have two extreme metally picks next from the Underground

2156
01:45:15,079 --> 01:45:17,000
from Blands. We haven't covered before, as I say, for

2157
01:45:17,039 --> 01:45:20,960
your enjoyment this July. Both just kind of weird, slightly

2158
01:45:21,039 --> 01:45:23,039
left to center bands. Again, we might not usually have

2159
01:45:23,199 --> 01:45:24,680
the room to chuck in, but I thought it'll be

2160
01:45:24,720 --> 01:45:27,159
interesting to talk about. The first one is a band

2161
01:45:27,239 --> 01:45:30,520
called Crown of Anguish and their record is called Giants

2162
01:45:30,520 --> 01:45:32,279
of the Twisting Sun. This is a band that I

2163
01:45:32,359 --> 01:45:34,319
heard of for the first time, like a week ago,

2164
01:45:34,479 --> 01:45:37,279
so sure put it in. They are from Preston, of

2165
01:45:37,279 --> 01:45:44,359
all places, which you could sound even funny. Yeah, unless

2166
01:45:44,399 --> 01:45:47,119
Preston sits atop a vault of love Creftian power, which

2167
01:45:47,159 --> 01:45:50,399
is possible, you would not traditionally imagine it. Totally new

2168
01:45:50,439 --> 01:45:52,399
band to me. Like I said, they apparently released the

2169
01:45:52,439 --> 01:45:54,319
debut album last year, which I don't think I heard.

2170
01:45:54,399 --> 01:45:57,560
But this is the follow up, which is very complicated

2171
01:45:57,640 --> 01:45:59,720
music to be churning out once a year, but that's

2172
01:45:59,720 --> 01:46:02,199
what they've done so far. I got turned onto this

2173
01:46:02,279 --> 01:46:05,479
record by Derek from Too Mold, who posted about it

2174
01:46:05,640 --> 01:46:07,880
saying it sounds like it if Nile tried to write

2175
01:46:07,920 --> 01:46:11,840
Splendido Hotel. The record by the nineteen eighties jazz fusion

2176
01:46:11,880 --> 01:46:14,399
guitarist Al Demola, which is not a record I know

2177
01:46:14,479 --> 01:46:17,520
anything about, but Derek probably done a quite eloquent, more

2178
01:46:17,600 --> 01:46:20,119
accurate job there than I could. This is basically like

2179
01:46:20,159 --> 01:46:25,319
some like odd you know, muso, but very brutal death metal.

2180
01:46:25,439 --> 01:46:27,920
I think Nil is the best comparison point to see

2181
01:46:27,920 --> 01:46:29,720
if you would be into this or not, because the

2182
01:46:30,159 --> 01:46:32,600
you know, the ancient Egyptian thing is totally different. This

2183
01:46:32,680 --> 01:46:35,439
draws more on like I guess, it's kind of global,

2184
01:46:35,600 --> 01:46:37,119
like it's got Eastern you know, or.

2185
01:46:37,119 --> 01:46:38,960
Speaker 2: South music flavor to it.

2186
01:46:39,079 --> 01:46:41,359
Speaker 1: Yeah, yeah, but it's not almost from any one place.

2187
01:46:41,479 --> 01:46:43,199
Like again, there's the kind of South Asian stuff, but

2188
01:46:43,199 --> 01:46:46,079
there's also a lot like Spanish Flamencoy type stuff. It's

2189
01:46:46,119 --> 01:46:49,680
kind of a mix of regional influences. But the way

2190
01:46:49,840 --> 01:46:54,560
like a tone or atmosphere is created around like some

2191
01:46:54,760 --> 01:46:57,760
very heavy, filthy death metal, is very much of that

2192
01:46:57,880 --> 01:46:59,680
kind of school of thought.

2193
01:47:00,520 --> 01:47:02,720
Speaker 3: Yeah, I mean I was kind of a little bit like, oh,

2194
01:47:03,960 --> 01:47:06,279
where do we land on this? Because obviously I'm a

2195
01:47:06,279 --> 01:47:07,720
lot more open to sort of thing now, I was

2196
01:47:07,760 --> 01:47:09,439
still unsure, you know, when I saw sort of like

2197
01:47:10,119 --> 01:47:12,079
a deaf my band I've never heard with three hundred

2198
01:47:12,119 --> 01:47:14,800
monthly listeners on Spotify, and I was kind of looking

2199
01:47:14,760 --> 01:47:16,079
at some of the song lengths and I was like,

2200
01:47:16,520 --> 01:47:20,279
if parents stitch me up here? Like so I was unsure,

2201
01:47:20,319 --> 01:47:23,520
but I did find this was very effective at what

2202
01:47:23,600 --> 01:47:25,760
it sort of sets out to do, which is combined

2203
01:47:25,840 --> 01:47:29,920
kind of very brutal but sort of technically proficient and

2204
01:47:31,039 --> 01:47:36,359
polished but not like sanitized death metal with progressive world

2205
01:47:36,439 --> 01:47:39,640
music leaning tendencies. And I found this to be like

2206
01:47:39,680 --> 01:47:41,920
a surprisingly cool and enjoyable listen.

2207
01:47:42,079 --> 01:47:43,399
Speaker 2: So yeah, yeah, I.

2208
01:47:43,319 --> 01:47:45,199
Speaker 1: Mean you start with this, you know, kind of like

2209
01:47:45,279 --> 01:47:50,199
East Asian style scale on some stringed instrument. The tone

2210
01:47:50,239 --> 01:47:52,279
of world is set very immediately, but then inside ten

2211
01:47:52,319 --> 01:47:57,319
seconds you have this like furious, churning, horrid, morbid angel

2212
01:47:57,399 --> 01:48:01,039
immolation sort of death metal type riff. The vocal obviously,

2213
01:48:01,079 --> 01:48:03,920
they're kind of, you know, monotously monotonously gutt role, but

2214
01:48:03,920 --> 01:48:05,800
they're I think they're well placed in the mix to

2215
01:48:05,800 --> 01:48:07,920
add that sort of percussive element. It reminds me a

2216
01:48:07,960 --> 01:48:11,560
lot of like the first three like Sourn Decapitated records

2217
01:48:11,640 --> 01:48:14,479
in that particular element, and it's produced really well, like

2218
01:48:14,479 --> 01:48:16,960
for a very small band. The guitar tone and recording

2219
01:48:17,000 --> 01:48:19,399
and everything is like pretty close to how I would

2220
01:48:19,399 --> 01:48:21,439
want a death metal record like this to sound. And

2221
01:48:21,520 --> 01:48:24,880
even though the music is you know, complex, and the

2222
01:48:24,920 --> 01:48:26,760
songs are long and they kind of cram a lot

2223
01:48:26,760 --> 01:48:29,479
of different ideas and stuff, in the actual death metal element,

2224
01:48:29,880 --> 01:48:31,800
I don't think is amongst the most sort of like

2225
01:48:32,319 --> 01:48:35,680
demanding or inaccessible stuff that we you know, would would

2226
01:48:35,680 --> 01:48:38,239
review on the show. It's pretty like pommeling until the point.

2227
01:48:39,000 --> 01:48:40,520
Speaker 3: I mean, that's I think that's the thing that really

2228
01:48:40,560 --> 01:48:42,840
like helped me is that, like the death metal stuff

2229
01:48:43,520 --> 01:48:46,239
does just go like like it crushes, like like I

2230
01:48:46,279 --> 01:48:48,119
was listening and I was like, other think so I

2231
01:48:48,159 --> 01:48:49,640
was like, yeah, well this is behaving. I was like,

2232
01:48:49,720 --> 01:48:51,840
I was wegs, like the shift's gonna happen and they're

2233
01:48:51,880 --> 01:48:54,720
gonna do that the big prog switch and they're gonna

2234
01:48:54,800 --> 01:48:57,760
like do something Egyptian or whatever. I was like, So

2235
01:48:57,800 --> 01:48:59,279
I was setting there watch and like cannon the time

2236
01:48:59,439 --> 01:49:02,840
was like there is I couldn't know it was coming,

2237
01:49:02,880 --> 01:49:06,359
but it was like it's well implemented. And then when

2238
01:49:06,359 --> 01:49:08,640
they come back out of it, the way it like

2239
01:49:09,760 --> 01:49:11,600
goes so hard off the back of that and that

2240
01:49:11,680 --> 01:49:14,079
foot and the is it a book of Fanian or

2241
01:49:14,119 --> 01:49:18,039
Fanian or something like that, like the way when they

2242
01:49:18,079 --> 01:49:20,319
lock back into the metal after that middle kind of

2243
01:49:20,399 --> 01:49:24,560
like progressive sections so hilariously hard.

2244
01:49:24,560 --> 01:49:27,279
Speaker 2: I was kind of like, yeah, to be fair, like the.

2245
01:49:27,239 --> 01:49:31,479
Speaker 3: Death metal stuff on this is just like rusing and brutish,

2246
01:49:31,680 --> 01:49:35,119
but again it's technical, it's proficient, it's not sloppy.

2247
01:49:35,880 --> 01:49:39,159
Speaker 2: It just crushes and it's like like real power.

2248
01:49:39,399 --> 01:49:41,359
Speaker 1: Yeah, I mean, like some of the first death metal

2249
01:49:41,359 --> 01:49:43,520
stuff that I got into, and I can probably then

2250
01:49:43,560 --> 01:49:45,319
assume it's also true for some other people that some

2251
01:49:45,359 --> 01:49:47,239
of the first stuff they got into was stuff like

2252
01:49:47,279 --> 01:49:50,039
Decapitated a Nile that has that real mix of like,

2253
01:49:50,359 --> 01:49:52,960
you know, proficient technicality but also like groove and this

2254
01:49:53,119 --> 01:49:56,479
real like dirt of tone and this. You know, it's

2255
01:49:56,479 --> 01:49:59,479
in that realm. But what crowd of Anguish then do

2256
01:49:59,560 --> 01:50:01,199
is they'll blow you with that. But they do like

2257
01:50:01,600 --> 01:50:05,600
stop dead and then transition into like an extended multi

2258
01:50:05,720 --> 01:50:08,560
minute you know. I think when I put this record

2259
01:50:08,560 --> 01:50:10,399
off for the first time, I was maybe expecting, you know,

2260
01:50:10,439 --> 01:50:12,279
some flights of fancy, but I was actually taken off

2261
01:50:12,279 --> 01:50:14,600
guard when the first song like rifts for a couple

2262
01:50:14,560 --> 01:50:17,800
of minutes and then stops for an extended like several

2263
01:50:17,840 --> 01:50:20,640
minute Flamenco break. I was like, oh shit, we're really

2264
01:50:20,680 --> 01:50:23,199
going there. There's like a great sort of Arabian section

2265
01:50:23,279 --> 01:50:24,920
in the middle of the Kingdom, but dueled as well.

2266
01:50:25,199 --> 01:50:27,640
And they're good at them is the key thing. Like

2267
01:50:27,720 --> 01:50:30,600
they're not just sort of like splatted on for flavor,

2268
01:50:30,680 --> 01:50:32,960
you know, Midi sinth or whatever. Like these guys are

2269
01:50:33,239 --> 01:50:36,279
clearly capable in the worlds of stuff like fusion or

2270
01:50:36,279 --> 01:50:39,920
Spanish guitar, and like almost an equal part in terms

2271
01:50:39,960 --> 01:50:41,960
of what the songs are made up of. They draw

2272
01:50:42,039 --> 01:50:45,359
together that with old school death metal, and you know,

2273
01:50:45,399 --> 01:50:47,720
the songs are quite lengthy, often between like eight and

2274
01:50:47,800 --> 01:50:50,680
nine minutes. They do take you on some indirect routs.

2275
01:50:51,880 --> 01:50:53,600
The Book of fane In has this part around the

2276
01:50:53,600 --> 01:50:56,920
five minute mark with this scary ominous instrumental sort of

2277
01:50:56,960 --> 01:51:00,199
like crash and drone like atop the death metal is

2278
01:51:00,319 --> 01:51:02,199
really out of the Nile playbook of the kind of

2279
01:51:02,199 --> 01:51:04,159
stuff we were talking about on the Black Seas a

2280
01:51:04,199 --> 01:51:06,359
Vengeance album chat like the other week on the Patreon,

2281
01:51:06,680 --> 01:51:09,520
but this feels like they're translation of it, you know,

2282
01:51:09,560 --> 01:51:11,359
where they will also bring in again like the Flamenco

2283
01:51:11,399 --> 01:51:13,760
stuff that comes back in on Great Devour the Writhing King,

2284
01:51:13,760 --> 01:51:16,359
and it sounds really good, Like it sounds really like

2285
01:51:16,479 --> 01:51:19,239
professionally high quality done when they go into that stuff.

2286
01:51:19,800 --> 01:51:21,479
Speaker 3: Yeah, no, I think it lands me. It does sound great.

2287
01:51:21,479 --> 01:51:23,119
I was gonna bit worried at first off the first

2288
01:51:23,119 --> 01:51:25,560
couple of songs where it felt like metal bit and

2289
01:51:25,600 --> 01:51:30,039
then experimental one bit it was feeling a little bit disjoined,

2290
01:51:30,039 --> 01:51:31,119
but then when you got to I think it was

2291
01:51:31,560 --> 01:51:34,640
forbidden a philaty of the Demi loon.

2292
01:51:36,760 --> 01:51:37,560
Speaker 1: That's how they do.

2293
01:51:37,560 --> 01:51:40,640
Speaker 3: Start to like like they do start to like merge

2294
01:51:40,680 --> 01:51:43,520
it together like quite seamlessly. And when that kind of

2295
01:51:43,520 --> 01:51:45,960
goes full on like ambient space prog by the end

2296
01:51:45,960 --> 01:51:48,239
that when that like really sort of goes through, that's

2297
01:51:48,279 --> 01:51:49,520
what I was. I was like, oh cool, So it's

2298
01:51:49,520 --> 01:51:53,920
not always just the same kind of like yeah.

2299
01:51:53,399 --> 01:51:55,159
Speaker 2: Yeah, like they they do sort of things.

2300
01:51:55,199 --> 01:51:57,399
Speaker 3: And there was a thing it was like Great Devour

2301
01:51:57,439 --> 01:52:01,239
of the Driving King like again like that was like yeah, cool,

2302
01:52:01,279 --> 01:52:03,319
Now I'm fooling because that tightens things up a bit

2303
01:52:03,399 --> 01:52:08,279
and just like goes mean and heavy with it, and

2304
01:52:08,359 --> 01:52:11,600
like the outro where the vocals get particularly like sort

2305
01:52:11,600 --> 01:52:12,279
of beastly.

2306
01:52:12,359 --> 01:52:13,039
Speaker 2: That's really cool.

2307
01:52:13,079 --> 01:52:15,840
Speaker 3: That part that was someone else like, yeah, like I'm

2308
01:52:15,880 --> 01:52:17,520
now in on what you're going for here.

2309
01:52:17,720 --> 01:52:19,520
Speaker 1: Yeah. You know. The other key thing is the death

2310
01:52:19,520 --> 01:52:22,800
metal rifts are fucking good. Like the low end really hits.

2311
01:52:23,439 --> 01:52:25,760
Kingdom Moduled has that sort of like tight mix of

2312
01:52:25,800 --> 01:52:29,000
like heads down sort of knucklehead groove and this threat

2313
01:52:29,039 --> 01:52:31,960
weaving intricacy, as well as like a really kill a

2314
01:52:31,960 --> 01:52:34,079
sort of melodic doom passage a bit further in where

2315
01:52:34,079 --> 01:52:36,520
the lead guitar sort of blows off some steam that

2316
01:52:36,560 --> 01:52:39,600
main sort of like kind of groove in great devour.

2317
01:52:39,680 --> 01:52:42,479
The writhing King really works, and when the songs do

2318
01:52:42,640 --> 01:52:44,239
wind and take the scene, it root well. Like I said,

2319
01:52:44,239 --> 01:52:47,279
you know a definite record that opens with like a

2320
01:52:47,279 --> 01:52:49,479
couple of like eight nine minute songs or whatever. Putting

2321
01:52:49,479 --> 01:52:50,720
it forward to you, I was like, you know, it

2322
01:52:50,760 --> 01:52:53,880
could be an ask, but I think the songs start

2323
01:52:54,159 --> 01:52:56,079
so at it a lot of the time, and they

2324
01:52:56,119 --> 01:53:00,119
do carry this sort of like innate sense of momentum

2325
01:53:00,119 --> 01:53:03,520
in a destructive capacity that does keep them moving at

2326
01:53:03,560 --> 01:53:06,039
all times. And you know, a forbidden off feel the

2327
01:53:06,119 --> 01:53:09,239
tray from the of the forbidden off, the lattery of

2328
01:53:09,279 --> 01:53:12,479
the dem Loon Yeah, might be my favorite track as well,

2329
01:53:12,520 --> 01:53:14,359
because it's really like it almost has like a punk

2330
01:53:14,399 --> 01:53:16,640
beat at the start into like a straight up brutal

2331
01:53:16,680 --> 01:53:18,840
death metal blast and they're like the drummer I think

2332
01:53:18,920 --> 01:53:20,399
is a real They've got a beast of a drummer

2333
01:53:20,439 --> 01:53:23,960
on their hands. And a track later that really displays

2334
01:53:23,960 --> 01:53:25,720
that as well is Descendant by the Blood of the

2335
01:53:25,720 --> 01:53:29,640
subter Realm, which has a kind of suffocation flavor because

2336
01:53:29,680 --> 01:53:30,199
it's that some.

2337
01:53:30,159 --> 01:53:32,680
Speaker 3: Onnge where they just kind of go three minutes lock it, yeah,

2338
01:53:33,039 --> 01:53:34,399
fucking like rip your head off.

2339
01:53:34,520 --> 01:53:36,239
Speaker 1: The straight rip of the bunch of only three minutes long,

2340
01:53:36,279 --> 01:53:38,479
and it has that like it's so fast and tight.

2341
01:53:39,319 --> 01:53:41,319
Speaker 2: That song is like they ain't got time for the

2342
01:53:41,359 --> 01:53:44,279
sort of the flourishing. There's there's very slight sort of

2343
01:53:44,319 --> 01:53:47,199
like still that that sort of decorate it nicely.

2344
01:53:47,560 --> 01:53:49,000
Speaker 3: But this is one where you kind of go like, yeah,

2345
01:53:49,000 --> 01:53:50,960
this is the all out extremities or of rip on

2346
01:53:51,000 --> 01:53:53,800
the album and it fucking goes and like the drums

2347
01:53:53,840 --> 01:53:56,600
on that punishingly like powerful.

2348
01:53:56,880 --> 01:53:58,800
Speaker 1: Yeah. But then there are those you know, quite special

2349
01:53:58,840 --> 01:54:01,800
moments in music like that when you've been rocked to

2350
01:54:01,840 --> 01:54:04,399
a paste for like four straight minutes or something, and

2351
01:54:04,439 --> 01:54:06,680
then suddenly you're in the desert or like an ancient

2352
01:54:06,760 --> 01:54:09,520
walled city, or like standing atop a portal of demons,

2353
01:54:09,520 --> 01:54:12,119
and as you said, the the jazz fusion solo that

2354
01:54:12,199 --> 01:54:14,439
ends the forbidding offulatory song and stuff like that, and

2355
01:54:14,479 --> 01:54:17,159
I just think it's I was kind of taken off

2356
01:54:17,159 --> 01:54:19,560
guard when I heard this because I thought it's been

2357
01:54:19,600 --> 01:54:22,760
a while since I've heard a death metal record in

2358
01:54:22,800 --> 01:54:25,479
this kind of style, you know, evoking more of a

2359
01:54:25,520 --> 01:54:28,439
world music thing than like a cosmic other world thing,

2360
01:54:28,439 --> 01:54:30,399
which has been more in vogue for the past few years,

2361
01:54:31,079 --> 01:54:34,880
with that like Nile or Decapitated approach to like dirty

2362
01:54:34,960 --> 01:54:38,359
groovy technicality that has intrigued me, like like this one.

2363
01:54:38,399 --> 01:54:40,800
Did you know, I've barely seen a thing about this band,

2364
01:54:40,840 --> 01:54:42,800
like I said, I only got onto them because Derek

2365
01:54:42,880 --> 01:54:45,439
Veller recommended them. It's a very small band, as you say,

2366
01:54:45,439 --> 01:54:47,800
about like three hundred monthly listens on Spotify right now.

2367
01:54:47,960 --> 01:54:50,600
This isn't on like one of the big central death

2368
01:54:50,640 --> 01:54:52,720
metal labels you would expect to be putting out stuff

2369
01:54:52,800 --> 01:54:55,399
like this, but it is one of the more accomplished

2370
01:54:55,439 --> 01:54:57,800
and kind of creative death netal records I've heard this year.

2371
01:54:58,600 --> 01:54:59,760
Speaker 2: Yeah, no, I would agree.

2372
01:54:59,760 --> 01:55:02,600
Speaker 3: I mean, like again, the fact that it's definitely on

2373
01:55:02,720 --> 01:55:05,079
this underground I can like you know, this is like

2374
01:55:05,600 --> 01:55:06,960
this groove, it goes hard.

2375
01:55:07,439 --> 01:55:09,880
Speaker 2: The sort of prog deviations are always interesting.

2376
01:55:09,880 --> 01:55:12,319
Speaker 3: I think this is a really accomplished and impressive sort

2377
01:55:12,319 --> 01:55:16,119
of like project from a bunch of guys.

2378
01:55:15,840 --> 01:55:20,119
Speaker 2: From Preston, like surreal but like I mean, it's going.

2379
01:55:20,199 --> 01:55:22,199
Speaker 3: I think I think a lot of people if you like,

2380
01:55:22,319 --> 01:55:25,039
you know the Blood Incantation, tim old About record, those

2381
01:55:25,119 --> 01:55:29,319
kind of really expressive experimental definitely have been hugely popula is.

2382
01:55:29,319 --> 01:55:31,720
I see no reason why you wouldn't hear this and

2383
01:55:31,760 --> 01:55:34,640
also get a similar kind of like thrill from it.

2384
01:55:35,000 --> 01:55:37,520
Speaker 1: Yeah. That band called Crown of Anguish and the album

2385
01:55:37,560 --> 01:55:39,760
their second one is Giants of the Twisting the Sun.

2386
01:55:40,079 --> 01:55:43,439
My second niche extreme metal pick comes from a band

2387
01:55:43,439 --> 01:55:46,880
called Stanger Eagle with an album that I'm going to

2388
01:55:46,960 --> 01:55:51,039
read as zastribonu Horru. Mainly, I want to put this

2389
01:55:51,079 --> 01:55:54,359
in because this came out last Friday, when I didn't

2390
01:55:54,359 --> 01:55:58,119
have it in the release roundup. Because their label Medieval Prophecy.

2391
01:55:58,159 --> 01:56:02,600
Speaking of underground stuff is is very bad actually letting

2392
01:56:02,640 --> 01:56:04,319
you know when their albums are going to come out.

2393
01:56:04,439 --> 01:56:07,439
I've known this album was coming for ages, but with

2394
01:56:07,560 --> 01:56:09,720
no actual release date, and then all of a sudden

2395
01:56:09,920 --> 01:56:12,199
it was out. You know, it's a proper archaic way

2396
01:56:12,199 --> 01:56:15,039
of operating, which is in a way amusingly appropriate for

2397
01:56:15,079 --> 01:56:16,479
the kind of music this is. But like, you can't

2398
01:56:16,520 --> 01:56:19,039
even hear this one on streaming, like it's on YouTube,

2399
01:56:19,159 --> 01:56:21,359
and then obviously if you order the CD or the record,

2400
01:56:21,399 --> 01:56:24,039
so we are digging deep. But if I didn't pick this,

2401
01:56:24,319 --> 01:56:26,000
how else would I get to talk about trolls and

2402
01:56:26,039 --> 01:56:30,319
goblins this month. Stanga Regal are a Slovakian band. They

2403
01:56:30,359 --> 01:56:33,119
put out a great debut album in twenty twenty two

2404
01:56:33,199 --> 01:56:35,159
and then an EP shortly after that. This is the

2405
01:56:35,199 --> 01:56:38,039
second full length as well. And if you remember about

2406
01:56:38,039 --> 01:56:40,399
eighteen months ago, we reviewed the new album from a

2407
01:56:40,439 --> 01:56:44,119
band called Mala Carpatan that Elliot and I raved about

2408
01:56:44,159 --> 01:56:47,560
and Sam completely rejected. You might know some of the

2409
01:56:47,640 --> 01:56:49,840
reference points we're going to get at here because one

2410
01:56:49,880 --> 01:56:51,880
of the two members in this band is also the

2411
01:56:51,920 --> 01:56:55,800
guitarist in Malacarpatan, and we are in a similar realm

2412
01:56:55,840 --> 01:57:00,680
of like mystical Eastern European magic and folk claw here,

2413
01:57:00,920 --> 01:57:05,439
but where Malacarpatan is a bit more musically freewheeling, maybe

2414
01:57:05,479 --> 01:57:07,920
like it's heavy metal and it's prog and its first

2415
01:57:07,920 --> 01:57:10,640
wave black metal and it's all these eccentric things. Stanger

2416
01:57:10,680 --> 01:57:13,920
Eagle is a lot more therm and specific maybe in

2417
01:57:14,000 --> 01:57:17,520
what it's doing, Like this is second wave style black

2418
01:57:17,560 --> 01:57:21,520
metal of the more folky and mystical variety. It's the

2419
01:57:21,560 --> 01:57:24,439
stuff that feels like you are immersed in an enchanted woodland,

2420
01:57:24,720 --> 01:57:28,520
like early all the first couple albums, Satiric on first

2421
01:57:28,520 --> 01:57:30,760
couple of albums Behemoth even with Along all sort of

2422
01:57:30,920 --> 01:57:34,039
niche examples, particularly because of the sort the slavic mythology angle,

2423
01:57:34,720 --> 01:57:36,800
but you know, similar realm of stuff that we spoke

2424
01:57:36,800 --> 01:57:38,720
about with like the Grab album that we reviewed at

2425
01:57:38,720 --> 01:57:40,880
the start of this year, but that is obviously very Germanic.

2426
01:57:40,960 --> 01:57:43,800
This is very Slavic. The album cover on this has

2427
01:57:43,840 --> 01:57:46,479
a massive troll with I think trees growing on his

2428
01:57:46,600 --> 01:57:49,039
back swinging a big hammer. So I think you can

2429
01:57:49,079 --> 01:57:51,600
basically look at that image a workout if you're like

2430
01:57:51,640 --> 01:57:53,920
this album based on whether that appeals to you. I

2431
01:57:54,000 --> 01:57:57,199
really rate the debut Stanger Egirl album and I fucking

2432
01:57:57,199 --> 01:57:58,800
love Mala Carpatan, so I was looking forward to the

2433
01:57:58,840 --> 01:58:03,520
second one Sam Woodland Trolls and Slovakian atmospheric black metal.

2434
01:58:03,680 --> 01:58:05,119
I did say to you, I warned you. I was like,

2435
01:58:05,119 --> 01:58:07,760
this one doesn't necessarily scream that it will be for you.

2436
01:58:08,000 --> 01:58:09,640
I just wanted to give it a mention, But did

2437
01:58:09,640 --> 01:58:10,720
you give it a quick listen?

2438
01:58:11,000 --> 01:58:13,079
Speaker 2: Yeah, I give this isn't. I had to refresh on

2439
01:58:13,079 --> 01:58:14,960
what Mala Carpatan was. I was like, which one was that?

2440
01:58:15,000 --> 01:58:17,079
Which one was? And I was like, oh yeah that one,

2441
01:58:17,199 --> 01:58:18,399
fuck that al was ahead.

2442
01:58:18,399 --> 01:58:18,640
Speaker 3: Fuck.

2443
01:58:19,399 --> 01:58:20,840
Speaker 2: I listened to this and I was kind of like,

2444
01:58:21,079 --> 01:58:23,079
I want a really tricky one review because I was.

2445
01:58:23,039 --> 01:58:26,880
Speaker 3: Like, I wasn't disliking anything I heard, really, I just

2446
01:58:27,119 --> 01:58:29,399
I was sort of kind of going like, if you're

2447
01:58:29,439 --> 01:58:32,199
really into your kind of like atmosphere black metal, this

2448
01:58:32,239 --> 01:58:34,479
feels like a really accomplished or take on that. And

2449
01:58:34,479 --> 01:58:37,039
there are moments on this album that I'm like, a

2450
01:58:37,199 --> 01:58:40,800
really quite impressive it just as a whole. Was it

2451
01:58:41,000 --> 01:58:44,319
enough to sort of constantly keep me hooked in? You know?

2452
01:58:44,359 --> 01:58:47,920
There's like I think I'd comemember the song titles and

2453
01:58:48,079 --> 01:58:49,600
I should have burned down I was like, they're all

2454
01:58:49,720 --> 01:58:51,520
very long, and they're all.

2455
01:58:51,399 --> 01:58:53,399
Speaker 1: In Slovakian, so let's just refer to them by track

2456
01:58:53,520 --> 01:58:54,840
two three, Track five.

2457
01:58:54,880 --> 01:58:57,239
Speaker 3: I think it was one where it's like like coming

2458
01:58:57,279 --> 01:58:59,720
in sort of like I was goin of like getting

2459
01:58:59,720 --> 01:59:03,159
a bit, and then that came in. I was like, ah,

2460
01:59:03,319 --> 01:59:07,920
this is most triumphant like and and it's like, again,

2461
01:59:08,199 --> 01:59:09,800
cool is not the right word, but it did sort

2462
01:59:09,800 --> 01:59:12,439
of lock me back in and I was like the

2463
01:59:12,479 --> 01:59:13,359
back off of the record.

2464
01:59:13,399 --> 01:59:16,399
Speaker 2: I actually think I kind of preferred to the first half.

2465
01:59:16,399 --> 01:59:18,079
Speaker 3: I think like the last couple of songs where they

2466
01:59:18,359 --> 01:59:23,119
have like some really cool kind of stirring moments to them,

2467
01:59:23,119 --> 01:59:25,680
where there's like an amazing melodic riff here and there

2468
01:59:26,199 --> 01:59:28,520
and like a really sort of dramatic kind of build

2469
01:59:28,560 --> 01:59:32,840
to something. So like again like I didn't dislike this,

2470
01:59:32,960 --> 01:59:34,640
I'm just kind of like I was kind of in

2471
01:59:34,720 --> 01:59:36,680
and out of here as it went on, kind of

2472
01:59:36,680 --> 01:59:39,000
like certain moments caught my ear and really sort of

2473
01:59:39,000 --> 01:59:43,399
stirred me. Opening riff on like track two like is

2474
01:59:43,479 --> 01:59:47,000
really cool. There's a fun galloping riff in that you've

2475
01:59:47,000 --> 01:59:49,239
got you know, United Casio keyboards. It's all kind of

2476
01:59:49,239 --> 01:59:50,479
like a little bits here and there that kind of

2477
01:59:50,520 --> 01:59:53,560
was like, that's cool, but I wasn't in fraud by it.

2478
01:59:53,640 --> 01:59:56,640
Speaker 1: I guess I'll say, well, it's ultra specific in what

2479
01:59:56,760 --> 01:59:59,760
it's doing, and it's making this album four, right, Like,

2480
01:59:59,840 --> 02:00:02,920
this is not a it is not an album that

2481
02:00:02,960 --> 02:00:06,039
I would put in front of or expect someone to

2482
02:00:06,119 --> 02:00:10,079
love if they don't love this realm. And that's okay,

2483
02:00:10,119 --> 02:00:12,039
you know, because, like I said, this is four people

2484
02:00:12,079 --> 02:00:15,399
who like music that feels like passing through a magical

2485
02:00:15,479 --> 02:00:19,279
veil into ancient Slavic forests full of fairies and beasties

2486
02:00:19,319 --> 02:00:21,880
and whatnot. And one thing I appreciate about Stanger Eagle is,

2487
02:00:22,560 --> 02:00:25,439
you know, something that maybe people who don't quite you know,

2488
02:00:25,520 --> 02:00:27,760
fully appreciate the fal spectrum of black metal, don't fully

2489
02:00:27,760 --> 02:00:30,239
get it from the outside, is it's how much of

2490
02:00:30,279 --> 02:00:32,560
it is just meant to like let your imagination fly,

2491
02:00:32,800 --> 02:00:35,199
you know, rather than just be kind of all about

2492
02:00:35,560 --> 02:00:38,920
pits of despair and hatred in nihilism and all whatever. Like,

2493
02:00:39,000 --> 02:00:43,079
there's a real mischievousness about it in the way that

2494
02:00:43,079 --> 02:00:45,720
that's a major defining feature of Malacarpatan. Like I think

2495
02:00:45,720 --> 02:00:47,840
that's just a big part of Adam's personality in his

2496
02:00:47,880 --> 02:00:50,920
writing style, Like I said, Stanger Regal tend to be

2497
02:00:50,960 --> 02:00:53,319
more sort of focused on a particular vibe rather than

2498
02:00:53,359 --> 02:00:56,119
like the koreeming band of drunken goblins that you get

2499
02:00:56,159 --> 02:00:58,920
in Malacarpatan. But you can still feel the sense of

2500
02:00:58,960 --> 02:01:02,279
like play about, you know, and it's combined with an

2501
02:01:02,279 --> 02:01:04,960
atmosphere that is very you know, foggy and like you're

2502
02:01:05,000 --> 02:01:07,319
sort of surrounded by an enchanted mist, which is not

2503
02:01:07,439 --> 02:01:10,279
the dojure thing in black metal maybe the way it

2504
02:01:10,279 --> 02:01:12,000
once was. I just think it's really good in this

2505
02:01:12,039 --> 02:01:15,479
case to have someone who is clearly very adept doing

2506
02:01:15,520 --> 02:01:17,720
this particular style that I love and keeping it, you know,

2507
02:01:17,840 --> 02:01:22,039
really alive. You know. The vocal is very gobliness. The

2508
02:01:22,119 --> 02:01:24,359
production on this one amusingly, when I first listened to

2509
02:01:24,399 --> 02:01:27,760
this album at the weekend, it kind of took me

2510
02:01:27,840 --> 02:01:30,720
back that the production was almost too high death because

2511
02:01:30,920 --> 02:01:34,439
the EP they put out in between albums was really

2512
02:01:34,479 --> 02:01:37,680
like whushy and lo fi. The first album I think

2513
02:01:37,760 --> 02:01:39,600
is maybe the bulls eye of how this band should

2514
02:01:39,600 --> 02:01:41,479
sound is kind of the happy medium. This record is

2515
02:01:41,520 --> 02:01:44,319
on the cleaner end of what they do. You have

2516
02:01:44,439 --> 02:01:47,920
like big thick pounding drums rather than like really far

2517
02:01:47,960 --> 02:01:50,119
back in the mick ones. And there are some like

2518
02:01:50,159 --> 02:01:52,000
proper riffs on it that have like a real sort

2519
02:01:52,039 --> 02:01:55,600
of thunder and girth to them. But you have these like,

2520
02:01:55,640 --> 02:01:59,439
you know, really wide feeling black metal core progressions that

2521
02:01:59,479 --> 02:02:01,520
have a sense of wonder to them. You know, they're

2522
02:02:01,520 --> 02:02:03,600
not over the top. It's not to be bored it, right,

2523
02:02:03,640 --> 02:02:05,840
but they just have a sort of warmth about it.

2524
02:02:06,079 --> 02:02:08,279
And you have a lot of melody that I think

2525
02:02:08,479 --> 02:02:11,159
this record and why Stanger Eagle I think are a

2526
02:02:11,199 --> 02:02:14,439
standout example of their world rather than any sort of

2527
02:02:14,479 --> 02:02:16,279
number of dime a dozen ones. Is this band really

2528
02:02:16,279 --> 02:02:18,520
get the intricacies right rather than just sort of like

2529
02:02:18,720 --> 02:02:20,840
washing over you with a wall of reverb or whatever.

2530
02:02:21,000 --> 02:02:25,079
There's always like an undercurrent of keys melodies as this

2531
02:02:25,159 --> 02:02:28,199
like particular strand of black metal thrives on that gives

2532
02:02:28,279 --> 02:02:30,159
voice to all of these elements beyond just in the

2533
02:02:30,199 --> 02:02:32,560
guitar and the vocals. You get fun, you know, very

2534
02:02:32,560 --> 02:02:34,319
particularly to the region. Things like there's a sort of

2535
02:02:34,399 --> 02:02:37,079
jaw harp type sound that appears in the third track

2536
02:02:37,439 --> 02:02:40,399
that's kind of fun. There's the twinkly keys in the

2537
02:02:40,479 --> 02:02:42,680
fourth track, which I would say, if you like, like

2538
02:02:42,680 --> 02:02:45,279
a principle of Evil era Cradle of Flesh, Cradle of

2539
02:02:45,279 --> 02:02:47,119
Filth even, but it then puts them on top of

2540
02:02:47,199 --> 02:02:50,560
like a mad disco beat that's really fun, and there's

2541
02:02:50,560 --> 02:02:53,279
a lot of guitar melody as well. Some of the

2542
02:02:53,359 --> 02:02:56,439
riffs they draw on things like the great eighties Hungarian

2543
02:02:56,439 --> 02:03:00,319
black metal band tormentor specifically the song Elizabeth Bathory, rather

2544
02:03:00,319 --> 02:03:02,399
than all the thrashy ones. The second track on this

2545
02:03:02,520 --> 02:03:07,119
is that exact school of like Foreboding, still fol key,

2546
02:03:07,199 --> 02:03:09,920
but also a bit darker, scarier black metal, and it's

2547
02:03:09,920 --> 02:03:12,600
a particular feel that I love. When you said the

2548
02:03:12,600 --> 02:03:15,039
fifth track, that really makes me smile because that is

2549
02:03:15,119 --> 02:03:19,640
unusually the most this band have gone into malacarpatent zone

2550
02:03:19,760 --> 02:03:22,279
because it's heavy metal right, and it has a galloping,

2551
02:03:22,359 --> 02:03:24,000
runaway maiden feel.

2552
02:03:24,399 --> 02:03:25,640
Speaker 3: I mean, that's why That's why I hear me though,

2553
02:03:25,640 --> 02:03:27,479
because I was like, oh, I liked the shift into

2554
02:03:27,479 --> 02:03:31,239
heavy metal. Yeah, Like I mean, like I can appreciate

2555
02:03:31,279 --> 02:03:33,239
this an was very fantastical and it does kind of

2556
02:03:33,279 --> 02:03:35,600
come to that kind of like Lost and in Charted Woods.

2557
02:03:35,600 --> 02:03:37,720
It's not as dark and oppressive as a lot of

2558
02:03:37,720 --> 02:03:40,439
black metalaks, so that tonally does sort of distinguish it.

2559
02:03:40,479 --> 02:03:42,960
I just think there're only like to say, the vocals

2560
02:03:43,119 --> 02:03:44,920
and some of the reffing where it felt a little

2561
02:03:46,079 --> 02:03:47,760
I don't really just felt a little same throughout. And

2562
02:03:47,800 --> 02:03:50,439
so then that shift into a kind of heavy metal

2563
02:03:50,520 --> 02:03:54,000
gallop was kind of like the change of tone and pacer.

2564
02:03:54,039 --> 02:03:57,039
I was like suddenly kind of like caught my attention

2565
02:03:57,119 --> 02:03:59,880
the way that maybe the two tracks proceeding it hadn't.

2566
02:04:00,079 --> 02:04:01,479
Speaker 1: Yeah, I mean, you know, as a band they are

2567
02:04:01,800 --> 02:04:04,000
they've got a very specific vision of the kind of

2568
02:04:04,079 --> 02:04:06,159
music they want to evoke, right, and it's you know,

2569
02:04:06,279 --> 02:04:08,840
playing within that realm, and it's catering for you know,

2570
02:04:08,880 --> 02:04:12,239
disciples of that particular sound of which I count myself.

2571
02:04:12,279 --> 02:04:15,439
But then you do have the real eccentricity moments again,

2572
02:04:15,520 --> 02:04:17,560
like that sort of I think the guitar licks are

2573
02:04:17,600 --> 02:04:21,560
just really great. And the last song is labeled into

2574
02:04:21,640 --> 02:04:24,960
two parts, the second one the closing track, being a

2575
02:04:25,039 --> 02:04:28,039
dungeon synth outro, but it's actually longer than the first part.

2576
02:04:28,359 --> 02:04:31,399
It's about four minutes long to the metal song first

2577
02:04:31,439 --> 02:04:33,640
half three minutes long, which did make me laugh. But

2578
02:04:33,680 --> 02:04:36,439
that part one of that two part song, I suppose

2579
02:04:36,520 --> 02:04:38,840
the guitar melody and that like, since I first listened

2580
02:04:38,880 --> 02:04:40,279
to this earlier in the week, that has been lodged

2581
02:04:40,319 --> 02:04:42,920
in my head, like it's this really delicate and acrobatic

2582
02:04:43,239 --> 02:04:49,119
heavy metal guitar line and it's really like wonderfully composed immersive. Again,

2583
02:04:49,159 --> 02:04:51,239
mischievous is a word I really love in relation to

2584
02:04:51,239 --> 02:04:53,399
this that you can't apply to all black metal, you know,

2585
02:04:53,479 --> 02:04:56,760
mystical black metal. And I know it's not especially broad appeal,

2586
02:04:56,840 --> 02:04:58,640
but I think they're really good. And who else over

2587
02:04:58,680 --> 02:05:00,279
here was going to shout about it? So you go

2588
02:05:00,439 --> 02:05:02,039
that band called Stanger where you go? Like I said,

2589
02:05:02,079 --> 02:05:04,039
it's not on streaming or anything, but if you search

2590
02:05:04,079 --> 02:05:07,199
the name then you will find them somewhere. Lastly, we're

2591
02:05:07,239 --> 02:05:09,279
going to go do something you have put forward Sam

2592
02:05:09,520 --> 02:05:12,680
a band called nouvela Scura with an album that came

2593
02:05:12,720 --> 02:05:16,800
out recently called How This All Ends. When asked about

2594
02:05:17,000 --> 02:05:19,359
smaller stuff that you had been listening to lately, you said,

2595
02:05:19,399 --> 02:05:22,279
I've been listening to this screamo band lately, Nouvlascura, And

2596
02:05:22,359 --> 02:05:24,560
I thought, great, you know about this time a year

2597
02:05:24,600 --> 02:05:26,359
ago you did the same with a screamo band called

2598
02:05:26,399 --> 02:05:29,239
Blind Girls, which was a really really great record. This

2599
02:05:29,279 --> 02:05:31,600
record is also like twenty three minutes long, so if

2600
02:05:31,640 --> 02:05:33,720
you don't like it, it's a pretty easy time investment.

2601
02:05:33,760 --> 02:05:35,239
So Sam Nuvalis Gura.

2602
02:05:35,920 --> 02:05:37,680
Speaker 3: Yeah, so this was just one that I could have

2603
02:05:37,720 --> 02:05:39,600
been digging about in sort of the underground of like

2604
02:05:39,760 --> 02:05:43,039
metalcore and hardcone Screamo just sort of like through various

2605
02:05:43,039 --> 02:05:46,359
things recently and related artists. I kind of came across

2606
02:05:46,399 --> 02:05:47,920
these and I was like, gave him a listen. I

2607
02:05:47,960 --> 02:05:50,720
was like, oh, I'm really into this. This is another

2608
02:05:50,920 --> 02:05:53,560
like cool Screamer album that they've been a band. They've

2609
02:05:53,600 --> 02:05:55,199
actually been going for a little while, and their last

2610
02:05:55,199 --> 02:05:58,159
AWM was like five years ago, and then they kind

2611
02:05:58,159 --> 02:05:59,680
of had to go quiet because I believe their vocalist

2612
02:05:59,720 --> 02:06:02,159
had like cancer diagnosis and so that she was like

2613
02:06:02,239 --> 02:06:05,680
recovering from that, which kind of like you can you

2614
02:06:05,680 --> 02:06:07,640
can see where a lot of that's probably been channeled

2615
02:06:07,640 --> 02:06:11,359
into this album after so long. But yeah, they've lak.

2616
02:06:11,359 --> 02:06:13,520
I believe it's La or California, like scream O band.

2617
02:06:14,359 --> 02:06:16,319
There's just like a lot of really cool Screamo.

2618
02:06:16,039 --> 02:06:17,399
Speaker 2: Stuff going on at the moment that every time I

2619
02:06:17,399 --> 02:06:18,359
saw a Stomachus and the Nuns.

2620
02:06:18,399 --> 02:06:21,319
Speaker 3: I'm like, yeah, I just really like, you know, twenty

2621
02:06:21,359 --> 02:06:26,479
three minutes of like spiky, anguish, sort of like pained

2622
02:06:27,520 --> 02:06:29,840
metallic hardcore screamo sort of stuff, and this kind of

2623
02:06:29,880 --> 02:06:31,119
just gave me my fix of that.

2624
02:06:31,199 --> 02:06:33,319
Speaker 2: It's violence Stabsuty.

2625
02:06:33,359 --> 02:06:37,199
Speaker 3: There is like a real shrill, volatile scream time change,

2626
02:06:37,279 --> 02:06:40,279
like sort of tempo changes and like moments of like

2627
02:06:40,399 --> 02:06:43,199
serene beauty in there. But this is just like, like

2628
02:06:43,239 --> 02:06:45,399
I say, if you liked that Blind Girl's album, I

2629
02:06:45,439 --> 02:06:46,920
think again this is kind of offering up.

2630
02:06:47,000 --> 02:06:48,720
Speaker 2: There's some slight differences between them.

2631
02:06:48,560 --> 02:06:51,439
Speaker 3: But if you just want more just like really emostly

2632
02:06:51,479 --> 02:06:54,479
sort of intense, volatile screamo, this really hit the spot

2633
02:06:54,479 --> 02:06:54,720
for me.

2634
02:06:54,920 --> 02:06:57,319
Speaker 1: Yeah, I think there's actually you know, I only mentioned

2635
02:06:57,319 --> 02:06:59,000
them because it's the last time we covered something like this,

2636
02:06:59,079 --> 02:07:01,199
but I think that's actually a lot of differences. And

2637
02:07:01,279 --> 02:07:03,199
you know, we are in this sort of new age

2638
02:07:03,199 --> 02:07:05,720
of screama for whatever reason, where you know, to wear

2639
02:07:05,720 --> 02:07:07,439
Blind Girls or like you know, we've seen like Jillian

2640
02:07:07,479 --> 02:07:10,079
Carter at Dannation all this stuff. There's so many bands

2641
02:07:10,079 --> 02:07:11,760
at the moment for whatever reason kind of coming out

2642
02:07:11,760 --> 02:07:14,199
that you know or emo, violent, sort of sort of worlds.

2643
02:07:14,960 --> 02:07:18,600
This one is really technical. Is the thing that really

2644
02:07:18,640 --> 02:07:20,720
like surprised me because when I think about a Blind

2645
02:07:20,720 --> 02:07:22,279
Girls or like you think that someone like a portrayler

2646
02:07:22,319 --> 02:07:24,199
Gilt or something, and you know they're they're a really

2647
02:07:24,239 --> 02:07:26,119
ambitious band, you don't you think about that sort of

2648
02:07:26,199 --> 02:07:29,399
half classical last album they did, But in their riffing

2649
02:07:29,399 --> 02:07:31,520
and everything and their sort of tech luxury as a band,

2650
02:07:31,640 --> 02:07:35,279
it's filthy. You know. This is like really fucking complex

2651
02:07:35,439 --> 02:07:40,079
and really like almost like light beaming in your face technical.

2652
02:07:40,319 --> 02:07:42,439
And the fact that it's those are wound up in

2653
02:07:42,560 --> 02:07:45,600
like disorientating like one and a half minute songs a

2654
02:07:45,600 --> 02:07:49,800
lot of the time is really like overwhelming a lot

2655
02:07:49,800 --> 02:07:50,960
of the time and really something I have to wrap

2656
02:07:50,960 --> 02:07:53,439
your head around. But I was really surprised actually going

2657
02:07:53,439 --> 02:07:55,319
into again what I just thought, okay, a Screamer album,

2658
02:07:55,479 --> 02:08:00,760
I was really surprised by the like metallic hardcore athleticism

2659
02:08:00,800 --> 02:08:02,399
that's really going on instrumentally.

2660
02:08:03,159 --> 02:08:04,720
Speaker 3: Yeah, that's the thing, is like it's kind of got

2661
02:08:04,720 --> 02:08:07,560
that that converge you kind of like riffing at times,

2662
02:08:07,600 --> 02:08:10,079
and that's sort of thing that immediately grabbed my attention

2663
02:08:10,119 --> 02:08:12,880
for this is that like this is fast and technical

2664
02:08:12,960 --> 02:08:15,720
and quite hard, and again it has you know, melodies

2665
02:08:15,920 --> 02:08:18,600
that are in there, but it's always kind of like

2666
02:08:18,920 --> 02:08:20,760
fills on a knife edge of like kind of like

2667
02:08:20,880 --> 02:08:24,720
lashing out into like some crazy like technical rift that's

2668
02:08:24,760 --> 02:08:27,720
just gonna like come out of nowhere, and it musical

2669
02:08:27,800 --> 02:08:29,880
just like keeps you on edge for that the whole

2670
02:08:29,880 --> 02:08:32,159
listen in a way that I want this music.

2671
02:08:31,920 --> 02:08:34,880
Speaker 1: Too, Yeah, I mean, even the main riff of and

2672
02:08:34,960 --> 02:08:37,720
in the end you threw it all away, that melodic

2673
02:08:37,800 --> 02:08:39,640
rift that seems to kind of pulse around in this

2674
02:08:39,680 --> 02:08:42,800
alien sort of world. It's like gagirity, you know, but

2675
02:08:43,159 --> 02:08:45,359
in the context of a minute and a half or whatever,

2676
02:08:45,760 --> 02:08:49,119
like metallic hardcore screamerby type song and that kind of

2677
02:08:49,600 --> 02:08:52,840
again metallic athleticism. It reminded me of stuff like you

2678
02:08:52,880 --> 02:08:56,159
know that the debut Ithaca album. Maybe I think obviously

2679
02:08:56,199 --> 02:08:58,199
you know, if you like stuff like that or Rollo

2680
02:08:58,319 --> 02:09:01,720
to Massy or like anything Jack Shirley Producers basically who

2681
02:09:01,760 --> 02:09:03,399
I think he has had has some involvement with this

2682
02:09:03,439 --> 02:09:08,039
band in the past. This, you know, didn't feel to

2683
02:09:08,119 --> 02:09:10,520
me the same as that, like you know, blind girl

2684
02:09:10,640 --> 02:09:14,199
style raaking your nails across like the bloody pulp of

2685
02:09:14,239 --> 02:09:16,880
your soul, for example, feel where you feel like you're

2686
02:09:16,880 --> 02:09:18,960
in some kind of dingy cave and you've been locked

2687
02:09:18,960 --> 02:09:22,479
away for eternity. This is like a really like confident

2688
02:09:22,560 --> 02:09:26,279
in its complexity, fucking threat board going ape shit with

2689
02:09:26,359 --> 02:09:30,000
eight arms, like the crazy tech runs on Conderform Projection

2690
02:09:30,079 --> 02:09:34,279
are just like absolutely just so agitated. Like I said,

2691
02:09:34,319 --> 02:09:38,760
it's sort of a beaming level of intensity going on

2692
02:09:38,800 --> 02:09:40,800
here rather than that really dark intensity.

2693
02:09:41,800 --> 02:09:43,680
Speaker 3: Well I think as well, there's like the songs are

2694
02:09:43,720 --> 02:09:46,279
quite like sort of multi sort of layered and sort

2695
02:09:46,319 --> 02:09:49,079
of like different parts going on, like figuring off reality

2696
02:09:49,119 --> 02:09:51,520
begins with like this like kind of like bouncy riff,

2697
02:09:51,560 --> 02:09:53,399
which is a little bit out of character of the

2698
02:09:53,399 --> 02:09:55,720
screen bands. It trades with the vocals, and then it

2699
02:09:55,840 --> 02:09:58,039
like springs in you know, bits of spoken word and

2700
02:09:58,039 --> 02:10:01,279
cleaning vocals. Towards the end, it's it's all quite dimising,

2701
02:10:01,279 --> 02:10:03,000
but that there are moments of like kind of brighter

2702
02:10:03,079 --> 02:10:06,079
textures frozen all of these elements like that, Like I mean,

2703
02:10:06,520 --> 02:10:10,119
you never sort of set into one mood bit misery

2704
02:10:10,199 --> 02:10:12,560
or anything else. It's always been like coming at you

2705
02:10:12,560 --> 02:10:13,640
with something new Yeah.

2706
02:10:13,680 --> 02:10:15,479
Speaker 1: I think My Reality is a song that, like I

2707
02:10:15,640 --> 02:10:18,359
noted down a few like just different things that happened

2708
02:10:18,399 --> 02:10:19,880
over that course of a couple of minutes. There's a

2709
02:10:19,880 --> 02:10:22,960
lot that goes on. It starts with that riff you're mentioning,

2710
02:10:23,399 --> 02:10:25,640
because it's like a twenty two minute record comprised of

2711
02:10:25,680 --> 02:10:27,840
a number of like one to two minute songs. It's

2712
02:10:27,840 --> 02:10:29,439
sort of a sweet in itself, you know, and that

2713
02:10:29,560 --> 02:10:32,720
open riff could just as easily basically be the breakdown

2714
02:10:32,760 --> 02:10:35,880
continuing on from the track before, you know, that sort

2715
02:10:35,880 --> 02:10:39,199
of collage like experience. But then that track it moves

2716
02:10:39,239 --> 02:10:42,560
into this sort of you know, slightly post rockish, you know,

2717
02:10:42,680 --> 02:10:48,039
oath breaker ish kind of building waterfall kind of dynamic

2718
02:10:48,079 --> 02:10:50,359
with guitars that seem to kind of bleed with this like,

2719
02:10:50,439 --> 02:10:53,359
you know, earthly kind of sense of sorrow rather than

2720
02:10:53,640 --> 02:10:55,079
you know, what the vocals are doing, which is the

2721
02:10:55,159 --> 02:10:59,399
really like abject, you know, screaming kind of paint sorrow.

2722
02:10:59,520 --> 02:11:01,319
But then there's a also like a lead guitar about

2723
02:11:01,399 --> 02:11:03,199
sort of like in the final thirty seconds or so

2724
02:11:03,600 --> 02:11:06,439
that I think, you know, it could just as easily

2725
02:11:06,439 --> 02:11:08,279
be a synth or something, and it sounds like the

2726
02:11:08,359 --> 02:11:12,239
cry of like an alien bird just like verbratting out

2727
02:11:12,239 --> 02:11:14,520
there into the mix, and there's really you know, bizarre

2728
02:11:14,720 --> 02:11:18,039
kind of touches like this if at all, is like

2729
02:11:18,079 --> 02:11:21,600
a proggy you know, brutus or Russian circles or something

2730
02:11:21,640 --> 02:11:24,279
that happens to have like scream oy vocals. And then

2731
02:11:24,359 --> 02:11:29,159
halfway through it moves just into like a harsh industrial

2732
02:11:29,319 --> 02:11:33,079
factory floor kind of ambient setting and it just stays

2733
02:11:33,079 --> 02:11:36,239
there in a moment that seems to stretch out like forever.

2734
02:11:36,359 --> 02:11:37,760
Like I thought it would just be a little beat,

2735
02:11:37,800 --> 02:11:39,119
but it ends up just putting you in the sort

2736
02:11:39,119 --> 02:11:43,319
of quivering noise purgatory for the length of most of

2737
02:11:43,359 --> 02:11:44,520
the other tracks on the album.

2738
02:11:44,960 --> 02:11:49,000
Speaker 3: It keeps you immersed in there. I mean, like again,

2739
02:11:49,039 --> 02:11:51,399
there's amazing guitar meds in it, and it is a

2740
02:11:51,399 --> 02:11:53,920
bit more sort of spacious, letting those lead guitars really

2741
02:11:53,960 --> 02:11:56,119
flourish for you. Like say, you just go into this

2742
02:11:56,279 --> 02:12:01,399
industrial kind of like ambient harsh noise hells gape cordiphone

2743
02:12:01,399 --> 02:12:03,680
projection that follows that is all that Like that one

2744
02:12:03,720 --> 02:12:06,800
was like as a multipart track, like that one goes

2745
02:12:06,800 --> 02:12:08,840
all over the place where you get this insane like

2746
02:12:08,920 --> 02:12:11,640
relentless riffing in the first half, and then it almost

2747
02:12:11,720 --> 02:12:14,479
kind of goes into like almost like these sort of

2748
02:12:14,760 --> 02:12:17,560
like post hardco bands into that kind of like post

2749
02:12:17,560 --> 02:12:19,319
punk thing like what Tuche Moray have done on some

2750
02:12:19,359 --> 02:12:21,079
of their like later records, where it kind of like really

2751
02:12:21,079 --> 02:12:23,920
shimmers for a little bit and it's like it's a

2752
02:12:23,920 --> 02:12:26,279
cool again sort of turn that comes out now, and

2753
02:12:26,319 --> 02:12:27,720
they only really do it on this song, but it

2754
02:12:27,720 --> 02:12:30,680
feels kind of like they've they never want to set into.

2755
02:12:30,640 --> 02:12:32,800
Speaker 2: Just one song being one move, and they're there again.

2756
02:12:33,279 --> 02:12:35,560
Speaker 3: They're short songs, but they're still sort of these multi

2757
02:12:35,560 --> 02:12:38,319
part suits in their brevity, which is a really kind

2758
02:12:38,319 --> 02:12:40,800
of like interesting and ambitious move to make.

2759
02:12:41,239 --> 02:12:44,279
Speaker 1: Yeah, and there are so many melodies on the guitars

2760
02:12:44,680 --> 02:12:48,279
basically at all times, but they don't really like spot

2761
02:12:48,399 --> 02:12:50,199
like any of them or let any of them really

2762
02:12:50,199 --> 02:12:53,199
become a hook per se, because they're not conventionally catching.

2763
02:12:53,239 --> 02:12:56,159
They're just really slippery, like you can't get handle on them.

2764
02:12:56,439 --> 02:12:59,640
And you know something like that that the songs are

2765
02:12:59,720 --> 02:13:05,600
so volatile and unpredictable any sustained sense of well again,

2766
02:13:05,640 --> 02:13:07,600
I might mention about like Rothera Toamassi or something like that.

2767
02:13:08,159 --> 02:13:10,239
Any sort of build that you would expect them to

2768
02:13:10,279 --> 02:13:12,520
do is pretty fleeting, because then all of a sudden

2769
02:13:12,560 --> 02:13:15,399
you are like abducted by aliens or you're thrown into

2770
02:13:15,439 --> 02:13:18,479
a pool of slime, or just like something violently bewildering

2771
02:13:18,520 --> 02:13:22,800
happens right until hilariously. Probably the only predictable thing about

2772
02:13:22,800 --> 02:13:25,000
this record is that is that all the songs are

2773
02:13:25,039 --> 02:13:27,960
one minute long until the closer, which is six minutes closer.

2774
02:13:28,560 --> 02:13:30,199
It's just that where you go, Okay, yeah, we're at

2775
02:13:30,199 --> 02:13:30,479
the end.

2776
02:13:32,399 --> 02:13:34,319
Speaker 3: Like I think the Blind and Crazy Thing has a

2777
02:13:34,319 --> 02:13:35,800
similar sort of thing where that alimends in like a

2778
02:13:35,800 --> 02:13:36,520
six minute but.

2779
02:13:36,479 --> 02:13:38,039
Speaker 1: At least that one's a death doomed that that's a

2780
02:13:38,119 --> 02:13:39,479
might dying bride track at the end.

2781
02:13:40,159 --> 02:13:41,880
Speaker 3: It just went love that all these bands just have

2782
02:13:41,920 --> 02:13:43,840
to end on their six minute closer. And the thing

2783
02:13:43,880 --> 02:13:46,279
is that, as I like lit Bigley says it is,

2784
02:13:46,319 --> 02:13:48,239
I mean, it's a really good closing track where it

2785
02:13:48,359 --> 02:13:51,399
does build into like edge of things and you get

2786
02:13:51,439 --> 02:13:54,760
like really somber, haunting, sort of beautiful moments, and then

2787
02:13:54,760 --> 02:13:58,000
it just rides out this like agro riff that just

2788
02:13:58,039 --> 02:14:01,199
eventually gets swallowed into feedback, so like it might be

2789
02:14:01,239 --> 02:14:02,840
you know, a little bit predictable that it ends on

2790
02:14:02,880 --> 02:14:04,880
the six minute closer, but it's a cool track to

2791
02:14:05,000 --> 02:14:05,279
end on.

2792
02:14:05,680 --> 02:14:07,960
Speaker 1: Yeah. The the level of feedback is like sort of

2793
02:14:08,159 --> 02:14:11,399
through silver in blurds like metal rods, just contorting and

2794
02:14:11,439 --> 02:14:15,800
bending around your ears, just kind of violence. Yeah, I

2795
02:14:15,840 --> 02:14:17,560
mean again, I would I would need to listen to

2796
02:14:17,560 --> 02:14:21,720
this a hundred times to like remember anything particularly that

2797
02:14:21,720 --> 02:14:24,000
goes on as I from just like ah, but the.

2798
02:14:25,520 --> 02:14:27,760
Speaker 2: Like yep, there's there's a riff there. You need to

2799
02:14:27,760 --> 02:14:29,880
listen to that song again because it lasted thirty seconds.

2800
02:14:30,079 --> 02:14:32,680
Speaker 1: Yeah, but there is a lot jammed in from a

2801
02:14:32,720 --> 02:14:35,800
band called a nouvela Skura with that album that is

2802
02:14:35,800 --> 02:14:39,680
titled How This All Ends. So that is the end

2803
02:14:40,119 --> 02:14:43,319
of again sort of kind of smaller band bracket of

2804
02:14:43,760 --> 02:14:46,119
album reviews and stuff, which I'm very pleased to have done.

2805
02:14:46,199 --> 02:14:49,079
Please do go and listen to everyone of those records.

2806
02:14:49,119 --> 02:14:50,600
Some of them are very short. I don't think any

2807
02:14:50,600 --> 02:14:52,479
of them are too demanded give your time, to be honest,

2808
02:14:53,079 --> 02:14:55,840
but there is I think guaranteed to be something that

2809
02:14:55,880 --> 02:14:57,880
you think is really interesting and will grab your ear.

2810
02:14:58,000 --> 02:15:00,800
Amongst those from you know, some and you maybe deserve

2811
02:15:01,119 --> 02:15:03,279
a few more eyes on them, So as well as

2812
02:15:03,279 --> 02:15:05,479
doing that, let us know which are the ones that

2813
02:15:05,520 --> 02:15:08,359
you're really impressed by and will you keep tabs on

2814
02:15:08,399 --> 02:15:12,039
these bands as they move forward? So cheers everybody for that,

2815
02:15:12,600 --> 02:15:15,800
and yeah, like one more time to the Prince of Darkness.

2816
02:15:16,279 --> 02:15:17,239
Bye bye everybody.